#or for completely contrived reasons. or have a book that does it's best to just rehash his arc in tlj but terribly with bonus 'people beat

[oatbrew]

Hello! Do you have any favorite romance novels to recommend that are not YA? Thanks!

OH THE PANDORAS BOX YOUVE OPENED ANON ehem a not so exhaustive list

historical romance (this is my main genre so there's more books here)

bringing down the duke and a rogue of one's own by evie dunmore - part of a series but both can be read as stand-alones. victorian period ft suffragettes. the second one in particular is my absolute favorite. it's very Gender with an insouciant dandy and an ambitious activist leader, both lonely and stubborn.

the brothers sinister series (especially the countess conspiracy) and the turner trilogy by courtney milan - will admit i read these books a bit ago so i don't remember much of the details only to say that courtney is a brilliant romance writer so i automatically trust her any time i read her books. she makes the unromantic very romantic in a very grounded way. for example in one of the brothers sinister books, the couple has sex for the first time and it turns out to be understandably mediocre. but this becomes a starting off point that actually brings them closer together. i just love the touch of realism and imperfection she brings in a genre that's built off of heightened emotions and almost fantastical perfection in relationships.

the devil comes courting by courtney milan - separate rec because this is part of another series which i haven't fully read yet. but i just had to add this because i find it remarkably unique among the genre. the events span years (rather than the shortened time frame of most romance novels) and a large part of the courtship is epistolary. it's also interracial and does not feature a white person! (heroine is chinese and hero is black.) one of those hr books that is equally historical fiction as it is romance and explores a period that i think hasn't been touched upon as much yet.

a week to be wicked by tessa dare - the best romcom-y hr ive read! it's a zany road trip with a romance that happens so gradually it really does sneak up on you which is the best kind.

the belle of belgrave square by mimi matthews - marriage of convenience. read this recently and every plot beat was absolutely perfect. the reveals, the commitment between them, everything just made sense. nothing was extraneous.

convergence of desire by felicity niven - also marriage of convenience. I LOVE THIS HEROINE. she's on the spectrum and he has a toxic relationship to sex. he is absolutely not attracted to her in the beginning but the honesty she gives to him while she pursues her own ambitions has him absolutely at her feet by the end.

my deceitful duchess by aydra richards - nerdy virgin ass hero which is a breath of fresh air from all these alpha males. has one of the best grovels over a misunderstanding that absolutely makes sense and isn't contrived 👌👌👌

when beauty tamed the beast by eloisa james - read this a long time ago but this is the first romance book i read so i have a lot of fondness over it. a kind-of retelling of beauty and the beast. top notch banter.

suddenly you by lisa kleypas - older heroine and younger hero! virgin spinster and novelist starts a fwb relationship with her publisher. a bit dated but still a fun read.

devil in winter by lisa kleypas - oh very dated but a classic amongst the romance community. marriage of convenience. the hero sebastian is both loved and reviled (and rightfully so i think) by his readers but i just have so much fondness for evie and the way she absolutely does not give a shit about how intimidating he is.

a rogue by any other name by sarah maclean - childhood friends reunite years later. read this a loooong time ago and i don't remember much except he does the absolute most to push her away because of Revenge reasons and the fallout from that is delicious

a lady's guide to fortune hunting by sophie irwin - MY CURRENT LOVE. enemies to lovers with my favorite heroine. she is cunning and scheming and absolutely shameless without being a complete asshole. the hero is also equally savvy enough to match her wit and catch onto her grift. the interplay between them of trying to outscheme the other is hilarious and delightful.

contemporary:

georgie, all along by kate clayborn - sweet, slow romance where the drama happens around the couple rather than between them except for the very end and even that is handled pretty maturely. not a big fan of third act breakups in general unless it's for a very good reason so this one sidesteps that by not prolonging it.

against a wall by cate c. wells - small town enemies to lovers. one of those read with your pussy books. hero is kind of a dumb brick but he knows it and owns it and i admire him for it. heroine is the town pariah and spoilers he literally fights the whole town for her sake. get you a man!

the kiss quotient and the bride test by helen hoang - both feature leads on the spectrum. i've seen criticism regarding how she handles neurodivergent characters but reading her author's note, i can tell she definitely pulls a lot from her own experiences being on the spectrum herself so i don't really understand the crit tbh. kind of veers to melodrama a little at the very end but i eat that shit up

the hating game by sally thorne - overexposed now in the rec circles but still a mainstay for a reason. enemies to lovers workplace romance with two leads that are kind of deranged which i love. great prose, great banter.

the billionaire's wake-up call girl by annika martin - billionaires have no rights but just suspend your head for a sec. they could have made him a millionaire and functionally nothing would've changed. anyway also a yummy enemies to lovers with a case of mistaken identity.

well met by jen deluca - kind of like georgie, all along in that the heart of it is just two very normal people falling in love in a very normal way that feels true to life. setting is a renaissance fair which is delightful.

kiss an angel by susan elizabeth phillips - dated as all hell and has some troubling parts with a batshit premise. but the last several chapters honestly make the book and i reread it from time to time so im obligated to include it on this list.

bass-ackwards by eris adderly - okay TW on workplace harassment BUT JUST READ PAST CHAPTER TWO I PROMISE. if it's still not your cup of tea totally understand but anyway... er, workplace romance.

people we meet on vacation by emily henry - ive described this book before as when harry meets sally if harry and sally were making a travelogue. the best friends to lovers pining is actually painful.

other/kinda out there:

radiance by grace draven - arranged marriage interspecies romance! i love this one because both of them thinks the other is actually very ugly so they fall in love purely through their friendship.

transcendence by shay savage - OK LMAO hear me out: caveman and a modern human sent back in time due to shenanigans all from the caveman's pov. the premise is batshit and it's obvious which fandom this was originally a fanfic for if you think about it for more than a second but this author makes it work???? have no fucking clue how she did it but by god she absolutely did

last light by claire kent - apocalypse romance. kind of road trip with survival elements. again i just love unlikely romances where the couple isn't that attracted to each other from the start and having that gradually change through time in a way thats not signposting to the audience.

ghost walk by cassandra gannon - funniest shit ever. ghost who died in the revolutionary era meets a psychic who works as a walking tour guide and recovering from a nervous breakdown. absolutely ridiculous and over the top. insta love which i normally dont like but this was so campy and fun i didn't even care

all cishet but you can find my queer recs here

[sergeantsporks]

Writing request: post king’s tide, Gus and Hunter talking about the events in it and what they’re gonna do now (What Gus saw with the Belos thing. And also how Gus feels in the human realm now that his first experience with it is basically soured.)

(I hope you don't mind I changed the prompt a little bit to fit what we got from Thanks to Them)

“I knew.”

Hunter poked a stick in the fire Luz had lit with a glyph. “Hm?”

Gus drew his knees up to his chest. “I knew. That you were a Grimwalker.”

Hunter’s grip tightened on the stick. “Oh.” He poked the coals again, then jumped up. “OH.” He jabbed a finger at Gus, mouth fumbling and stumbling on the words he wanted to say. “You’re Captain Avery,” he managed to spit out.

“Hah. Yeah. I’m Captain Avery. I thought you were picking up on what I was trying to say when you made that O’ Bailey costume.”

Hunter ran his hands through his hair. “Cosmic Frontier—you were… ohhhhhhh.” He sat back down with a groan. “I completely missed that.”

Gus’ nose crinkled. “In hindsight, it was probably a liiiiiitle too nuanced as a way to let you know that I knew. I mean. Book code? How were you supposed to know that meant I knew?” He twisted his hands. “I just… wanted to let you know that it was okay. That you could trust me.”

“I do.”

“But… not with that.”

“I needed more time to find out more. About where I came from, about… how I related to Belos, who my ortet was. Caleb Wittebane.” The words were foreign in his mouth.

“Heh. Caleb, huh? That’s a weird coincidence.”

Hunter clutched at his chest where Flapjack had last been. “Yeah… weird…”

“He seems like he was okay.”

“Huh?”

Gus rubbed his arms. “When I… did that spell on Belos, I saw him. Caleb Wittebane. That was how I knew. I saw him, I saw your… birth…”

“Sorry about that.”

Gus chuckled. “It wasn’t so bad, you just crawled out of a mudpit. As far as how people are born, that’s probably the least traumatizing thing to see!” He settled back down. “But he seemed like an okay guy, your ortet. I know Masha said he got spirited away by a witch, but I think he went because he wanted to. And he stayed because he wanted to.”

Hunter tugged on the new strand of hair. Maybe Willow would cut it for him again. “He was still a witch hunter. He still brought his brother to a place where everyone was a witch hunter, Belos wouldn’t have been a witch hunter without him. He went to the isles looking for him, he’s the reason Belos was there. He’s the reason Belos didn’t leave.”

“Maybe.” Gus sighed. “Belos killed him.”

“Yeah?”

“They had a fight. I don’t think he was a witch hunter at the end. He was a witch protector.”

“Fat lot of good it did anyone.”

“Hey. Don’t be so hard on him. He made mistakes, sure, everyone does. But we’re not blaming Luz for accidentally helping Belos meet the Collector, are we?”

“No,” Hunter muttered, “We’re not.”

“So maybe be a little nicer about Caleb. Your ortet did the right thing at the end, and that’s what matters.”

“Hm.”

“And it doesn’t matter anyway. None of that affects who you are.” Gus nudged him. “Not… any more than who O’ Bailey was cloned from affected who he was.”

Despite himself, Hunter smiled. “Heh. Yeah. That plotline was a bit contrived, huh? It was the ‘enemy planet’ thing that mattered.”

“Ha.”

Hunter leaned back. “Would you ever go back?”

“Hm?”

“To the human realm,” Hunter clarified, “Would you go back?”

“I don’t know. I always wanted to go, I’ve loved the idea of the human realm for as long as I can remember, but…”

“Your first experience wasn’t under the best of circumstances?”

“Yeah.” Gus glanced over at the blanket lump that was Luz. “I’d go to visit Luz and Camila, I think. If we could make a stable portal.” He sighed. “It wasn’t all bad. There was so much cool stuff there! And the giraffes were… terrifying. But I just… I don’t know, I think I would have enjoyed it more if I wasn’t missing my dad the whole time.”

“So bring him next time,” Hunter suggested.

“What?”

“Bring your dad. Show him the things you liked. Let him see. Then the human realm won’t be a place where you missed your dad, it’ll be a cool place you showed him.”

“Yeah,” Gus said slowly, “Yeah! He can be the first Boiling Isles reporter to cover the human realm!” Gus’ ears wiggled up and down. “And I can be his tour guide!” Gus settled down, leaning against Hunter’s shoulder. “Thanks, Hunter.”

Hunter nodded, staring into the fire. “Thank you. For… being understanding about the Grimwalker thing. For trying to reach out, even if it didn’t work.”

“Hm? Yeah, sure. We made a secret handshake and everything, I’m not going to be put off by a little cloning and witch hunter ancestry.” Gus held his fist out for a bump. “You’re stuck with me.”

[straydog733]

Reading Resolution: "Dumb Witness" by Agatha Christie

21. A novel by a famous author, other than the one(s) they are best known for: Dumb Witness by Agatha Christie

List Progress: 1/30

There’s an old saying that goes “Sex is like pizza; even when it’s bad, it’s still pretty good”. While that is not in fact true for either sex or pizza, it is true for Agatha Christie novels. Christie’s 1937 novel Dumb Witness, starring her famous detective Hercule Poirot, is competently written, has enough engaging character moments, and moves along at a decent pace. But there is a reason that this one has not stood the test of time like Poirot adventures Murder on the Orient Express, The Murder of Roger Ackroyd or Death on the Nile (released the same year as Dumb Witness). It is a perfectly readable book, but for someone introducing a person to Christie’s work, it would be fairly far down the recommendation list.

Hercule Poirot receives a letter from elderly spinster Emily Arundell, suggesting that a recent “accident” was actually an attempt on her life. Her nieces and nephew have been chomping at the bit to get her inheritance, and she believes one of them set her up to trip over her dog’s ball and fall down the stairs. Poirot is intrigued, but by the time he and his compatriot Hastings arrive to investigate, Miss Arundell has already died by natural causes. Hastings thinks this means that their work is done, but Poirot points out that attempted murder is still a crime, and that just because the attempt failed does not mean that they should reject the case. Arundell’s relatives and members of her staff all had reasons to want her out of the picture, and it’s up to Poirot to sort out who actually tried their hand at the killing. Unfortunately, the novel feels like it is still setting the stage well into the second act, and it takes far too long for Poirot and Hastings to even agree that there is a case to solve.

The suspects are fairly stock characters, and a subplot about a pair of spiritualists feels tacked on to the central mystery. And the smoking gun piece of evidence ends up being a bit of a contrivance, someone wearing and doing things in a very strange manner in order to leave a set of intriguing clues. But nothing about Dumb Witness is outright frustrating or incorrect; it’s just more lackluster than anything. Agatha Christie wrote a total of 66 novels and 15 short-story collections; unless someone is doing a complete read through of her bibliography, or of just the Hercule Poirot novels, there are bound to be better choices than Dumb Witness.

Would I Recommend It: Not really. My personal Christie recommendation is The Murder of Roger Ackroyd.

[luminouslumity]

Some more retellings I read recently! I've actually alluded to having read DoS before, but wanted to wait for TSoP to come out before making an actual post first. And unlike last time, I wasn't a big fan of these books. Though in hindsight, I probably should've known that when I saw the cover for DoS; no, but seriously, Greek is a beautiful language, but seeing it used as font will never not hurt the little linguist in me. Also, Nestra... No. Just no. And as for the books themselves? Well, what I like to do when reading or watching an adaptation of a work is to look at it two ways: first, does it work as an adaptation, and second, does it work on its own? And in the case of Heywood... not really for both.

I do want to give credit where credit is due though, I actually did enjoy Heywood's writing as well as how she incorporated some pretty minor details from certain sources that I haven't seen any other retelling use (ex: Menelaus having a son by a slave woman, something that's actually mentioned in the Odyssey), but that's as far as my praise goes, at least as far as her first book is concerned.

Another thing to keep in mind is that her books are one of those retellings that strip away the mythological aspects entirely for the sake of telling a historical narrative and I honestly have yet to find one that actually does this well, because without the presence of gods or monsters, you run into some really stupid contrivances at best and quite a few gaping plot holes at worst. Then we get scenes like Helen literally kicking and spitting on Eileithyia's rock because she doesn't want to get pregnant again and Iphigenia getting sacrificed because the priest Calchas wanted revenge after he blames Agamemnon for his sister's death, and a part of me honestly can't help but feel uncomfortable reading scenes like this, almost like it's mocking an ancient religion that many still acknowledge and practice to this day. Oh, and just so no one misunderstands me, I'm taking issue with Helen basically insulting a goddess specifically, even if that goddess is physically absent.

TSoP does seem to tone this down, or at the very least, it's not to the extent that we saw in DoS from what I noticed, though it's also completely possible there was something I had missed. One moment that does stand out to me though is when Danae internally compares the light coming from a torch fire to a golden shower and then we immediately get the reveal of Perseus' actual father, which I actually thought was pretty funny. It helps that Myron himself was really sweet from the little we knew him, which also makes me sad because there really didn't seem to be any reason for Danae to lie to Perseus about who his father was. It's not like Danae was ashamed of Myron or anything, either; it's one thing for her to want to keep her past a secret from her son for now, it's an entirely other thing to lie to him and say his father was a god!

And speaking of the characters, I actually really liked Claire's version of Helen, I just hate that it comes at the expense of turning her into a neglectful parent even before she runs away with Paris (thankfully, her actions aren't exactly glorified, either; actually, I feel like I would've enjoyed this plotline alot more had it been executed better), as well as turning Menelaus into a distant husband and Leda into an awful mother. Meanwhile, Agamemnon is horrible even long before he sacrifices Iphigenia, and Klytemnestra once again never kills Kassandra in cold blood, even though the entire point of the myth is to show the senselessness of violence and vengeance and how her grief had corrupted her in the years her husband had been away at war.

I am once again asking, what's wrong with being direct?

And as for TSoP, the characters here are certainly a lot more enjoyable personality-wise... but that's also an issue, because it all comes at the expense of turning Perseus—whose entire quest revolved around saving his mother—into an entitled brat. First because he thinks he's a demigod, then because he finds out he's the grandson of a king and has a prophecy to fulfill. In fact, he doesn't even go on a quest at all, just sent away because his mother actually wants to marry Polydectes and he won't stop throwing a tantrum about it. Then we just skip to him meeting Medusa and then killing her after she rejects his feelings for her, "saving" Andromeda from what was basically a symbolic sacrifice, mistaking the hospitality feast he's given for a wedding banquet in honor of himself and his supposed new bride due to the language barrier, killing her actual betrothed before she finally decides to go with him, killing Polydectes when he refuses to stand down, and then nearly killing an old Acrisius before finally listening to what his mother and wife want and letting his grandfather live.

That's it. That's the book.

And I liked the use of the Prophecy Twist at the end and also how Danae refused to forgive her father for what he had done, but really, whatever positives I have to say about either book aren't really enough to outweigh the negatives.

And I mean, compare everything I just said about TSoP to the original myth; an evil king wishes to marry a beautiful princess who'd been rescued from the sea (or he already has married her in some versions), but she has no interest in him, so he sends her demigod child, who was protective of his mother, on a quest to slay an unslayable monster in hopes of getting him out of the way for good. With help from the gods, he manages to succeed and even rescues a princess on the way back after she's nearly sacrificed to a sea monster as punishment for her mother's vanity. Afterwards, he saves his own mother by presenting the head of the monster to the other monster and turning him to stone, before later killing his grandfather by accident! And it wasn't even Medusa's head that took him out, either, but a discus!

See how sweet and simple the original is? But no, instead we get Perseus who keeps throwing these violent tantrums because he isn't getting what he wants, made worse by the fact that his character has about as much depth as a rock. In fact, why have this be a retelling at all? This solution can pretty much apply to just about any other one too, but for TSoP specifically, it could've very easily been about someone who grew up being inspired by the tales of Perseus, maybe even facing a similar situation to him and becoming desperate to escape it, and then later becomes their own downfall by the end of it. That would've been much more interesting, methinks!

And before anyone brings up the Medusa thing, the version everyone talks about actually comes from much later sources, specifically Ovid, who was Roman, and a pretty spiteful one at that; in fairness, the Greek poet Hesiod does describe her as having been a mortal who had sexual relations with Poseidon, but even then, he makes no mention as to whether the encounter was consensual or not, just that they did it in a meadow—yeah, not a temple, a meadow. Other Greek and even some Roman sources also have her always be a monster, even being descended from the mother of monsters herself, Echidna.

As for Athena changing her into a Gorgon for her own protection, I can't find an ancient source anywhere that states this, never mind that it's not like women wouldn't have been immune to her curse, either. And as awesome of a concept as a monstrous figure being seen as a patron for women is... that's not exactly true either. Ancient Greece didn't have women's shelters, for one thing, and though it's true that engravings of her head can be found on buildings, they can be found everywhere else as well, including on tombstones. That's because it was actually used to ward off not any specific human, but evil spirits instead. Because nothing was seen as scarier than a Gorgon. Also, there were several deities whom women prayed to (and still do!) for protection, including Athena herself, so praying to Medusa—who they would've considered a monster—wouldn't have really made much sense. Again, cool concept, but it kinda falls apart once you think about it for more than five seconds.

But yeah, these certainly aren't the worst retellings I've read, but still there's nothing particularly outstanding about them, either. Not in a good way, at least.

[s1ithers]

finally caught up on the witcher show. mostly liked it! although the ending didn’t hit. ciri was so good, i read the books between s1 and s2 and was pleasantly surprised to find the saga is really ciri’s story, despite the title, and her actress did a great job carrying the show’s heart i thought

BUT i’m gutted what they did to yennefer, my light my mom my love my best girl ;—;

salty spoilers

yen was far and away my favorite thing in s1, and that held true after reading the books. s1 had so much love & respect for this character & built out this whole great psychological arc for her, and then they just trashed her?

losing her magic is such a weird non sequitur, “who am i without my power?” well yeah her whole adult arc in s1 was “who am i even with all this power?” she already knows magic can’t make her whole!! sodden hill was her finally letting herself feel all the pain & trauma & grief she’d repressed, s2 should have been her like, integrating that. letting that experience open her heart enough to take a chance mentoring ciri and finding that love & connection that finally heals her loneliness

but instead she gets to relive her desperate schoolgirl arc bc she....hasn’t learned fuckall & still thinks she needs to claw her way up to Max Power to be worth anything ig.

except that doesn’t even land bc she actually is saying things to the effect of ‘we make our own new better purpose’ etc, right up until she gets arrested, then it’s suddenly oops, well, guess i simply must agree to the Evil Witch’s Child Sacrifice Bargain, there is just no other way~ 

(also! she “spent a month searching the whole continent” for a way to get her magic back then gives up so completely she’s ready to sacrifice a child. the same yennefer who spent decades chasing down every ghost of a rumor of an infertility cure??)

yen teaching ciri at the temple school is such a lovely tender passage and instead we get... recriminations & a battle scene

like i don’t love this lens but it really did read like oops, our strong female character(tm) has a little TOO much righteous anger, better slap her back down~ she goes from sodden to finishing s2 having to meekly plead forgiveness from geralt for making a stupid mistake in a situation that felt contrived af to begin with -_-

speaking of, the deathless mother addition is annoying me more and more, the more i think about it. what does she add that couldn’t have been achieved more interestingly by having the characters set their own courses? i loved the fringilla-francesca plotline, but how much better would it have been if they’d hatched their plan themselves!

the sorceresses are fun bc they have SO much agency!!  they plot & strategize & manipulate events on the world stage and they all have their own strongly held reasons for doing so, some more noble than others, but to displace that onto the voleth meir, like oh actually they’re being manipulated by an eEeEevil demon~!!, who’s just a monster with no more depth than the myriapod, just...deflates them so much.

and not even just the sorceresses, even grandpa vesemir needs a fuckin ulterior motive. i really don’t want to be like ‘oh i read the books and everything’s Wrong Actually’ bc that is the wrong way to look at adaptations but. so much of the series’ charm is in the love & bonds between the characters, the main three, the kaer morhen witchers, geralt’s friendship w dandelion and the dwarves, the hansa. people choosing to take each other into their hearts despite the world going to hell around them

& the show is just like, what if we pumped every relationship full of the max possible amount of shitty drama. it’s not like the story is short on conflict! but ok, fine, we’re not allowed to show friendship on american television

geralt & jaskier’s falling out in s1 ties into this too, even show!geralt being so monosyllabic. the other witchers training ciri. you can see the kinds of relationships the show is trying to gesture at but they dwell so much on the conflict it’s left to the viewer to project most of the warmth

[tedturneriscrazy]

Another Saturday, another episode! Let's take a look at Keeping Up A-fear-ances!

(Good lord I'm starting to make myself sound like some sort of content creator)

Oh, okay, we're just starting at that level of intensity, huh?

Chest gem origins

Gwendolyn not being satisfied with managing the curse and determined to cure it? I'm sure this won't be a real world allegory in the slightest.

Oh, so Eda literally just stumbles upon the portal? I could call that contrived, but honestly it's not dissimilar to how Dipper found Journal 3. For that matter, the entirety of Lord of the Rings is predicated on an accidental discovery like this and nobody gave Tolkien shit about it.

Was the eye on the portal cracked in previous episodes? I don't remember.

Seems like Gwen is the "well-meaning but ultimately misguided" flavor of mom.

As an aside, I am now quite curious about how Eda's first trip to the human realm went. Maybe a future episode will cover it? At any rate, I smell a new favorite fic prompt.

The screaming alarms in the Demon Realm will never not be funny to me.

Also, that is a worrying number of hearts. Eda is straight up murdering these poor creatures.

For some reason the gold fang being removable never occurred to me as a possibility, and now I feel like a kid who's discovered that Santa isn't real.

Oh hey, the new outfit! I'm also impressed how close to symmetrical that tearing was.

I need to get a screencap of Luz sleeping on that stack of books because she is adorable.

Also, staying up all night researching? This season seems determined to completely eradicate the notion of Luz being dumb, and I am here for it.

I have a feeling the Hexside mug will be making its way to The Mystery Shack in the near future.

Lilith's first experience with transformation and she seems understandably horrified.

The curse acting stronger when stressed? That seems...important.

Ah, so the dismemberment is from the curse! A surprisingly useful side effect from what we've seen so far.

Can I just say that I appreciate how Eda's reaction to Lilith's first taste of transformation is immediate remedy, explanation, and reassurance? And doesn't make any snarky comments along the lines of "now you know what it's like?" Whatever happened in that week and a half must have been cathartic as hell.

"Always. Always curious." Luz is the TOH fandom.

(Also, Eda, you know she is, considering how much she went on about your "mysterious past" at the Covention)

"Magic bird tornado?!" Luz has a way with words that's just *chef's kiss*.

"Gwendolyn." Eda is already just fucking done.

"MOM?!?!" Jeez, Lilith, you're just now hearing all this?

I was charmed by how motherly Gwen was acting toward Eda, but then she kinda just...dismissed Lilith, and now I'm somehwat less charmed.

(Sweet flea as a term of endearment is kinda cute, though might have some unfortunate implications depending on how you want to interpret it)

"Who knows what they put in those nasty concoctions?" OH WE GOING FOR THE ANTI-VAXXERS NOW YESSSS

Luz and Lilith's reaction to that whole exchange is priceless.

Everyone's perspective here makes perfect sense for who they are and what they've been through.

Poor Lilith. Her cursing Eda is beginning to make more sense.

Ah, thus begins the collaboration.

"We'll be consulting someone very special." Why does that seem so...ominous?

Is there anyone who watched this episode for the first time whose bullshit detector didn't go off immediately when Gwen mentioned finding someone who promised a cure?

Heh, Palm Stings.

Nonbelievers will be blinded by the power of the tome? I'm sure they will be, Wartlop.

I must say, as something of a scientist myself (okay that's not true, I'm a QA tech for a food manufacturer, but I do have a chemistry degree), I am 100% here for the swings being taken at faith healing/"miracle" cures/anti-vaxxers in this episode

Oh, we Wile E. Coyote now, huh?

Also, interesting how much apple blood is being played up in this episode.

Lilith please you're projecting your mommy issues on a literal child

OH WE REALLY JUST WILE E. COYOTE HUH?

You're right, Luz, Gwen's bicep game is goals.

(Somewhat disappointed the scars are from questing and not beastkeeping, but eh)

Why do I get the feeling there's gonna be a future episode where everybody stages an intervention for Eda's apple blood problem?

"Those feathers mean we're driving the beast out" Gwen no

Hooty is holding the brain cell? Oh no...

If that ice cream came from the Night Market it would explain why Lilith sounds drunk.

(Side note: I can't be the only one getting flashbacks to Mermista's ice cream binge, right? Different context, but still)

"Abomi-berry" "Franken fruit" "Key slime pie" These are A+ flavor names.

Oh, there's the transformation...

I must say that whole segment kinda rubbed me the wrong way. The way King's opinion on his dad was changed seemed...I don't know how to describe it. I get that they needed a trigger for Lilith's transformation, but honestly if any part of the episode is contrived it's this.

"¡It really is that good!" So that's what an accent slip in written form looks like. (The upside down exclamation point is used in Spanish, in case anyone didn't know)

I keep half expecting Eda to say "Beep! Beep!" at this point.

Luz is finally asking questions. Took long enough.

Ah, the classic "moving the goal posts to extract more money from a desparate family member" technique.

Luz channeling Scorpion, we love to see it.

There is an exquisite irony in Eda's mom being scammed, I must say.

Ah, so that's where the elixirs went. Dammit, Gwen.

Luz is definitely thinking "Are you fucking kidding me right now?!"

Beast!Lilith is massive.

"Sweet flea?" Gwen just realized she done goofed.

"I can see you still need a little time." God Luz is so fucking smart.

The con revealed.

OH DAMN SCARY MAMA

(Also I am terrified of bees/wasps, so extra scary mama in my book)

The scam is revealed, goblins, getting back into the Wartlop disguise is kinda pointless.

She joined the Beast Keeping coven entirely to cure the curse? That's dedication. A shame you couldn't have spared some of that for Lilith.

Still, I do like badass scary mama Gwen. I'd be down to see more of that.

Owl Beast fight!

I am slayed by the fact that the portraits are now officially a recurring gag 😂

Aw, here's The Moment™️

"My turn to drive" Does this imply cars are a thing on the Boiling Isles after all?

Lilith crying almost immediately💔 She was holding onto a lot of pain.

Yes, King, she was trying to do her best. I mean, road to hell or whatever, but at least Gwen got there in the end.

WHAT?! YOU'RE BREAKING UP LULU AND HOOTCIFER?!?!?!?

Terrace, that's just cruel. (Worthless brownie points for whoever understands that reference)

No, seriously, you can't just give me my favorite inter-character relationship in the series after Lumity and just...take it away like that, come on! 😭😭😭😭😭😭

I know I should remark on how Lilith told Gwen about the circumstances of the curse, how Gwen rightfully accepted responsibility for the whole situation, and how Luz finds the big hair aspirational, but...NOOOO DON'T END THE ADVENTURES OF LULU AND HOOTCIFER WHYYYYYYYYY💔😭💔😭💔😭

"BUT I CAN'T HOLD A PEN!"

I will never emotionally recover from this.

Okay, I think I got that out of my system. Anyway...

Not the only human, huh? Cue the "Belos is a human" theorists going into maximum overdrive.

That said, a tantalizing lore dump.

We certainly do have a lot of garbage. Some of it even holds office. HEY-O!

Setting up the next episode, too. Continuity!

Camp's over, huh? That means it's been three months.

Way to misdirect with Camila, guys. That said, we have now seen Camila cry and I HATE it. (In the right way, I think)

WHAT THE FUCK

HOLY SHIT

CREEPY LUZ IS REAL WHAT

OWJEIWHQGIWWOPQ

(It's hard to keysmash on a phone, even with autocorrect off)

That wraps it up! The flaws in this episode seem more pronounced than any others in the season so far, but the good stuff was really good! Overall a solid episode! I know everybody's looking forward to library Lumity in the next one (so am I), but I'm personally eager to see what they do with Gus. His part is the A plot, after all.

Anyway, I'll be back at this next week! Still hard to believe this is a thing, but that's life, I guess.

[erazonpo3]

Lost Legends

Okay so I read Lost Legends: The Rise of Flynn Rider and general thoughts? It was cute and fun, and I have gripes here and there but I can still recommend it. I don't want to compare it to WOWM because it's like apples and oranges but Lost Legends wins points for me by actually acknowledging the TTS storyline and characters, even though it's kinda brief and not quite as... entertaining.

And before I go into the in-depth spoiler review I'll jot down a few thoughts here: there's a lot to be said about tie-in media and 'canon', but where I think it becomes contentious is where two pieces contradict each other, and whether those contradictions necessitate a canonical hierarchy or cancel something out completely. And the reason I'm bringing this up is because while LL borrows TTS lore it also contradicts it? which is. ironic.

but i'll get into that. Spoilers ahead

Basic Summary of The Plot

Our story starts at the Dark Kingdom, with a short prologue. It's all stuff we already know from the series: King Edmund tries to grab the moonstone, his wife dies, Eugene gets sent away for his own safety. What's funny is that Ms Queen still doesn't get a name, but her Lady in Waiting/Handmaiden gets a name (Maeve), and it's Maeve who really drops the ball on dropping Eugene off at an orphanage instead of raising him as Prince Horace. Go girl give us nothing

And from here the LL timeline begins, as Eugene and Arnie are now twelve year olds (I think?) in an orphanage in Corona. Which is the first contradiction to 'canon' but shelve that thought for now. Eugene and Arnie are good little boys but they're getting too old to keep hanging around and the orphanage needs money for the evil Tax Man, so they decide they'll go off into the world and send some money back when they're rich off their famous adventuring. What happens instead is that The Baron's circus rolls into town (yes that Baron) and Eugene and Arnie decide to try their luck signing up for that gig.

To prove themselves to the Baron, Flynn and Lance have to perform a hazing ritual a heist. The heist is literally just to buy a key from the Weasel but it plays out as this huge dramatic thing with a guard chase which is eternally funny to me because two kids walk into a bar, buy a key and then leave, and it's treated like fucking ocean's eleven. The Stabbingtons try to betray them (those guys are here too) but Flynn and Lance outsmart them, beginning a rivalry for the ages. Also, the pub thugs are all part of the Baron's circus crew. Don't think about it too much.

Anyway, as this has all been going down, Eugene is really interested in getting to talk to this guy with a tattoo of (what we as the audience know is) the brotherhood symbol, which Eugene recognises from the note left with him as a baby. He wants to talk to this dude in the hopes he'll get a clue about who his parents are, but this dude keeps eluding him. He also hasn't had a chance to tell Lance about this yet, so when Lance finds out about it he assumes Eugene only tried to rope him into the circus so he could find his parents and ditch him. Cue an ongoing silent treatment.

Eugene eventually does talk to this guy and he learns that the Brotherhood symbol is from the Dark Kingdom but the Dark Kingdom is gone so he shouldn't bother looking for it. Bummer. And now the Baron is planning a huge heist of the reward money for the Lost Princess' return, and Eugene is getting cold feet. He's been okay with a little bit of thievery so far but this feels like too much for him, and he's not okay with pulling it off but Lance still won't talk to him.

As the plan unfolds, Lance and Eugene reconcile and then they work together to betray the Baron and return the stolen treasure that they stole back to the King and Queen. They get caught by the Baron, escape, then get caught by the guards, but it's okay because they're presented to the King and Queen and when Eugene explains that they felt really sorry about it and promise not to do it again they're let go. And so the story ends on a high note.

My Thots™

Okay so here are the thoughts

Canon Compliance?

The obvious takeaway here is that this story offers you a beautiful pie in the form of the characters you know and love and the established lore, then shoves the pie in your face with things like "Eugene already knows the Dark Kingdom and the Moonstone exist but he never brings this up" and "Eugene betrays the Baron in a very significant way but somehow they'll make up and he and Stalyan will get engaged". Which means that if the integrity of the series is important to you, you'll probably just mentally cross out Eugene knowing about the Brohood/DK/Moonstone.

And imo that's fine! My own approach to this story is a kind of general 'if it works it works, if it doesn't I'll leave it' thing to work my own headcanons around. Because there's a lot of fun things to pluck from, like a new ex-Brotherhood member and other characters that could pop up from Eugene's past and other worldbuilding details.

The Story

The story was pretty short and obviously very tailored towards a younger audience, but it still felt kind of... slow? Mostly because nothing particularly exciting is happening until the big heist and even that feels pretty underwhelming. And of course I don't expect a story like this to be particularly complex and can appreciate its simplicity, but I felt like if it had been longer there could have been more twists to keep things interesting.

For example, the Baron is set up as a character not unlike Gothel, who lavishes praise upon the boys and goes on about how they're 'family' but is obviously just manipulating them and would throw them to the wolves in a heartbeat. Eugene underestimates just how criminal the Baron is, but at no point in the story does the doubt we have in the Baron's sincerity ever amount to anything- Eugene only turns against him because he has a morality crisis, which I'll get to in a minute.

Misc. Thoughts

Okay so one thing I thought was really cute was that each chapter has a little 'quote' from a Flynnigan Rider book, and I wrote them all down so if you've read this far and want me to post those separately lemme know. Anyway I just thought it was a very cute touch.

An honourable mention goes to every time Stalyan shows up, she doesn't really do anything in the story yet still is somehow the only character holding the brain cell. Rapunzel gets an indirect cameo by Lance and Eugene stumbling upon her tower and going "Whoa that's Crazy. Anyway. " which is amazing, and Cassandra even gets a little mention by the Captain! And to answer the question nobody asked, there's a chameleon running around Corona because she's an escapee from the circus, and Pascal's mom's name is Amélie!

Characters - okay really just Eugene

Eugene/Flynn is the title character of the book and we get the story exclusively from his POV, so there isn't a lot to say about Lance. On the one hand while I can acknowledge that this is a story about Flynn, not Lance, there's a few choices that feel like a missed opportunity at best given that this book really was an opportunity to explore Lance's character in a way the series never really does.

And it feels extra egregious when the plot demands conflict between Eugene and Lance, because while the emotion between them is engaging when it's happening, at other times it just feels like a convenient way to shove Lance offscreen again. (As a side note, as contrived as the conflict is these are also two twelve year old boys so. Can't blame em too much).

Also, Eugene coming up with the name "Lance Strongbow" on Lance's behalf while he's unconscious is one of those backstory things I'm not going to be acknowledging, thank you.

The Robin Hood Dilemma

Something I touched on after reading What Once Was Mine is that Eugene's characterisation prior to the movie isn't something writers seem to really like... dealing with. And it kind of makes sense that the author received a lot of characterisation notes from Chris Sonnenburg, because little Flynn does feel very similar to the Eugene we know; only the Eugene we know is an adult man who has since grown out of his Flynn Rider persona. But the Flynn Rider persona he needed to grow out of isn't something that ought to be cast aside entirely!! Stop being cowards!!

Taking a step back, the whole premise of the book is kind of a paradox- because Eugene needs to become Flynn Rider before he can learn to embrace his authentic self, but Flynn Rider isn't hero material, he isn't a good guy, he's not the right protagonist for a story for kids. So what we get isn't Flynn Rider, it's really just Eugene trying on a new name. That works for the beginning of the story, because he is just Eugene trying on a new name, but he doesn't grow into it.

At the beginning of the story, Eugene is an orphan in a poor but still functional orphanage run by a kind old lady, and he is surrounded by nice little boys. Eugene is motivated to leave and get a job by a desire to send funds back to the orphanage, and when he joins the Baron's circus he's taken aback to learn he's among thieves. Here's where I thought: okay, this might get interesting. We might be getting a G-rated 'angel falls from heaven' story about Eugene being morally corrupted by the Baron, of learning that the world outside is tough and he needs to look out for himself first and foremost-

but no. The Baron shares his plan to steal the reward money for the Lost Princess, because all the people he's surrounded himself with are already criminals who don't give a shit, but Eugene thinks that this is going too far! What about that poor lost princess who people need an incentive to search for? (he's like, projecting about his own parent issues which is fair, but still). And so the story ends with Eugene turning on the Baron to return the money to the "right" people (aka the king and queen of a kingdom?? okay) but he takes a single golden egg for himself so he can send it to the orphanage.

Which is all sweet and nice but. He still has to become Flynn Rider, asshole extraordinaire. He still has to lose his morals to the point where he'd take an inexperienced young woman to a pub that he, in this book, recognises is a dangerous place in the hopes that he can ditch her. He still has to go and become a wanted thief and rejoin the Baron and then ditch Stalyan on their wedding night.

The reason I'm going on about this so much is that the appeal of Eugene to me is that he is this good guy who wants to be a better person for the people he loves, but that means recognising that he has behaviour he needs to change, and his development is meaningful for that. Watering him down to a righteous Robin Hood hero does him a disservice.

The Real Villain Was Capitalism All Along

I will not elaborate nor should I

[vivithefolle]

Is there anyway you could share the entire livejournal essay about Hermione's reaction to Ron coming back in DH? The few paragraphs that you referred to in your recent answer sound extremely interesting.

[The “recent answer” that goes back to... last December. Oh my god I’m such an ass I left you hanging for so long I’m so sorry.]

Okay, okay, so here goes! KEEP IN MIND: I DIDN’T WRITE THIS. I FOUND THIS ON LIVEJOURNAL AND PICKED EVERYTHING THAT I LIKED ABOUT IT, AS WELL AS SOME COMMENTS THAT INTERESTED ME.

This “essay” was actually more of a “reading the books” thing with the person sharing their thoughts and ideas about it. The person was clearly a Snape fan, but they had sympathy for Ron too. I’ll try to formate it as accurately as I can remember it.

And now, here it is:

---

ORDER OF THE PHOENIX

[About Ron being made a prefect.] The essayist: It’s sad, but this probably is the first time Ron’s beaten Harry at something. And the last time.

A commenter: Ron's had a really difficult life, and this is the book that proved it for me. It made me a Ron fan. Just look at the interactions he has with Fred and George. This is commonplace. I know a lot of people don't like Ron, but just look at this book, this chapter especially. People have accused Ron of being lazy, unambitious, having no emotions, and being a big stupid boy. It's just not true. Look at how Fred and George needle him out of jealousy. Look at how they treat Percy. Imagine Ron having to grow up with two older brothers that will not hesitate to bother, torture and torment people that stand out or that get more attention than they do or that cross them. He saw it happening with Percy, so what's he going to learn? He'll learn to shut up unless he wants to have something happen to him. He'll learn that standing out positively is rewarded with cruelty. I can understand how Mrs. Weasley could not have fully protected him from those two. Not all the time, not while trying to also care for Ginny, keeping up with her other kids in school, and running the household. Worst of all, punishing F&G doesn't seem to do anything. Those two just don't care/they crave the attention, negative or positive. The best thing she could've done would be to give them no attention, but that's so against her nature that unfortunately she just fed the monsters. No emotions? Is it really difficult to understand that sensitivity wouldn't be encouraged in young Ron? He's got these two bullies that only want a reaction out of him. If he cries, it'll only encourage them. Any reaction is encouraging to them, but he has to go with anger. It's a survival thing- puff yourself up, make yourself look bigger than you are so the predator messes with you a little less. Look at the pride Ron's showing in his badge. The desire to do well is there. He likes the good feeling that comes with it, but he's been hard-wired since birth that it's better to be "middle of the pack". In later chapters, I know you'll have to point out the way the power makes Ron behave, so I just want to start on the defence now. It's all Ron knows. It's all he's been taught. It's a huge character flaw, but it's what makes him so human. Rowling did develop this in the book, but only accidentally. We're never going to get a good look at Ron's psychology except through these hints because it's, as usual, All About Harry. Ron's flawed, but I hope we remember that he has a reason why he's got those flaws. It doesn't excuse him, but it really explains him. So yeah... that's why I defend Ron.

...

“I’m not Percy,’ he finished defiantly.”

The essayist: Mmmm-hm. Ron feels nervous at the thought of his good fortune inspiring anger in someone and what's his first defence? "I'm not Percy"? Man, the evidence that the Twins' psychological torment has left lasting scars on Ron could not have been more obvious if he'd shielded himself and said "Please don't jinx me, Fred! ... I mean Harry. ... Shit, what'd I say?"

...

“Excellent,”  said  Ron,  with  a  kind  of  groan  of  longing,  and  he  seized the nearest plate of chops and began piling them onto his plate, watched wistfully by Nearly Headless Nick. “What  were  you  saying  before  the  Sorting?”  Hermione  asked  the  ghost. “About the hat giving warnings?” “Oh  yes,”  said  Nick,  who  seemed  glad  of  a  reason  to  turn  away  from  Ron,  who  was  now  eating  roast  potatoes  with  almost  indecent  enthusiasm.

The essayist: Ron’s not being very restrained with his eating, is he?

The commenter: I don't know if it's accidental or not, but this is one of those moments that I love, one of the tellings of Ron's home life via his behavior. In this scenario, he's totally a kitten who just got adopted to a house where he's the only cat. He's at a table with food, so his instinct is to eat as fast as he can or his siblings will yoink it. It doesn't help that there are many other people around, encouraging the "get the good stuff fast or you'll have to sate yourself on bread or whatever nobody wants". Ron is so much more human than Harry! How can Harry not be showing any signs of his "horrendous abuse" for eleven years? Well... I guess he sort of does when he buys all that stuff in his first year. And I guess Ron has to go back home every summer where it gets reinforced. But Harry goes back every summer, too... what the hell?

...

“What’s going on?” Ron  had  appeared  in  the  doorway.  His  wide  eyes  traveled  from  Harry,  who  was  kneeling  on  his  bed  with  his  wand  pointing  at  Seamus, to Seamus, who was standing there with his fists raised. “He’s having a go at my mother!” Seamus yelled. “What?” said Ron. “Harry wouldn’t do that — we met your mother, we liked her. . .” “That’s  before  she  started  believing  every  word  the  stinking  Daily  Prophet writes about me!” said Harry at the top of his voice. “Oh,”  said  Ron,  comprehension  dawning  across  his  freckled  face.  “Oh . . . right.” “You know what?” said Seamus heatedly, casting Harry a venomous look.  “He’s  right,  I  don’t  want  to  share  a  dormitory  with  him  anymore, he’s a madman.” “That’s out of order, Seamus,” said Ron, whose ears were starting to glow red, always a danger sign. “Out of order, am I?” shouted Seamus, who in contrast with Ron ‘was  turning  paler.  “You  believe  all  the  rubbish  he’s  come  out  with  about You-Know-Who, do you, you reckon he’s telling the truth?” “Yeah, I do!” said Ron angrily. “Then you’re mad too,” said Seamus in disgust. “Yeah?  Well  unfortunately  for  you,  pal,  I’m  also  a  prefect!”  said  Ron,  jabbing  himself  in  the  chest  with  a  finger.  “So  unless  you  want  detention, watch your mouth!”

The essayist: Note how Ron’s first reaction is to side with Harry.

The commenter: Not surprising because of the best friends thing (some might argue) but I say it's not surprising considering how Hermione and Ron were treating Harry like a ticking time bomb. Survival!

...

“Hello, Harry!” It was Cho Chang and what was more, she was on her own again. This was most unusual: Cho was almost always surrounded by a gang of giggling girls; Harry remembered the agony of trying to get her by herself to ask her to the Yule Ball. “Hi,” said Harry, feeling his face grow hot. At least you’re not covered  in Stinksap this time, he told himself. Cho seemed to be thinking along the same lines. “You got that stuff off, then?” “Yeah,”  said  Harry,  trying  to  grin  as  though  the  memory  of  their  last meeting was funny as opposed to mortifying. “So did you . . . er . . . have a good summer?” The moment he had said this he wished he hadn’t: Cedric had been Cho’s boyfriend and the memory of his death must have affected her holiday  almost  as  badly  as  it  had  affected  Harry’s.  .  . Something  seemed  to  tauten  in  her  face,  but  she  said,  “Oh,  it  was  all  right,  you  know. . .” “Is  that  a  Tornados  badge?”  Ron  demanded  suddenly,  pointing  at  the front of Cho’s robes, to which a sky-blue badge emblazoned with a double gold T was pinned. “You don’t support them, do you?” “Yeah, I do,” said Cho. “Have  you  always  supported  them,  or  just  since  they  started  winning the league?” said Ron, in what Harry considered an unnecessarily accusatory tone of voice. “I’ve supported them since I was six,” said Cho coolly. “Anyway . . . see you, Harry.” She  walked  away.  Hermione  waited  until  Cho  was  halfway  across  the courtyard before rounding on Ron. “You are so tactless!”

The essayist: So Harry meets Cho, makes a complete faux pas and reminds her of her dead boyfriend. Ron quickly steers the conversation away onto something more happy, i.e., Quidditch, before Cho can get too upset. Nevertheless, Ron is apparently the insensitive jerk around here, not Harry.

[If this reminds you of something, then yes, I absolutely took what the essayist was saying and elaborated on it. I confess, I am a dirty thief.]

...

“Well, I suppose he could’ve played better,” Harry muttered, “but it was only the first training session, like you said. . .” Neither Harry nor Ron seemed to make much headway with their homework  that  night.  Harry  knew  Ron  was  too  preoccupied  with  how  badly  he  had  performed  at  Quidditch  practice  and  he  himself  was having difficulty in getting the chant of “Gryffindor are losers” out of his head. [...] And so they worked on while the sky outside the windows became steadily darker; slowly, the crowd in the common room began to thin again.   At   half-past   eleven,   Hermione   wandered   over   to   them,   yawning. “Nearly done?” “No,” said Ron shortly. “Jupiter’s  biggest  moon  is  Ganymede,  not  Callisto,”  she  said,  pointing over Ron’s shoulder at a line in his Astronomy essay, “and it’s Io that’s got the volcanos.” “Thanks,” snarled Ron, scratching out the offending sentences.

The essayist: So Ron’s getting basic facts wrong in his essays.

The commenter: This is going to look so contrived, but I genuinely believe it, and maybe after these reviews, your standards for contrived have dropped enough for me to pass the bar :3 But... he's not putting in any effort. His ego can't take another beating at the moment (even punching bags have limits). Imagine it- after the Quidditch humiliation with his friend the Star Athlete (when he really was trying) he tries to distract himself by doing school work 1. which he isn't very good at anyway, 2. with the Star Athlete of Academics/Slytherin Spectator Crowd best friend Hermione there 3. with Hermione there to set it right anyway (it sounds as if Hermione isn’t so much correcting their essays as writing them herself). If he tries his best at this and then fails at that, Ron probably would start to consider suicide. It's self-preservation at this point to put in zero effort. This kind of fail is literally "I'm not trying because I have given up."

...

She  wrenched  her  bag  open;  Harry  thought  she  was  about  to  put  her books away, but instead she pulled out two misshapen woolly objects,  placed  them  carefully  on  a  table  by  the  fireplace,  covered  them  with  a  few  screwed-up  bits  of  parchment  and  a  broken  quill,  and  stood back to admire the effect. “What  in  the  name  of  Merlin  are  you  doing?”  said  Ron,  watching  her as though fearful for her sanity. “They’re  hats  for  house-elves,”  she  said  briskly,  now  stuffing  her  books  back  into  her  bag.  “I  did  them  over  the  summer.  I’m  a  really  slow  knitter  without  magic,  but  now  I’m  back  at  school  I  should  be  able to make lots more.” “You’re leaving out hats for the house-elves?” said Ron slowly. “And you’re covering them up with rubbish first?” “Yes,” said Hermione defiantly, swinging her bag onto her back. “That’s not on,” said Ron angrily. “You’re trying to trick them into picking  up  the  hats.  You’re  setting  them  free  when  they  might  not  want to be free.” “Of  course  they  want  to  be  free!”  said  Hermione  at  once,  though  her face was turning pink. “Don’t you dare touch those hats, Ron!” She left. Ron waited until she had disappeared through the door to the girls’ dormitories, then cleared the rubbish off the woolly hats. They  should  at  least  see  what  they’re  picking  up,”  he  said  firmly.  “Anyway  .  .  .”  He  rolled  up  the  parchment  on  which  he  had  written  the title of Snape’s essay. “There’s no point trying to finish this now, I can’t  do  it  without  Hermione,  I  haven’t  got  a  clue  what  you’re  supposed to do with moonstones, have you?”

The essayist: This doesn’t seem like a particularly open-minded and enquiring position to take, although I suppose that Hermione’s open-mindedness has always been something of an informed attribute.

The commenter: This trope among fans has got me riled up beyond belief because they use the "Hermione's word is gospel" thing to make unfair assumptions about other characters: Ron's "emotional range of a teaspoon" thing comes to mind, and right after that, Lavender supposedly being silly about believing Trelawney about her dead pet (Hermione never considered that maybe the thing Lavender was dreading was bad news from home or bad news about her pet). Regarding house elves: This is one case where the fans ought to have seen that Hermione was being very thoughtless as far as strategy. Ron has lived all his life up until this point thinking that there was no problem with house elves and she literally expects to be able to just tell him "it's wrong" and he's supposed to change instantly? Talk about your cultural insensitivity. In this case, maybe Ron knows better than you do, Hermione? You didn't even know about house elves until you were at least twelve (but more likely, she didn't know until this year). She must understand the concept of "he doesn't know it's wrong". That was how she defended Crookshanks when he was chasing Scabbers. ... Hey, Hermione thinks Ron's smarter than her cat. That's something, I guess.

...

The commenter: Competition is seriously the worst thing in the world for Ron. He's got wa-a-ay too much baggage. Do well so they'll love you. Do well so they'll notice you. If they notice you, you'll get praised. And tormented by Fred and George. Then if you fuck up, you'll have let everyone down. My brothers never let anyone down. That's the standard. Oh God, I can't live up to that. Which do I want to chose- being ignored or scorned? I could do well. Then I'll be good enough to be called "just like them"! JFC, when's it ever going to be "Good like Ron"? Chess. Literally everyone else has one thing they shine in, even Neville with his Botany and Dean with his art (and... and I'm going to ignore the fact that Hermione and Luna are the only two I can think of with non-appearance based special stuff... someone please help me out? I guess Tonks' doesn't really count as a shallow one because it makes her a master of disguise...)

...

HALF-BLOOD PRINCE

...

Ron gagged on a large piece of kipper. Hermione spared him one look of disdain before turning back to Harry.

The essayist: “Hermione spared [Ron] one look of disdain before turning back to Harry” pretty much sums up her relationships within the trio. It’s no wonder Ron’s so insecure and keeps worrying that she really fancies Harry.

...

“And you’ve been through all that persecution from the Ministry when they were trying to make out you were unstable and a liar. You can still see the marks on the back of your hand where that evil woman made you write with your own blood, but you stuck to your story anyway...”  “You  can  still  see  where  those  brains  got  hold  of  me  in  the  Ministry,  look,”  said  Ron,  shaking  back his sleeves.  “And  it  doesn’t  hurt  that  you’ve  grown  about  a  foot  over  the  summer  either,”  Hermione  finished, ignoring Ron.  “I’m tall,” said Ron inconsequentially.

The essayist: Ron’s so adorably pathetic here, the way he’s obviously feeling inferior to Harry and being ignored by his so-called friends. *hugs Ron*

...

When they left the Gryffindor table five minutes later to head down to the Quidditch pitch, they passed  Lavender  Brown  and  Parvati  Patil.  Remembering  what  Hermione  had  said  about  the  Patil  twins’  parents  wanting  them  to  leave  Hogwarts,  Harry  was  unsurprised  to  see  that  the  two  best  friends were whispering together, looking distressed. What did surprise him was that when Ron drew level with them, Parvati suddenly nudged Lavender, who looked around and gave Ron a wide smile. Ron blinked at her, then returned the smile uncertainly. His walk instantly became something more like a strut. Harry resisted the temptation to laugh, remembering that Ron had refrained from doing so  after  Malfoy  had  broken  Harry’s  nose;  Hermione,  however,  looked  cold  and  distant  all  the  way  down  to  the  stadium  through  the  cool,  misty  drizzle,  and  departed  to  find  a  place  in  the  stands  without wishing Ron good luck. 

The essayist: Hermione keeps belittling Ron and doing him down, and reacts quite strongly when he even so much hints at losing interest in her and showing attention to another woman. Can we say “abusive relationship”, anybody?

...

“Harry! Ginny!” Hermione was hurrying toward them, very pink-faced and wearing a cloak, hat, and gloves. “I got back a couple of hours ago, I've just been down to visit Hagrid and Buck--I mean Witherwings,” she said breathlessly. “Did you have a good Christmas?” “Yeah,” said Ron at once, “pretty eventful, Rufus Scrim—” “I've got something for you, Harry,” said Hermione, neither looking at Ron nor giving any sign that she had heard him. “Oh, hang on--password. Abstinence.”

The essayist: Wow, Hermione’s just being so childish here, ignoring Ron when he’s talking directly to her. Incidentally, Ron’s speaking to her like a normal friend, it’s Hermione who’s doing the blanking. Still, I’m sure this argument is all Ron’s fault for daring to go out with another girl. Hermione is totally blameless.

[Just in case: the essayist is being sarcastic, they’re pointing out the double standard of the HP fandom blaming Hermione’s immature behaviour on Ron.]

...

DEATHLY HALLOWS

...

“I think you’re right,” she told him. “It’s just a morality tale, it’s obvious which gift is best, which one you’d choose—” The three of them spoke at the same time; Hermione said, “the Cloak,” Ron said, “the wand,” and Harry said, “the stone.” They looked at each other, half surprised, half amused. “You’re supposed to say the Cloak,” Ron told Hermione, “but you wouldn’t need to be invisible if you had the wand. An unbeatable wand, Hermione, come on!” “We’ve already got an Invisibility Cloak,” said Harry. “And it’s helped us rather a lot, in case you hadn’t noticed!” said Hermione. “Whereas the wand would be bound to attract trouble—” “Only if you shouted about it,” argued Ron. “Only if you were prat enough to go dancing around, waving it over your head, and singing, ‘I’ve got an unbeatable wand, come and have a go if you think you’re good enough.’ As long as you kept your trap shut—” “Yes, but could you keep your trap shut?” said Hermione, looking skeptical. “You know, the only true thing he said to us was that there have been stories about extra-powerful wands for hundreds of years.” “There have?” asked Harry. Hermione looked exasperated: the expression was so endearingly familiar that Harry and Ron grinned at each other.

The commenter (?): Actually, I thought that Ron was proving the errors in the story. Because he’s right. The eldest brother didn’t die because the Elder Wand had corrupted him (like the One Ring). He died because he was an idiot. He died because he randomly decided to start blabbing about his new toy.

“You talk about wands like they’ve got feelings,” said Harry, “like they canthink for themselves.” “The wand chooses the wizard,” said Ollivander. “That much has always been clear to those of us who have studied wandlore.” “A person can still use a wand that hasn’t chosen them, though?” asked Harry. “Oh yes, if you are any wizard at all you will be able to channel your magic through almost any instrument. The best results, however, must always come where there is the strongest affinity between wizard and wand. These connections are complex. An initial attraction, and then a mutual quest for experience, the wand learning from the wizard, the wizard from the wand.”

The essayist: Harry’s wand has to think for and protect him because he’s too stupid and incompetent to think for and protect himself! Ollivander’s the expert, and he just admitted it. He said any halfway decent wizard can perform magic with almost any wand. The reason Harry could only work with the holly wand is because of the phoenix feather core it shares with Voldemort’s wand. That is, it wasn’t Harry doing the magic with Harry’s wand! It was the Voldemort soul piece! Once Harry was forced to use wands that didn’t have that core, the soul piece couldn’t do the work for Harry any more. He was forced to rely on his own magical powers and competence, which are clearly minimal. This is proven by his inability to do effective magic with any other wand. It’s also proven by an incident from Philosopher’s Stone. Remember when Harry was being chased by bullies and inexplicably found himself on top of the shed roof? That was the soul piece allowing him to fly like Voldy. Lily could slow her descent from a height, as if she had an invisible parachute, but that is not the same as flying, and we have no evidence she could fly. Only Voldemort and Snape fly without assistance! The evidence is overwhelming that I am right. How many spells can Harry do effectively? Expelliarmus, Expecto Patronum, Protego--that’s it. Even as a young adult, he is incapable of doing the basic healing or cleaning spells a young child should have down pat before going to Hogwarts. Of course, we’re told the Patronus spell is difficult and advanced, but who told us that? Remus Lupin, friend of Harry’s father, sycophant, and notorious liar, particularly when it comes to flattering Harry. Recall Lupin also said Snape didn’t like James because Snape was envious of Potter Sr.’s Quidditch prowess, and we know that was a lie. Given this evidence, anything Lupin says that cannot be confirmed by an independent source, especially regarding the Potters, should be dismissed out of hand. True, Hermione has trouble with the Patronus spell, and she’s super-competent. Doesn’t that prove it’s a very difficult spell? Not at all. To take an example from a different field, Beethoven was a virtuoso organist, the greatest pianist of his day, one of the greatest pianists in history, and probably the greatest improvisational musician ever. But he was only a decent violinist. Everybody has areas of weakness, no matter how good they are overall. In addition, Hermione is very gullible where authority figures are concerned. If a teacher tells her, “The Patronus is a very difficult, advanced spell that many people can’t ever master,” she’ll believe that, which may create a self-fulfilling prophecy. A couple of years ago, another DTCL member and I facetiously suggested Harry was less intelligent than his wand. We didn’t know we were right. It rarely happens, but this is an occasion when I would have preferred to be wrong.

...

If only there was a way of getting a better wand... And desire for the Elder Wand, the Deathstick, unbeatable, invincible, swal-lowed him once more... They packed up the tent next morning and moved on through a dreary shower of rain. The downpour pursued them to the coast, where they pitched the tent that night, and persisted through the whole week, through sodden landscapes that Harry found bleak and depressing. He could think only of the Deathly Hallows. It was as though a flame had been lit inside him that nothing, not Hermione’s flat disbelief nor Ron’s persistent doubts, could extinguish. And yet the fiercer the longing for the Hallows burned inside him, the less joyful it made him. He blamed Ron and Hermione: Their determined indifference was as bad as the relentless rain for dampening his spirits, but neither could erode his certainty, which remained absolute. Harry’s belief in and longing for the Hallows consumed him so much that he felt isolated from the other two and their obsession with the Horcruxes. [...] As the weeks crept on, Harry could not help but notice, even through his new self-absorption, that Ron seemed to be taking charge. Perhaps because he was determined to make up for having walked out on them, perhaps because Harry’s descent into listlessness galvanized his dormant leadership qualities, Ron was the one now encouraging and exhorting the other two into action. [...] But not until March did luck favor Ron at last.

The essayist: MARCH! That’s right, ladies and gentlemen. The first fifteen pages of this chapter cover three months, and during that entire time, Harry Potter does nothing, nothing, but sit on his ass fantasizing about the Elder Wand and trying to connect with his Voldie-soul mate. Oh, wait. He also tries to open the snitch so he can get the stone out of it. (Nothing gay about that, either.) I wish he’d succeed in that, too. Maybe he’d swallow the stone, and it would end up in his scrotum. He sure needs something that works down there. Harry doesn’t have the right to bail out on his society like this. He can’t have it both ways. He can’t have the adulation that goes with being Mr. Boy-Who-Lived-Chosen-One-Wizarding-World-Savior and abdicate the responsibilities that go along with those titles and that adulation. Look at what happens in this chapter: Harry becomes obsessed with finding and uniting the Hallows, so much so that he withdraws from his friends, bails out on the job his idol Dumbledore gave him, and spends all his time brooding and trying to connect with the Dull Lord. In other words, he acts clinically depressed. Ron and Hermione were exposed to the same information Harry was, but they didn’t become obsessed/depressed. Ron was mildly interested in the Super-Wand, but not enough to distract him from the Horcrux hunt. Hermione dismissed the whole DH story as nonsense and continued following Dumbestbore’s orders. So why weren’t they tempted?

...

The essayist: Harry opens the locket using Parseltongue--interesting that this never occurred to him before now--and two ghostly figures emerge. They’re Voldie-versions of Harry and Hermione, and they articulate Ron’s worst fears: “Least loved, always, by the mother who craved a daughter...Least loved, now, by the girl who prefers your friend...Second best, always, eternally overshadowed...” I’ll say it again: When you’re right, you’re right. The evidence is overwhelming that Molly Weasley treated Ron the worst of all her children. And if Rowling doesn’t want us to ship HP/HG, she needs to quit throwing them together and making them leaders, with Ron either in the background or absent entirely. JKR obviously wants us to automatically dismiss certain statements just because they’re made by “bad guys” such as Voldemort and Rita Skeeter. There are two problems with this: (1) The “lies” make perfect sense, far more sense than what we’re supposed to believe. (2) Even pathological liars sometimes tell the truth, typically when it won’t hurt their own interests to do so. For those of us who live in what cartoonist Garry Trudeau calls “the reality-based community,” the evidence is what matters, not what we’re told by authority figures. Those of us in the higher stages of spiritual development are funny that way.

...

The essayist: Well, whose fault is that, Ms. Rowling? You’re the one who’s spent the last four books making Ron dumber and dumber, depriving him of any meaningful activity, while you shoved Harry and Hermione into increasingly dominant roles.

The commenter: Are we supposed to look down on Ron now so that we can condemn him for leaving Harry and Hermione? Because if so, then that’s just unfair. Every time Ron tries to come up with an idea, Hermione criticizes him or shoots him down. And the twins have done a fine job of intimidating Ron into remaining mediocre and modest so that he doesn’t remind them of Percy, so what is he supposed to do? How is he supposed to come up with ideas when he’s surrounded by people who basically tell him to shut up and sit down?

The essayist: Just then, Hermione comes out of the tent with cups of tea, with tears running down her face and looking terrified her “friend” is going to curse her with her own wand.

The commenter: So, Hermione will snarl at Ron all day long, but cower in fear when Harry gets mad. Is she projecting herself onto Harry and assuming that just because *she’s* quick to hex people who anger her (Ron, Marietta, etc.), Harry will do the same to her?

The essayist: The evidence is overwhelming that Molly Weasley treated Ron the worst of all her children.

The commenter: And blatantly showed favoritism to Harry while snarling at Ron in the same breath. Of course, Horcrux!Tom doesn’t bring that up, because JKR would have to admit that there might be something wrong with Molly favoring Harry the way she does. The essayist: Hermione acts so crazy Harry has to put a protection charm between her and Ron.

The commenter: Yeah…sorry, it’s not “slapstick” anymore when somebody actually has to stop her from hitting Ron. When Harry feels that the situation is dangerous enough that his intervention is necessary. That’s not funny. That’s a true-crime episode. What gets me is that Hermione's tantrum lasts for days. It goes on for several pages into the next chapter. She doesn't start acting normal again until she comes up with the idea of visiting Xeno Lovegood. The essayist: Hermione tells Ron she still hasn’t ruled out attacking him with birds again.

The commenter: *flatly* So, all of the fans who cooed about how “great” it was for Hermione to show “girl power” by sending Ron to the hospital wing in HBP or breezily dismissed the scene as just tired teenage melodrama? Can put a sock in it. Hermione has clearly learned nothing, JKR clearly feels that that scene was funny, and at no point are we supposed to think that Hermione is an abuser. Even though, if the genders were reversed, fans would be calling for Ron’s head on a platter if he dared lay a finger on Hermione. No. This isn’t funny. This isn’t charming. Hermione hurt Ron so badly in HBP that he had to go to the hospital wing. And she tried to repeat the damage she caused here. Is she going to attack him with birds again after they get married? Is she going to do it in front of their children? Will it be “cute” and “funny” then? No, if a man is an abusive monster for losing his temper and trying to hurt his girlfriend, then Hermione is an abusive monster for losing her temper and trying to hurt her boyfriend. Not only did Hermione land Ron in the infirmary with the first attack, but she wants to do it again at a time when they are on the run. She will NOT be able to take an injured Ron to Hogwarts infirmary, nor to St. Mungos. In other words - she intends for him to remain injured and stick with them while camping, or else he must apparate away while injured, risking another splinching so he could be healed.

...

The essayist: Ron and Harry go back to the tent, and Harry fades into the background so as not to interfere with the lovers’ reunion. That’s a mistake. After Harry wakes Hermione, she shows her delight at Ron’s return by--attacking him? She punches him over a dozen times while yelling at him and screaming for her wand from Harry. Remember last chapter, when I talked about how immature Hermione is? Here’s your proof.

[The essayist quotes an article that I haven’t been able to find, but paraphrased: it speaks of a father who came to pick up his 4 y/o daughter from daycare, a little later than usual, and the daughter reacted by punching and hitting her father, upset at his being late. Additional read:  “The parents must know that physical aggression is a common yet natural problem faced by toddlers.”]

The essayist: So there you have it: Hermione Granger, know-it-all supergirl, is so immature she acts like a preschool child when the boyfriend she’s been missing finally returns. I’m not suggesting she has a father-daughter relationship with Ron; this kind of anger is found in other relationships, too. What I am saying is that her way of expressing her anger is appropriate for a very young child. While adults may certainly feel this kind of anger and desire to hit when reunited with a loved one under similar circumstances, they don’t act it out. That restraint is what separates adults from children. Hermione acts so crazy Harry has to put a protection charm between her and Ron. I frankly found her behavior so out of control as to suggest mental instability. She engages in two full pages of histrionics before throwing herself into a chair, sitting so tensely I’m surprised the circulation isn’t cut off to her arms and legs. She remains in a bratty snit until the end of the chapter, which is another six pages.  Hermione is still pouting the next morning. I’m wondering if her real problem is not that Ron left, but that she didn’t. Is she angry at him because he had the guts to admit they were blowing it and take a time out, while she just kept trailing along after Harry like a lost house elf? I think she’s definitely mad because she’s always controlled Ron and their relationship. How dare he assert his independence of her! Who does he think he is? Her equal? In an AU, maybe. This is called the Potterverse after all, not the Ronverse.  Hermione’s having a bad month. First Ron runs out on them; then she saves Harry’s life, but he’s an ungrateful jerk about it; then Harry asserts his independence; then Ron comes back but doesn’t grovel sufficiently for her taste. All this mistreatment is going to give her the idea she’s just a normal character and not an Author’s Darling.   While Ron was gone, he was captured by bad guys called Snatchers, who are bounty hunters for Voldemort. In getting away, he got a spare wand, which he gives to Harry. Of course, it doesn’t work as well as Harry’s “real” wand, so Harry’s still in a snit about that, and with Hermione in a snit, too, they’re a cheerful bunch. Honestly, I don’t know why Ron puts up with these two. The Hs are so spoiled and self-centered, they deserve each other, but I don’t think this is what HP/HG shippers mean when they proclaim the two as an OTP. Sane, normal Ron doesn’t deserve either one of them. Run, Ron! Run while you still can!

...

The essayist: As an interesting aside, ròn is the Celtic word for seal. In Druid lore, seals represent love, longing, and dilemma. No more appropriate totem animal could be imagined for this boy whose sense of selfhood is undermined by his longing for love from a rejecting mother and inadequate father, and who, like the selchie wives of folklore, is faced with the impossible choice of being who he truly is and being rejected, or denying the best part of himself to gain love. Ron’s intelligence and independence threaten his insecure wife (and best friend), just as the selchie’s identity as a seal-woman threatens her human husband; Ron imprisons himself by hiding who he is so the Hs can feel smart and in charge, just as the selchie’s human husband imprisons his wife by hiding her sealskin in a trunk.

[wonda-cat]

Some Thoughts on Tommy’s most recent stream (4/29)

(For the record, this isn’t going to be like my other formal analyses. I’m genuinely just ranting here, possibly unedited too. I’m only referring to the characters, unless stated otherwise.

Also obvious warning, this will be fairly negative/critical of the DSMP’s writing, so scroll past if that might bother you. I tend to criticize the media I love, so this is just par for the course in my case.)

Let’s start off with—

The Things I Liked

All of the comedy at the beginning of the stream was wonderful. Ghostbur was incredibly endearing and entertaining as usual, as well as the moments between bench trio. Tommy’s change of plans made sense and the entire journey through the prison was tense and fun to watch. As well as the moment Tommy got caught (it was inevitable.) 

It goes without stating, but cc!Wilbur and cc!Tommy’s acting was wonderful—they knocked it out of the park. I liked the little moments of Tommy calming Ghostbur down as Sam screamed at him. I also loved Wilbur's speech about his time in the afterlife when bench trio found him. 

As well as the moment with Wilbur admiring the sky and calling it ‘his sunrise.’ I’m also glad that the afterlife was explained to be caused by the Revival Book’s existence and not some general eternal torture every character will be sentenced to regardless of anything they did in life. 

But, sadly, that’s about where I stop and have to go into what I didn’t like as much, which is—

Everything Else

I’ll be talking about my major gripes with this particular stream in later bullet points down the line, but for now I’ll bring up the little things that annoyed me. This is all basically nit-picking and isn’t as awful or badly written as some of the others I’ll be discussing later. 

First off, Why is Ranboo There? In the stream before this one, Tommy had Tubbo promise to not tell anyone else about their plan. Did he just decide to tell Ranboo anyway? Why? What was the point of asking him to keep it secret if it didn’t matter? 

Adding to this, Tubbo and Ranboo were rather unnecessary for any of the other scenes that took place. They didn’t have any meaningful conversations with Tommy besides Ranboo asking why he was dreading Wilbur’s revival so much, as well as Wilbur’s comments to Tubbo about him being president. But other than that they have little to no notable speaking lines. 

They don’t Do Anything? Sure, they’re nice to have present so Tommy can vent to someone else and find comfort but, in the end, Ranboo was oddly angry and accusatory with Tommy and Tubbo was practically absent from the scene. The impression I got from Tommy and Tubbo’s conversation in the previous stream implied that Tubbo would be serving a larger role as a distraction, but I guess they changed gears or something? 

Then we have Ghostbur’s involvement, which, yeah, makes sense. Tommy, Tubbo, and Ranboo are not allowed inside the prison, so it’s best to find someone else who can get in without suspicion. But my first assumption, upon seeing Ghostbur with the group was, “Oh, he’s gonna go in there and Dream’s gonna use him to revive Wilbur. That’s the only reason why Ghostbur is here and not anyone else, who would also be willing to kill Dream. It’s not like they’re in short supply right now.”

And I ended up being right, which only frustrated me more. I wanted something unexpected. Something new. Something interesting. Yet, I got the most predictable outcome instead—Tommy fails, Wilbur is revived. 

Next, we have another big serving of ‘Tommy gets blamed for things he has no control over’ part 241. I am so, so sick of characters getting unreasonably mad at and blaming Tommy for anything and everything. It’s not new, it’s not interesting, it’s not fun. It’s just miserable. 

It is,, awful. And it’s highkey frustrating. I refuse to sit through another arc of Tommy being endlessly hurt and blamed for stuff he didn’t do or cannot control. Pick a new event in the plot. 

Try something out of left field. Do something, anything different to this. I’m begging you. 

Now, we get into the major writing pitfalls and shortcomings. Starting with—

We Need to Talk About Sam

I have no idea what is going on with Sam’s character right now. It is so genuinely confusing. I have no clue why Sam reacted the way he did to Tommy because it just doesn’t make any sense. Sam’s entire inner conflict is about him trying to cultivate and protect his humanity and morality while upkeeping a strict, closed-off demeanor.

He follows the rules, even if it hurts the people he loves. Even if these codes force him into a position to be unethical. He feels it is his responsibility should anything go wrong or if Dream escapes, because it puts others in danger.

His strict approach got Tommy killed, and it also took a life and an arm from Ponk. Both of these people are precious to him. So why on earth would he threaten to kill Tommy when, in their last interaction, he was glad he was alive—after he promised to never let something like that happen again?

He respected Tommy’s wishes to stay away from him, and rather politely too. Why would he then threaten to kill him just after weeks of saying Tommy’s death was his biggest regret? That’s not even touching on Sam saying, “This is why I let you die,” as well as blaming Tommy for something that was directly a result of his own refusal to act.

Why didn’t he have Ghostbur also hitch a ride on the same platform with Tommy? Why did he even let Ghostbur into the prison in the first place if he:

A.) Told Ranboo he wasn’t going to let anyone in there after what happened to Tommy.

B.) Also wouldn’t let people in lest they find out about Quackity’s plan.

C.) Couldn’t even kill Ghostbur because he’s incorporeal and thus cannot fully upkeep the contracts he is signing.

There’s also the issue of Sam breaking the rules he abides by when he decided to not kill Tommy after he snuck into the prison, despite it being in the contract. Why is it different now? He went against his own protocol but was also following it by refusing to let Ghostbur come back to the other platform?

Why does Sam refuse to listen to Tommy? Their argument is mind-numbingly ridiculous. Sam refuses to hurt Dream, despite him only being alive because Sam claimed Tommy wanted him alive.

But now Tommy is there, begging Sam to let him kill Dream, and Sam just goes, “No. We’re not killing Dream.” Fucking why??? Sam! You said you wanted to kill Dream at least four times by now! Maybe more!

You were on your way to do it with Quackity and the only thing that stopped you was your promise to Tommy. But now Tommy’s here, telling you to kill Dream and you fucking won’t???? I am absolutely baffled.

No matter how you spin it, it makes no fucking sense. However, if I tried,,, I could possibly come up with a reason or two. Maybe Dream is blackmailing him. Maybe Quackity is forcing him to keep Dream alive until he can get the info he needs (even though,,, why would he trust Quackity over Tommy, who he’s outwardly stated he trusts just as much, if not more?)

It feels like these plots are dancing around each other, trying to keep up this faux sense of conflict that doesn’t exist. But, here’s the thing, contrived conflict is never compelling. I can’t overstate it enough.

Dream’s Plan is Complete Nonsense

The method to revive Wilbur makes Dream seem even more short-sighted than I remember commenting on, during the stream where Tommy was brought back to life. He told Tommy that his plan was to test the book to see if it worked (which, okay fine, I can buy this.) But then he says all along he was planning to revive Wilbur in order to break out of prison, which is ???? This is baffling if he needed Ghostbur in order to pull this off. 

Which,,, I can’t even begin to explain how ridiculous it is that Dream’s entire plan hitched on not only the book working on people to begin with (which he tested on Tommy,,, for some reason, even though he would’ve lost his ‘favorite toy’ if he fucked it up. Which,, why even take that chance in the first place? there are other visitors he could’ve tried this with, surely. Like Sapnap and Bad,,) and it also relied on Ghostbur voluntarily going into the prison just to visit Dream?? And if he didn’t need Ghostbur after all, then why didn’t he bring Wilbur back weeks ago? 

That’s not even getting into the issue of Dream assuming that Wilbur, once brought back, would: 

A.) Want to be alive in the first place.

B.) Actually be willing to help Dream, instead of telling him to fuck off.

C.) Be even slightly capable of helping him at all when he has no allies, no PVP skill, no weapons, no armor, and no knowledge of the prison or its innerworkings. 

Why are the current DSMP writers so committed to making me think Dream is a fucking idiot? I don’t enjoy this. I used to like his character and think he was smart. Stop. 

ALSO, why did Tommy or Tubbo or Ranboo not think of the possibility that Ghostbur could very well be necessary to revive Wilbur? Why did that not cross any of their minds? It was the first thing I thought of when I saw him.

Another big thing that irks me is Tommy and Sam saying they saw Dream physically holding the Revival Book, which,,, how? Why? Dream said in previous streams that he burned the book and that was entirely the thing that kept him from being killed outright. If there was a book still in existence, did he hide it somehow? 

How did Quackity not find it? Why did Sam not take it from him when he was first arrested?? What? 

Also how the fuck did Dream kill a ghost?? They’re incorporeal? How does he not need the body to perform necromancy? That seems almost redundant. 

Also it took a matter of seconds to perform? It took,,, ?? nothing but words and sheer willpower to bring someone back to life? Why does it seem so easy? My mans just,, uses his vibes to bring people back from the dead??? 

Unless the book has instructions regarding that or has a proportional price in order to use, then I’d be more forgiving. But I’m guessing it doesn’t have too steep a cost if Dream could offer Tommy immortality despite that. But I’m sure we’ll get more information on this once Quackity (inevitably) gets his hands on the book. Hopefully… 

Which brings me to my last point—

Wilbur’s Revival (Derogatory)

Since the Revival Book was introduced, I have been actively dreading Wilbur being revived. It is the most predictable, low-hanging fruit of a plotline I could possibly conceive of. I understand that he’s a fan-favorite with a large audience (I love Wilbur more than you’d expect. cc!Wilbur is actually the reason I got into the DSMP in the first place), but there are other characters who could be developed more—utilized more. 

Unpopular opinion, I know, but I am just so incredibly unenthused about this plot development. In fact, I’d almost go so far as to say hate it. 

The Revival Book in and of itself is my least favorite thing the DSMP has ever introduced. It is a lack of consequences simplified. It’s also a lack of commitment to those mortal consequences. 

It is a ‘get out of jail free’ card for when they kill off a character and don’t want to deal with the hole that character will leave behind. Or a way to work around the reason they shouldn’t kill Dream on the spot. 

With Wilbur back again, I no longer feel compelled by his arc the way I used to. There is nothing to really leave a lasting impact anymore. Of course, there was a cater where L’Manburg once stood, but that was dug even deeper later on. You can’t make the death of a friend, of a loved one, worse than it is. It is death. 

The thing I found extremely interesting about Wilbur’s death is the way the other characters portrayed loss. It has consistently been the thing that was most comforting to me, oddly enough. When people die, there will always be loose ends. 

There will be holes left behind and things left unsaid. An unfulfilled promise. A forgotten relationship. A hollow memory.

What I always found compelling was the way Tommy and Fundy and Niki took this mutual loss and had to live with it. How they had to come to terms with the fact that Wilbur was gone and he wasn’t coming back. That they had to make peace with his memory, his legacy, and their connection to him. 

That they’d miss him and love him or hate him and try to forget him. It is a tragedy that someone like Wilbur wanted to die for so long, and in the end, he did. Because in reality, the people you love will die. 

There may be someone in your life that leaves you behind and all you’re left with is the broken pieces. And it is how these characters move on that brings me bittersweet company as someone who’s lost a lot of people. There is nothing more irritating than a story going back on its establishments—to have their cake and eat it too. 

All I want is the bare minimum—a story with narrative stakes and consequences.

The only way I could ever see myself enjoying this plot development is if Wilbur has a redemption arc and attempts to make amends with Tommy, Fundy, Niki, and Eret. OR if he aids in Dream’s downfall in some way and enjoys the simple realities of life and wants to live for the sake of living. I’d find that at least new and somewhat interesting. 

But if he’s just here to be a moustache toiling villain (or somehow worse than after his previous downward spiral), when the market is already so deeply oversaturated with antagonists, then I will probably drop the series altogether. 

Hopefully it doesn’t come to that because I love the Dream SMP and I want to keep loving it for as long as I can. 

I will hold onto more reasons to stay, so long as they keep giving them to me.

[solactier]

This one’s for you @heytherestilinski

This is going to be quite the mixture of emotions, so I apologise in advance if my expression of said feelings is all over the place, but I simply must talk about the golden fanfiction that is Heat Waves and how it has swayed my soul with sounds of sweet bells.

To start, I should say, I’ve been in love with writing and reading for as long as I can remember. The ability to weave an entire world with mere threads of words is fascinating to me, always has been. I’ve taken in quite the number of books and fanfictions throughout my period of living, and considering so, I can confidently say:

Dakota’s writing is a force to be reckoned with.

But the force I speak of is the kind that is emitted from ember sunrises that one witnesses during moments between summer and autumn. They hold a certain glow that keeps a person sat there, for incessant hours, in pursuit of a special warmth that will leave them settled and content.

I have never been captured and pulled in by a descriptive style more than I was with Dakota’s, and I say this having read a multitude of her work. This author is admirable in a multitude of ways, and I’m genuinely excited for anything and everything they will produce in the upcoming future. 

I could ramble for a good bout of time about many of Dakota’s works, but that would result in a document longer than Dream’s 19 page rebuttal, so let’s focus on one (for now).

Heat Waves

Two words that hold a grand amount of weight and cause hearts to shift.

I have a lot to say about this prosperous and glorious story, but at the same time I don’t because upon finishing a chapter, be it one of the first or the last, I am rendered speechless. My words of explanation and admiration morph into vibrations of zeal flowing through my veins as I absorb beautiful descriptions and powerful dialogue.

Heat Waves chapters aren’t ones I find myself totally rereading often, and here’s why:

When reaching the end of whatever chapter and scrolling through the final notes, I am left satisfied, completely. Dakota’s style is captivating in a way that allows me to read their sentences and phrases carefully and attentively, making sure the picture painted in my mind is as accurate as possible. I will encounter a certain, strong line and read it again, and again, and again before continuing on as to ensure I consume the sentiment being served, and mind you, it was served.

I came here at first expecting the usual or normal plate-size of feelings, but oh was I wrong, I was quenched, fully fed, if you will lol.

The reason for that is this narrative is not your typical fanfic troupe.

Heat Waves is a story about messy, unpredictable love, and that’s what makes it as enthralling as it is. It is poetic as it is real.

It’s thrilling lust turned to excruciating yet oh so warm love.

Dream misses and wants to hold onto George’s presence regardless of the pain it causes him, of the internal conflicts that have suddenly surfaced, of the changes he must face and make, of the haunting dreams. 

Even if George’s actuality distresses and brings Dream affectionate confusion, he will still reach for him. He will hurt and hurt and hurt in order to grasp the heat he’s grown a little too addicted to because he prefers when George is around, rather than when he isn’t. 

Dream’s mind spirals and his feelings scatter over interactions due to him knowing George very well, yet not knowing him at all. The two could flirt and exchange the most ridiculous of dialogue and nothing would change, and that’s where a certain dilemma is contrived: How much of this is real? What is considered serious among the numerous jokes him and George make? How far is he allowed to go? All of these questions tug at the curves of Dream’s brain and heart, and he is unsure about much, but despite that, he finds himself thinking all about George, during late nights, in the middle of June. 

Dream undergoes a series of emotional disputes over whatever the fuck is happening between himself and George, and that, my friends, is the heartache that comes from truly having feelings for someone and wanting their every speckle. Of course, such strong desires can sometimes be unhealthy. Dream, at one point, is a bad friend to Sapnap (whom we all must agree to stan because damn sir your back must be hurting from carrying your two idiot friends’ passionate but disordered baggage. a king) by ignoring his calls and messages due to being caught up, tied, and trapped in the strings of yearning. This one guy is doing so much damage to Dream, but he’s fallen too far down the pit of affection to care, in fact, he luxuriates in it.

(I also honestly do not blame Dream for playing the song on loop, because same, really does make you feel things)

Dream loves George. He loves George so much that the simplest of phrases and statements set his nerves ablaze and sparks his soul with hope.

It’s so painful but so fucking invigorating.

Which is why, at one point or another, he must learn to let go, not completely, but enough to stop the analysing and obsessing and sweating and dreaming, and that’s what’s so enticing about this tale, that among the reaching, there must be patience in order to reach something stable. Dream has been going insane for far too long, pouring his heart out to the one he so desires, but with such want comes uncertainty and surprises. Who the hell would’ve thought George had feelings for Dream for a good while before reeling himself in, only for his emotions to be stimulated with affection all too unexpectedly.

and who would’ve foreseen the slap of pure angst that were chapters 9 and 10, George’s hopeful rejection.

We read the two flirt, smile and laugh until their chests ached, connect, talk and call for hours, send fucking snapchats to eachother, telling sentimental stories, and much more.

All for Dream to crumble, piece by piece, until he is on the floor and crying over missing a chance he’s been so desperately trying to take. After what felt like a blooming relationship, Dream is seen breaking.

Because George wasn’t ready.

Because George was hit by a sudden wave of emotion that is so confusing and overwhelming and what the fuck Dream.

Yet, not all has been lost. The blazing fire of yearning may have been rained on, but it has not gone out.

Because it’s not a no, it’s a not yet.

And I cannot tell you the power such a statement holds. It was such a simple phrase, yet it shook my core as it delivers something raw, something hopeful, something to look forward to and have you inhaling a breath of longing because embers are still sparking and maybe, maybe, that chance isn’t completely out of Dream’s reach.

He just has to work on listening, bettering himself, healing and reaching a point of self-contentment. A point where he knows: he’s right for George, he’s enough for George. And the same goes for the latter.

Everything is so messy and destructive and confusing, yet they still reach.

And that, that, is such a raw form of love that it left my chest tight. They both want to be the best for eachother. They want to work and try for eachother despite the pain it may bring. They wait, and with their patience comes progression, which slowly but surely, will turn into comfort.

And to have the ability to articulate and describe such a journey is insane in every sense of the world. This story takes your collection of emotions and rattles it, making you feel so much at once that when ending a reading session, you release a satisfactory breath.

It didn’t end with attained love, or accepting confessions, or a romantic moment during the visit, or promises of kisses, or whatever cliche closing you could think of.

It ended with two friends saying “see you soon”

And that was perfect.

Perfect enough leave me, the reader, content and in awe. Because this is a slow and difficult love, one that will simply need time, as time is what will heal.

I couldn’t have asked for a better ending. Dakota is truly an inspiration.

Thank you, for creating and sharing such a masterpiece of a story, and having your readers go through the entire spectrum of emotions.

I cannot wait for Helium.

:)

[infinitelytheheartexpands]

My Personal Opinions on Some French Grand Opéras

Here we go. I’ll be focusing solely on pieces in what’s widely considered the “Golden Age” of grand opéra (from 1828 to about 1870).

1828, Auber: La muette de Portici: never seen or heard so I cannot comment, but I do think it slaps that it helped start both the Belgian Revolution and the genre of grand opéra.

1829, Rossini: Guillaume Tell: I love this one. it’s one of the few grand opéras that has a happy ending and it’s fully deserved. it’s long but it all has a point-- the first act introduces us to the community spirit that drives the rest of the action; even though it’s called Guillaume Tell, it’s not just about Guillaume Tell. it’s about a whole movement coming together, with all these vividly-drawn people of different social statuses, ages, heritages, and livelihoods coming together to do good in the world in the face of oppression. also it’s Rossini so it bops start to finish. the finale is one of opera’s best. I could not have higher praise and admiration for this piece.

1831, Meyerbeer: Robert le diable: another rare case of a grand opéra with a happy ending, but it feels a bit more contrived, something I wrote about when I watched it about a year ago for the first time. it’s quite a clever ending, however, and I love that these lovely characters get a happy ending. Robert is the least interesting principal character both musically and dramatically; the musical highlights of the show are mostly Bertram and Isabelle’s big scenes. the former is also arguably grand opéra’s most exciting ballet sequence, the Act III ballet of the nuns (or as I like to call it, the Zombie Nun Ballet). it’s long but it is incredibly worth it. overall, I really do enjoy this opera although it is very much an uneven piece.

1833, Auber: Gustave III, ou le bal masqué: here’s a thing I wrote about it like 3 months ago and I stand by every word.

1835, Halévy: La juive: It’s damn near impossible to find an even remotely close to complete recording. However, what the recordings have is excellent. The score is marvelous all the way through, although for the most part I tend to prefer the ensembles to the arias (the exception, of course, being Éléazar’s 11 o’clock number). Speaking of Éléazar, he’s an extremely complicated and frankly uncomfortable character, toeing the line between being one of opera’s most complex characters, an even more complicated proto-gender-swapped-Azucena if you will, and being an unfortunate vessel of antisemitic stereotypes. This is made even more complicated because Halévy was an assimilated Jewish composer. On the whole, Rachel is the only wholly sympathetic character in the piece, although all five of the principals are lovingly scored. 

1836, Meyerbeer: Les Huguenots: *holds things in because otherwise I would write an entire essay about this opera and you all know that because I have done that several times* Both a great strength and a great weakness of this piece is its sheer wide-ranging-ness, particularly in terms of mood. Unlike, say, La juive, this opera does not have one overall mood, instead steadily progressing from bright, brilliant comedy to one of the most horrifying endings in opera. Dramatically, this is great for the most part, although the sheer amount of exposition in the first two acts may take getting used to. Just as the drama gets more intense and concentrated as the opera goes on, the music gets more intense- and frankly, more often than not better- as the opera goes on. The window/misunderstood engagement business is something I still struggle to see the exact dramatic purpose of, because I think the question of religious difference would likely be enough to separate Raoul and Valentine at the beginning anyway; to me, it feels like Scribe and Deschamps were struggling to find a way to integrate Nevers into the story, as he is crucial to the opera’s lessons about love and tolerance, so they stuck in a quasi-love-triangle in order to justify his presence earlier on. (Also, for goodness sake, could you at least have given him an onstage death scene?) Anyway, in this way the story can be a bit unwieldy and uneven at first, but stay the course with this one...and even a lot of the first couple of acts are wonderful. The characters are all wonderfully written if rather episodic in many cases, but this opera is ambitious and by the end, it’ll tear your heart to shreds. It’s amazing. Uneven, yes, but amazing nonetheless, and I will defend it to the death.

1840, Donizetti: La favorite: I’m not as familiar with La favorite as with some of the others on this list (I’ve seen two different productions once each and I have a recording of it saved to my Spotify library that I listen to bits and pieces of very occasionally) but I do think it’s an excellent piece overall. LÉONOR DESERVED SO MUCH BETTER. The music is lovely all around; I know Donizetti wrote at least one other grand opéra in full and part of another, both of which I need to check out because in its own way, Donizetti’s style works wonderfully with grand opéra.

1841: Halévy, La reine de Chypre: here is a post I wrote about La reine de Chypre. basically all my thoughts remain the same except I have to add: Halévy as a whole just needs more love. there’s a few other of his operas I have waiting (a recording of Le dilettante d’Avignon that has been sitting in my Spotify for who knows how long and a film of Clari with Bartoli and Osborn I’m also sitting on) but there are so many pieces that sound fascinating but have basically ZILCH in terms of recordings.

1849, Meyerbeer: Le prophète: before I say anything else about this opera, I need to ask a burning question: WHY THE HELL IS THERE ONLY ONE GOOD VIDEO RECORDING OF THIS OPERA?!?! on the one hand, I adore the Osborn/Aldrich/Fomina production; on the other, I would also like other productions, please. anyway, I said one time in the opera Discord that while Les Huguenots will probably always be my favorite Meyerbeer opera for an array of reasons, this one is definitely Meyerbeer, Scribe, and Deschamps’ strongest work. it is both unusually dark and unusually believable for an opera of its time—and the fact that it still holds up so well is disturbing to say the least. this opera thrives on complexity in all forms and yet has probably (and paradoxically) the simplest plot to follow of the four Meyerbeer grand opéras. the score is brilliant start to finish, mixing the best of bel canto, Romanticism, and something altogether darker, stranger, and more original. definitely one of the most underrated operas ever. the aforementioned production is on YouTube with French subtitles; give it a watch here.

1855, Verdi: Les vêpres siciliennes: Vêpres is an opera I love dearly although I have yet to find a production that is completely satisfying. I think it’s because this opera is a lot deeper, a lot more complex, and a lot more troubling, frankly, than people are willing to go. also it should be performed bilingually and I am dead-set on this: the dissonance of an opera about French capture of Italian land being sung entirely in either French or Italian is always a little off at least (and also part of the reason why my brain probably adjusted to hearing this opera in either language better than, say, Don Carlos). but anyway, neither side comes off particularly well here, particularly due to the violence and sexual assault on both sides of the equation: both Montfort and Procida are heavily in the wrong, and while Verdi sympathizes with both for personal reasons (Verdian Dad in the former case, Italian Liberator in the latter), there is a lot of troubling stuff in here. nevertheless, the music bops, the story is intriguing, and I think we can all agree that Henri and Hélène both deserved better, especially considering how close they got to bliss (although I think we can also all agree that the end of Act IV twist to almost-rom-com is pretty abrupt).

1863 (full opera: 1890), Berlioz: Les Troyens: I wrote this review of Troyens after watching it in the Châtelet 2003 production in December 2019 (first time ever watching it) and I still stand by just about every word. Such a fascinating opera, great adaptation of the first few books of the Aeneid, marvelous score (of course, it’s Berlioz!)...but could there be a ballet or two fewer, Berlioz? Or at least shorten them up? And that’s coming from someone who likes ballet. But anyway, in every other respect it’s absolutely marvelous. Some people say it’s the greatest French opera ever, and while I hesitate to say that, it comes pretty damn near close.

1865, Meyerbeer: L’Africaine (Vasco de Gama): Vasco da Gama/L’Africaine is even more troubling—much more troubling—of an opera than Vêpres to me and I wrote a whole thing here as to why. I still stand by most of it, although upon reflection, I feel like the ending that drove me so crazy has virtually the exact same idea behind it as the end of Troyens/Book IV of the Aeneid: empire has consequences and those consequences hurt real people, who, though different and not among those perceived as “heroic”, are worthy of being treated as human, not being collateral damage. (I’ve written at least two essays about this for different classes, both specifically in regards to the Aeneid.) It may be time to revisit this one. The score is lovely, after all, although it didn’t stand out to me as much as others by Meyerbeer.

1867, Verdi: Don Carlos: *holds myself back from writing a 10-page essay* y’all, there is a reason that when someone asks me what my favorite opera is, I always choose this one even though I’m horrible at favorites questions. it’s Verdi, grand opéra, romantic drama (SO MUCH romantic drama and SO MUCH gay), political drama, religious/social struggle, personal struggle, social commentary, spectacle, intimacy, masterful characterization all in one. what more could you want? I first saw/heard this opera in Italian long before I did in French, so my brain is more hardwired to hearing the Italian but both are good. my motto is “Italian or French, I don’t care, but Fontainebleau has to be there.” fuck the four-act version. I mean, I will watch four-act versions but five-act versions are just superior. I’d prefer uncut performances (the first part of the garden, the Lacrimosa, the extended opening and ending), but these aren’t dealbreakers for me. it’s the perfect synthesis of Verdi and grand opéra, much less unwieldy than Vêpres (as much I love that one), both musically and dramatically.

1868, Thomas: Hamlet: Part of me wishes this was more faithful to the actual source play (why??? the??? fuck??? does??? Hamlet??? live??? although there are alternate endings), but part of me also realizes that the play is already four hours long as is and singing it plus ballet would make it WAY too fucking long. This does a pretty respectable job. The music is gorgeous, by turns almost sugary-sweet and thrillingly ominous. The Murder of Gonzago scene is an absolute masterpiece. The Mad Scene is justifiably one of opera’s best (although I’m not sure it was a good idea to have that and a frequently-cut 20-minute ballet with no relation whatsoever to the main plot to make up all of Act IV). There are a lot of bops in this one. The four principals are closely followed and still very well-drawn. Both of the stagings I have seen were excellent. An underrated opera.

1869 (grand opéra version), Gounod: Faust: Another of my absolute favorite operas. Since this existed for a decade before its transformation into the grand opéra we all know and love, I won’t comment much about its actual format and adherence to grand opéra tropes aside from saying the Walpurgisnacht ballet is one of grand opéra’s best and extremely good at giving off Vibes TM. I used to hate how the character of Faust was written and thought he was incredibly boring. Not anymore (although of course, I still hate him as a person. fuck him tbh). This opera has a reputation for being saccharine and old-fashioned and I think that’s a bunch of garbage right there. It’s about the search for eternal youth and the expectations of conforming to social values and people’s struggles with themselves when a) they “fall short” and b) when the world ostracizes them for being “different” and “out of line”. I am also firmly convinced that Marguerite is the real protagonist of Faust (like how I’m convinced that Valentine is the protagonist of Les Huguenots if there even is a singular protagonist in that opera but I digress). The music slaps. People need to stop cutting whole scenes out of this. I’m still undecided on the order of the church and square scenes of Act IV. Marguerite and Siébel just need everything good in this world.

Anyway, those are my two cents! I tried to keep these pretty short, so if y’all want any follow-ups, let me know!

[minervacasterly]

Protestant Inquisition

“.. the sad irony all throughout the Protestant Reformation is the fact that once the previously persecuted reformers gained enough power, they in turn were ready to actively persecute others. The Calvinists, likewise, were not at all opposed to dishing out punishment to those whose beliefs they disagreed with ... Miguel [Servetus] was a doctor by trade but had gotten himself into controversy by questioning the trinity, claiming that the notion was not blibical and had been completely contrived. He wrote a book that expounded upon his belief called Restitutio, which was published in 1553. Since most Protestants then believed in the trinity, Miguel managed to anger both trinity-believing Catholics and trinity-believing Protestants in just about equal measure. Consequently, Miguel became a fugitive and was on the run when he decided to pass through Geneva, Switzerland. It was here that Miguel -now an infamous figure- was acosted by the Protestants. He was subsequently tried in Geneva for heresy, and on October 27, 1553, he was found guilty and sentenced to be burned at the stake. Calvin, who had previously expressed his extremem revulsion to Miguel's beliefs, tried to intervene on his behalf and lessen the severiy of his execution by requesting  he be decapitated instead of being burned alive. But even his courtesy was not allowed, and Miguel was burned at the stake as planned. Even though Calvin was the one showing some restraint, miguel’s death was later blamed on him. And, while some came to view Miguel as a martyr, they also began to see Calvin as a tyrant.  At the theological level, another opponent to Calvin was French thinker Sebastian Castellio, to whom all the talk about predestination, free will, angels, and the like was pointless when all that truly mattered was faith in Christ. Sebastian Castellio argued that doctrine was imprecise, people were imperfect, and we would never be able to understand everything correctly. Having that said, Castellio contended that believers shouldn’t worry so much about the correct interpretation of Scripture but simply believe the best they can, just as the “tax collectors and prostitutes” did in the New Testament. Castellio also came to the wise conclusion that there was no point in punishing heresy since no one could agree on just what might be heretical. As Sebastian Castellio put it, “There is hardly one of all the sects, which today are without number, which does not hold the others to be heretics. So that if in one city or region you are esteemed a true believer, in the next you will be esteemed a heretic. So that if anyone today wants to live, he must have as many faiths and religions as there are cities or sects, just as a man who travels through the lands has to change his money from day to day.” Castellio, an astute and shrewd observer of what was happening around him, could see how ridiculous it was that an interpretation of Scripture that was esteemed in one city could just as easily earn one the death penalty in another. This was obviously not a sustainable model for human religious practice. Castellio had come to believe that a more general human decency was better than a zealous striving toward doctrinal correctness. In this regard, Castellio declared, “It would be better to let a hundred, even a thousand heretics live than to put a decent man to death under the pretense of herecy.” Sebastian Castellio was in many ways ahead of his time with his advanced humanistic views. But as much as such statements might seem reasonable to most of us today, they provoked quite a bit of wrath in his own time. Swiss Protestants were enraged by his words -irked at the notion that he would seek to diminish biblical truth. One Swiss reformer, Theodore de Beze, even went so far as to charge that Sebatian Castellio “advises everyone to believe whatever he wants, opening the door by this means to all heresies and false doctrines.” As hard as it is for us to fathom today, many hardline Catholics and Protestants both held to their beliefs so strongly that they were willing to both die and killfor them if need be. Calvin himself was not swayed by such arguments for religious tolerance, and in 1554 wrote up a treatise on the trinity, in which -among other things- he argued that the execution of heretics such as Miguel Servetus was completely justifiable. He continued to consolidate his power over the next few years, and in June 1559, he established a Bible college in which his beliefs could be routinely taught in their most precise form. It was from these Calvinist missionaries that John Calvin would export his brand of the Reformation abroad.”

- THE REFORMATION: CAPTIVATING GUIDE

[alexmitas]

Why I’m Just Like Crime & Punishment’s Raskolnikov and so Are You: A Brief Analysis of Dostoevsky’s Most Famous Novel

Just last night I finished Dostoevsky’s Crime and Punishment. After mulling it over for a day (likely not nearly long enough to have substantiated a complete analysis, but with my memory I risk forgetting things if I move on to another book before writing about one that I’ve just finished), I’ve decided to get some of my thoughts down. Firstly, I will say that I am struck. While I’m clearly neither the first nor last person to be amazed by this novel, a work as significant as this one still deserves its praise where it’s due. People will often preface praise based on their interpretation of a creative endeavor by stating that its imperfection is obvious, even though that it’s also the best-est or their favorite, or one of the best-est or their favorite creative works that they have ever encountered, or something of the sort. I won’t be so bold to as to make that statement. That’s because, without a doubt, this was a perfect novel. After all, if something is so close to approaching a spade, by all reasonable measures, and only becomes better and better, and more and more like a spade, with age, then why not call it a spade?

Since the beginning I had a certain kind of resonance with Raskolnikov, the novel’s main character. But just as you can’t fully judge a story unless you consider it as a single, coherent piece (that is, until you have read from beginning to end), so too did I not understand the reason for my resonance with Raskolnikov until I finished reading his full tale. He’s young, he’s handsome, he’s intelligent: check, check, check; these things all apply to me, at least to some minor degree - that much was obvious from the very beginning - but while this superficial resonance was my first impression upon dining, it paled in comparison to the impression I had after the final bite of desert; to say nothing of the pleasant after dinner conversation among friends, the latter of which, of course, I use as a metaphor for the epilogue[1]. Every flaw I see in Raskolnikov, I also see in myself; for every action he takes, I can imagine a world in which I could be drawn down a path that would lead me to make the very same decisions, and to take the very same actions. I don’t know what could possibly be a better model than that for a main character.

Perhaps Raskolnikov’s biggest flaw is his overinflated ego, which is hardly out of the ordinary for someone his age, and isn’t entirely unjustified - as I said, he has three of the most promising traits one could hope for: intelligence, youth, and good-looks – but which does, in his case, lead him down an ideological rabbit hole of naivete, a hole which he creates for himself by dropping out of school, refusing work when it’s offered to him, and letting his resentment for the world grow as he lives off of a handful of meager sums sent to him by his mother and sister as a debt ridden fool in a poor Russian city during the eighteen-hundreds. This ideological thinking, which we shall not confuse with illogical thinking, for it is very much logical, brings Raskolnikov to the thought that, yes, it would in fact be a good idea to murder and rob the wealthy old pawnbroker whom is commonly considered amongst his peers as a mean-ol’ crone, holder of many a promissory note, rumored to have left her wealth to the building of a statue in her image through her will, rather than to her own children, whilst also being a generally unsightly and disagreeable woman, and, having done this, could aim to put her money to a more just cause, perhaps distributing it to others, or perhaps using it to further his own career which he would certainly payback in the form of greater value to society later on. And it isn’t such a crazy sounding idea, is it? After all, what is but one crime if the outcome provides a much greater net good? I’ve known many people, including myself, who’ve had thoughts not so unlike this one, and I suspect you are no different, dear reader. So having rationalized this to himself, Raskolnikov goes through with it, and thereby provides us a story of his Crime, which occupies only about one-fifth of the length of the novel, and his Punishment, which nearly occupies the novel’s entirety; with these proportions themselves giving us an idea of the many-fold burden of consequences for actions, as well as foreshadowing what is to come. And this rationalization runs deep. It isn’t until later, that we learn of truer reasons for Raskolnikov’s action, beginning with the discovery of an article he was able to have published while still enrolled in school, and ending with a true confession of his deepest motives to Sonya, to be discussed later.

This article that he wrote sometime before the crime, “On Crime,” reveals deeper rationale for his decision to commit the murder: and that is that he does it as a way to become something more than he is; to break down the cultural and religious structures around him, and more than that to supersede them; to rise above his fellow man as a type of “superman” or Napoleon, as he puts it, becoming someone who is able to “step over” the line which divides who is ordinary and who is great, a line that’s substance consists of rules for the hoi polloi only; ultimately inferring this idea – which, from what I understand was prevalent in Russia during the mid 1800’s – that the best way to view the world is through the lens of nihilism, which employs utilitarianism – the tenet which proposes that actions should be considered just insofar as they help the greatest number of people overall, and where acts of evil may be balanced properly, without the need for consequence, in the face of equal or greater acts of righteousness, especially if that person can prove themselves of some sort of higher value – as a central axiom. Pulling back to a macroscopic view of the novel, this sense that Dostoevsky had to instill within his characters arguments for what at the time was – and still in some sense very well are – contemporary issues, and eternal ideological and philosophical battlegrounds, rather than thrusting his own opinions through the narrator, is something I found to be brilliant and endearing, not only for the sake of keeping the author’s own bias more subdued than would otherwise be the case, but also just as a means to see what happens; to let the characters in the story have the fight, leaving both author and reader alike to extrapolate what hypotheses or conclusions they may as a consequence. In this regard, other characters – including Raskolnikov’s friend, Razumikhin, and state magistrate, Porfiry Petrovich – have the chance to debate with the nihilistic ideology of Raskolnikov after interacting with “On Crime.” This provides depth to contemporary discourse, without reeking of contrivance, and also allows us to see Raskolnikov argue for himself also, even though what he, ‘himself’, stands for is ultimately not clear; not for the reader but also seemingly not for Raskolnikov, as even after deciding to commit the crime, Raskolnikov’s opinion on whether or not it was a just event osculates frequently throughout the novel. It is this osculation, in fact, which constitutes most of Raskolnikov’s early punishment and suffering, as even though it appears as if Raskolnikov has managed to get away with the crime in the domain of the broader world[2], his conscious will not allow such an event to be swept under the rug, or even allow Raskolnikov to continue to live his life unhindered by spiritual corruption, mental destabilization, or physical trauma – all three of which plague him constantly both during his initial contemplations and later fulfillment of the crime. Ultimately, these ideological battles and inward rationalizations do not provide Raskolnikov with the accurate prognostication needed to foretell the outcome of his own state of being after committing such an act; and thereby lies Raskolnikov’s fatal flaw, derived from his arrogance and naivete, where he is left blinded by an ideology which never fulfills its promise of return. Oh, but if only he had a predilection for listening to the great prognosticator within him, his conscious, which, despite his waking thoughts, was calling out to him in the form of dreams.

In what is one of several dream sequences observed by characters in the novel, Raskolnikov dreams himself a young spectator, holding the hand of his father, as the two of them watch a group of misfit boys pile into a carriage. The carriage master, no more than a youthful fool, whips a single mare solely responsible for pulling the carriage. Overburdened and unable to do more than struggle forward at a pathetic pace, the mare whimpers and suffers visibly as the cruel and drunken carriage master orders it to trudge on, whipping it forcefully, all the while calling for any and everyone around the town to pile into the carriage. Laughing and screaming hysterically, the carriage master turns brutal task master when he begins to beat the mare repeatedly after with much effort the beast finally collapses to the ground in exhaustion. Horrifically, a handful of other people from the crowd and the carriage find their own whips and join in on the beating of the poor mare until it finally dies. Young Raskolnikov, having witnessed this event in its entirety, rushes to the mare after its brutal death, kisses it, then turns to the carriage master brandishing his fists before he is stopped by his father. This is the reader’s first warning of the brutality to come, and had Raskolnikov payed heed to what his conscious was trying to communicate to him in his dream, he may have noticed, as we as readers do, that the reaction the young Raskolnikov had to the barbaric murder of the mare very much predicted what Raskolnikov’s ultimate reaction to his then theoretical crime would be – regret; and, therefore, repentance. A second dream of Raskolnikov’s, which very much enforces this idea, pits Raskolnikov in the act of once again murdering Alyona, except this time, when he strikes her atop the head with the same axe, she simply brandishes a smile and laughs uncontrollably instead of falling over dead. This all but confirms Raskolnikov’s suspicions to himself, as his subconscious relays his foolish inadequacy, as a man who thought that he could elevate himself above others by “stepping over” the moral boundaries all of his societal peers abide by (and for good reason). Again, through this tendency that he has to stubbornly ignore his conscious, I find Raskolnikov eminently relatable, to some degree, and it is no wonder: it is a rare individual who finds obeying their conscious to be anything but onerous (then again, perhaps this is only most common in individuals who are still relatively young and naïve, a trait which I share with Raskolnikov, but one in which you may not, dear reader; but I digress). Of course, just because a task is onerous, does not mean that it is impossible. The characters which have been placed around Raskolnikov, and specifically the ones which serve as foils to his character, provide examples of contrast with individuals who at the very least are able to combat the compelling desire that we all have to ignore our consciouses. The three most blatant examples of foils for Raskolnikov are his sister, Dunya, his best friend, Razumikhin, and his eventual wife, Sonya Marmeladov.

The first example of this contrast apparent to the reader is in the character Razumikhin. Razumikhin is also a student living within the same city as Raskolnikov. Unlike Raskolnikov, however, he has not bailed out of university for financial necessity nor wanton of a grand ideological narrative. There is also no reason to believe he has more financial support than Raskolnikov, as he also appears to be poor with no hint of endowment, instead supporting himself through the meager-paying work of translating for a small publisher. And while Razumikhin is even more naïve than Raskolnikov – having never once suspected Raskolnikov of so much as a dash of malevolence – he lacks the same venomous arrogance, whilst showing no signs of lower intelligence. Dunya, Raskolnikov’s sister, provides another example of similar contrast. This is because, as his sister, and, again, with no reason to believe that she is any more or less intelligent or attractive than her brother, Dunya comes from the same upbringing, whilst holds no apparent resentment towards the world around her. Even when she is given the choice to harm someone else – when she finds herself on the side of a gun pointing at a man who has locked her inside of a room against her will (arguably giving her a modicum of a reason to kill another, depending on one’s own stance on morality) – she is unable to do it, instead casting her tool with which to do so aside and letting fate take care of the rest[3]. Lastly, and this may be the most apparent example, presenting what may be Raskolnikov’s true foil, we have dearest Sonya, stepdaughter of the Marmeladovs. Sonya, who in the face of two useless parents, takes it upon herself to prostitute herself so that her family, including three young siblings, may eat, makes Raskolnikov look privileged and morally woeful in comparison. Recognizing this himself, Raskolnikov does his best to look out for Sonya, in what is perhaps his most genuine form of empathy. Despite this – or perhaps, in fact, in spite of this; for early on Raskolnikov identifies Sonya as the sole individual whom may be able to help him redeem himself – Raskolnikov obsessively pushes Sonya to read a verse from the bible involving the story of Lazarus, as a redemption for himself, but also for Sonya, projecting as he does his misdeeds unto her and equating his murderous acts with her soiling of her sexuality for the sake of providing for her family. The story of Lazarus is a story which promises resurrection of the individual as Jesus Christ resurrected Lazarus from the dead. In this way, Raskolnikov probes, a part of him reaching out ever fervently for the means of the rebirth of his soul, despite his hitherto forthright determination to escape his guilt and conviction, looking for proof of Sonya’s moral purity, which he already suspects, despite his accusations, to which she responds by admitting herself a sinner, asking God for forgiveness, and later by bestowing upon Raskolnikov one of her two precious necklace and crosses. And it is in a kindred vein to these three examples of contrast in which the final contrast is made in small part by every character in the novel; for in some sense this novel represents the journey of one man as he isolates himself from a community he loathes to subordinate himself to; of a man who wishes to supersede his place in the world and become a “superman”; of a man who places his individual ideology above the morality of his peers; and it is in this way that the ordinary character, subservient to religion, provides contrast for the atheist who mocks them, not with critique, but with arrogance.

…

…And that ought to be enough for now.

TLDR: 10/10 would recommend.

Thanks for reading,

- Alex      

[1] The epilogue, from what I’ve observed from others’ critiques, seems to be controversial in that some believe the novel stands alone better without it. It is not until the epilogue – well into the sentence of punishment by the state for his crimes – that Raskolnikov finally gives up his idea that, essentially, ‘the only thing he did wrong was improperly rob the old lady and to then fall emotionally and mentally apart afterwards’; where, too, he finally gives up his last bit of arrogance and outward loathing for the world and his circumstances, and accepts responsibility for his actions, likely brought on by the outwardly visible sacrifices made by his then wife, Sonya, who he looks to for repentance. However, critics argue that without the epilogue, we would simply be left to assume on our own that Raskolnikov finally gave in to repentance when the novel ended with his confession, and that that would be preferable to what is otherwise a heavy-handed ending, condensed as it is compared to the rest of the novel. This would make sense and likely be fitting enough of an ending. However, in defense of the epilogue, without it, a reader’s main takeaway from the story might be only, ‘do not underestimate how much opposing your conscious will degenerate your soul,’ while with the epilogue, the takeaway is more likely to also include something along the lines of, ‘beware denigrating religion and the multitude of cultures which it has produced, for without the ability to hold yourself accountable for your own deeds and also to be redeemed, there is nothing standing between you and self-destruction and misery, to say nothing of the destruction and misery of those around you,’ which of course is realized by the death of Raskolnikov’s mother as well as the sickening of himself and his wife, as a consequence of his refusal to actually accept his punishment and repent even after his confession (which without acceptance of responsibility is still only a selfish act), outlined in the two chapters proceeding the end of the novel. So if I’d had the genius necessary to write this story, I’d also have looked to include an epilogue to ensure that the totality of my characters’ lessons would also be realized by the reader, for whatever that’s worth.  

[2] While Raskolnikov does seem to commit the crime of murder and robbery without getting caught, this does not mean that things go according to plan; in fact, far from it: while Raskolnikov manages to murder Alyona, he very poorly robs her – leaving behind a large bundle of cash she had under her bed, which he missed due to his state of unanticipated frenzy. He also ends up killing Alyona’s younger sister, Lizaveta, when she arrives immediately following the murder, in an act of pure self-perseverance, which just goes to show: when you take the fate of the world into your own hands, when you ‘step over’ the boundaries that your culture (or God; whichever) has deemed should not be crossed – when you arrogantly and naively take the fabric and truth of the universe into your own hands – you do not know what it is you are doing; you do not know what the consequences of your actions will be. It isn’t made clear the degree to which the killing of Lizaveta changed the outcome for Raskolnikov’s soul. Perhaps committing one crime constitutes the same moral weight as committing two crimes simultaneously, but also perhaps it was everything; the one factor unaccounted for which destroyed his evaluation of just outcomes and, having done so, his resolve.

[3] Here is a specific instance in which Dostoevsky’s propensity to pit ideas against each other in the form of characters playing out their practicalities in a real-world context comes to bear. This specific battle, represented by the juxtaposition of the aforementioned scene with Raskolnikov’s murdering of the two women, pits morality against ideology, while leaving a clear winner: for it is one which leads to the eradication of two lives and the degradation of more than one soul, and it is another which leads to the absolution of a dangerous conflict. These two specifically – morality and ideology – clash frequently during the novel’s entirety, with morality often taking its microcosmic form of religion.

[andmaybegayer]

Last Monday of the Week: 2021-03-01

First Monday of the Month. My boss just quit at work which means I'm now the only formally trained engineer left who has any particular specialization in embedded systems. This week is going to be a doozy.

I also wrote a Very Long set of media updates because I’ve been consuming some stuff that makes me think a lot. Never a good sign.

Listening: I spent all of Saturday playing Minecraft after talking with some friends about it during the week on IRC. Practicing what I preach with regards to my Large Biome Supermacy policy, which does involve a lot of walking. Hence, I started catching up on The Adventure Zone: Graduation again, I'm like ten episodes behind.

https://maximumfun.org/episodes/adventure-zone/the-adventure-zone-graduation-ep-32-by-a-haircut/

I don't really enjoy Travis' DM'ing style. It's very loose and he has a tendency to let players run wild without much structure which is a tricky thing to handle. He does a lot of worldbuilding and character design but doesn't seem to plan much in the way of arcs. That pays off sometimes (returning to the school to realize they broke a promise they made a few sessions earlier and had to deal with consequences, for example) and when it does, it’s really good, but it's finnicky. I know DM's who can do that, but, well, actually I know One Single DM who can do that well and she's absurdly smart.

Reading: Still on Worm, I just got past chapter 8 or so now. It lives in my phone browser so I've mostly been reading it whenever I get some spare time, which is a good sign. If a book doesn't grab me I need to really settle down in a quiet space to avoid getting distracted, but I can read Worm while someone else is on the phone in the same room.

It is a story with a lot of very well-conveyed feelings and events. It's very easy to imagine yourself in it. Characters actually act like they care about what they're doing, I feel like writing this took a lot of care to keep everyone on model.

There's also a certain care given to the superpowers that you'd usually only see in forum posts arguing about an actual superhero story. Everyone always likes to argue about how far you can push a superpower: can you use teleporting to fly? What prevents a speedster from catching fire in the air? Where does the energy for a  pyrokinetic ability come from? Worm takes these and runs with them as a way to make absolutely any fight become a series of gambits relying on whether a power can or cannot be used to perform some high-stakes trick.

The world certainly has some underpinning contrivances to explain why no one gets killed very often but I've always considered nitpicking the base contrivances of a setting silly, because that's precisely what they are: contrived, in order to allow the rest of the story to flow from there. Like arguing about Omega’s abilities in the famous thought experi-*I am dragged off stage by the ratblr police for making a by now extremely stale joke*

Watching: I came and edited this section in like an hour before this posts because I keep on forgetting to put it in. I don’t really like watching TV and with my parents stuck at home in Pandemic Times it’s how they pass the time.

I did finish S3 of the Good Place. It’s very funny. I’m glad I’m watching it and I’m going to have to go find S4 because ZA Netflix doesn’t have it for whatever reason. It feels a little like it was written by Phillip Pullman if Phillip Pullman was a comedy TV writer.

I also really enjoyed the PBS Spacetime video about how time causes gravity. Love when an explanation of concepts is good enough that you drawn the conclusion on your own.

Playing: Visual Novel Hell plus Minecraft.

I spent approximately seven hours in Minecraft over two days. I tend to hop in and out of games for 1-2 hours at a time but there's a handful that can suck me in for an entire day. Minecraft, Warframe, Horizon Zero Dawn, Night in the Woods. Bastion, to a lesser extent. I end up avoiding them because I don't like loosing entire days, but I wasn't really planning on doing anything this weekend anyways.

Minecraft was mostly a long-ass trek to find a saddle, because as previously mentioned, I enjoy playing it with Large Biomes for the sense of scale.

I also completed Act 3 of Psycholonials and Eliza.

Psycholonials is odd. It is doing the thing that Hussie does where it dances around what's ostensibly the story to carry out the actual story. You get used to the trope after your first encounter but it still makes you wonder when the other shoe will drop, and of course, there's no reason it ever has to. The story may remain in suspended animation behind the every growing mess of narrative red tape tying the B-plot together.

Stories about Social Media have no well established norms. I think I might pick up Feed by M. T. Anderson and also perhaps Hank Green's books sometime. See what context they set that in.

Eliza is frustrating to me. It's a game for programmers, by programmers, about programmers. I'm friends with a lot of Capital P Programmers, the types who go to university and get sniped for developer positions at Seattle or Silicon Valley tech companies and who make great and terrible things and then warn you about the deep problems that underpin the slowly rolling ball of venture capital and bloated technology that is the tech industry. But at the same time, it makes me feel like I've burnt out on that conceptually before I even went in. It’s a whole other world that I’m familiar with but very distant from. In fact, that’s kinda how I feel about Psycholonials too. I’m familiar with the social media rat race but I also don’t go there. Parallels!

My cousins (who are halfway to Capital P Programmers, only so much you can do halfway around the world from silicon valley) warned me not to go into CS, because it would bore me, and that's a non-trivial part of why I'm in Engineering. They gave the same advice about Biology and Physics, without that I may have ended up in Microbiology. it’s not my domain, but because of how Engineering is going, you end up a lot closer to programmers than you think. I found out the other day that most of the software developers on my team have no formal tertiary qualifications, which is accepted in CS but of course, right out when it comes to engineering. It’s a whole other world that I kinda expected to skip around. I might go into this another time, since this post is already getting long.

Making: I haven’t done any engineering scicomm posts on here in a while so I started a few blank drafts and finally got one off the ground. With some luck I’ll have that ready this week. What’s it about? Not saying! It might change!

I’ve been doing layout for a custom keyboard, I need to call a laser cutting place and find out what their kerf requirements are so I can adjust the path accordingly. Wouldn’t do to burn a couple hundred rand on an oversized part, I’m paying for this, not my employer like the other times I’ve done laser cutting, so I’m probably not going to spring for getting one of their designers to check my design. At some point I should CAD up a chassis, but at the same time I might just buy some wood and go ham with a router once I get the plates cut.

Computers Slot: I got WeeChat set up properly on my desktop, which technically was just a matter of getting my SSH keys moved over. It’s taking me forever to move in to Cinnabar, in part because Stibnite lost her boot partition and I haven’t bothered to fix it.

So here’s a pitch for WeeChat as a good quality Terminal UI IRC Client. Many of my closest friends live there and it has a good set of tools to help me keep in touch.

WeeChat is very configurable but with perfectly sane defaults, I didn’t configure it for years. The UI is smarter and less arcane than something like irssi, and if you enable mouse support it can be downright modern. Running it remotely like this limits some features but as long as you don’t mind jumping through a few hoops to do filesharing, IRC is really great like this.

One of the big ones is the ability to do that double-pane thing, I can keep an eye on two channels at once (really as many as I can cram on my screen, but usually two) which is great when you want to browse channels while talking in your home channel.

It also has a good array of remote access tools, from what I’m running up there, just weechat running on my server inside tmux connected over mosh for low-latency SSH, to weechat-relay, a relay protocol built in to weechat. At the moment relay only supports android phones and the glowingbear web client, but I’ve never really looked around since both of those cover all my needs. Easily one of the best ways to get IRC on a modern mobile device, barring maybe IRCCloud.

[a-crimson-lion]

My Thoughts On Chapter 257 and Why I Think The Bakudeku Dynamic Is Still Fundamentally Broken

[Spoilers and Bakugo-Bashing ahead. Long post. Avoid if you don't want to see.]

Look, I can kind of see why people enjoy the idea of Izuku and Katsuki making up and being friends again after all the crap Katsuki did. Honestly, if Horikoshi had set it up right, I might have been rooting for them, too. Of course, I don't root for it, because I don't see much improvement in the dynamic, especially on Katsuki's part.

Before I get started, remember: if you like the dynamic between Izuku and Bakugo, that's fine. This post probably isn't for you, and that's fine, too. I'm not writing this post to attack anyone personally, but if you feel offended, feel free to ignore this post and go about your day. I'd like it if we could be respectful of one another's opinions. Sound good? Good.

Now, let's begin...

So the big thing in this chapter (257 chapters, dear God...) is that we're finally learning a bit more about the OFA Holders. For starters, we now know the Black Whip user's name: Banjo Daigoro (heads up, the "Go (五)" in Daigoro means "Five," continuing the trend of OFA Holders having their wielder number in their names). We've also learned that Nana's Quirk was "Float" or "Levitation," which makes a lot of sense.

(I mean, Flight is one of the most iconic superpowers besides super strength, and since Nana is Izuku's metaphorical grandmother, it's incredible for her to be using such a by the book super power. Plus, it only compliments her friendship with Gran Torino, another hero with a flight Quirk.)

I'm rambling at this point. As intriguing as the Quirks of the previous holders is, my attention (as well as other readers' attention) was pulled towards Katsuki. Most say that the relationship between Katsuki and Izuku was adorable in this chapter. Others say Katsuki was a gremlin, but they still love him for it.

Well, pardon my pessimism, but if I'm using the phrase right, it looks like I'm gonna be playing devil's advocate.

[Keep in mind, the official translations haven't dropped yet, so this might screw up my analysis a bit.]

There's another meeting about OFA between Izuku, Toshinori, and of course Katsuki. Toshinori talks a bit about how he couldn't find everything for the previous holders, and what does Katsuki say?

If you don't know it then just leave it at that, I'm waisting my precious time on you guys.

There are a handful of other rude/passive-aggressive ways Katsuki could have phrased that. He could have made it sound like "That's nice and all, but could we skip to the important stuff?" But no, even though this information is crucial to Izuku, even though Katsuki has every right to just stay out of the room since the conversation won't benefit him, he says they're wasting his "precious time." Once again, Katsuki is being self-centered, but that isn't anything new.

A little later, Katsuki is taking a loom at the notebook, and he remarks that all the Quirks Izuku got must have been lame. Katsuki is immediately writing the Quirks off just because they aren't upfront with their badassery. Izuku appreciates all Quirks because he wasn't born with one, but Katsuki only appreciates strong Quirks because that's what society and his own self image have taught him up to this point.

Think of it this way: A man with diamonds can't understand why a man is happy with silver, but a man with nothing understands the value of both.

Katsuki's Quirk is admittedly versatile and efficient, and I can respect the work he put into it. However, immediately dissing less flashy Quirk's might be his downfall. Characters like Sir Nighteye don't have "powerful" Quirks, but are still capable adversaries thanks to how they use them in tandem with their other abilities. Foresight might not be a powerful Quirk in a fight, but Nighteye's own strategy, deceivingly ripped physique, and his high-density stamps help round him out as a capable opponent. We've seen Izuku utilize Black Whip in ways which can be definitely declared badass. Even Nana's Quirk can be used in incredible ways, especially considering Izuku's strategy and relentnesses.

Speaking of Nana's Quirk, here comes the part I hate the most...

Lots of readers talk about how Katsuki and Izuku's dynamic has grown a lot since their middle school days. That's not to say the statement isn't true, because there has been some growth, but I feel like most of it is exaggerated. Katsuki and Izuku haven't had an introspection (or at least a meaningful one) on themselves where they've come to grips with their faults and have vowed to change for the better. Izuku doesn't stop to think that maybe Katsuki shouldn't have treated him the way he did since they were kids, because Izuku's more concerned about heroism, mastering OFA, and (ugh) proving to Katsuki that he'll surpass him, being his image of victory. Katsuki hasn't really thought about his actions aside from that one time after the Provisional License Exams that ultimately amounted to nothing. It's been said time and time again by several in the fandom that Katsuki hasn't really changed, and for as much growth (or lack thereof) as he's had throughout the entire course of the series, the statement is not without merit. Case and point: the very first thing Katsuki spits out to Izuku when All Might reveals Nana's Quirk?

I WON!

He's more concerned about his own image and pride then about Izuku's progress. He's already got flight down, so instead of leaving it at that or (highly unlikely) offering to help Izuku figure out the whole flight thing, he decides it's a great thing that Izuku will waste his time learning something Katsuki already knows so Katsuki can make sure he can beat Izuku yet again. He's not adding anything to the conversation, and while Izuku isn't personally bothered, Katsuki's next words are not okay, even if they're relatively tame.

Before you tell me that Katsuki is just trying to encourage Izuku or something like that along those lines, let's take a look at their proceeding dialogue:

T-that's not true! I'll just master it and catch up to you!!

You're just going to panic again! Explode and go to Hell!

Buy I managed to get the gist of Blackwhip, so...

DIE!!

No hesitation...!

...Katsuki is not being encouraging in any way, shape, or form. He's being discouraging; in spite of Izuku's protest, Katsuki insists that Izuku is going to crash and burn once more. Never mind that Izuku isn't bothered by it, what Katsuki is saying is not okay. No one can be the best but him, so no one can improve... including Izuku. Forget about Izuku's previous feats, forget the fact that he learned to use the base Quirk without damaging himself AND a second Quirk in less than a year. As long as Katsuki can pull ahead, stupid Deku won't be able to catch up and he'll prove that he'll forever be the best.

...can you feel my frustration with this character?

And then there are the panels where Izuku looks like he reading the journal, and Katsuki is making a gremlin face while make the "kill" gesture across his neck, and All Might's looking at it like it's something precious. Other people called this scene adorable, but for me, it only proves that Katsuki hasn't changed and WHY he hasn't changed. He still treats Izuku as someone lesser instead of as an equal; he might not be Quirkless anymore, but for Katsuki, Izuku just another extra to surpass. And then Izuku tries to be civil with Katsuki, but... the boy really does not care about him. And then people like All Might don't know the full depth of their relationship and consider this a massive improvement, and see no reason to confront Katsuki or Izuku about their issues.

Seriously, the narrative is so contrived in Katsuki's favor, I'm losing hope that Horikoshi will ever try to fix it properly.

And before you give me Izuku's whole spiel about:

I never thought the day would come where I could speak so naturally with Kacchan.

NARRATORS! CAN! BE! BIASED!!!

Just because Izuku is the protagonist and overall honest does not mean his views/relationship with Katsuki are ultimately well. I'm not saying he's an unreliable narrator, since he hasn't really gone to Delusion City as he's told us the story, but it's very clear that he doesn't give Katsuki's actions too much thought. Him suddenly being able to talk casually with Katsuki is not a major feat: EVERYONE ELSE can casually talk to Katsuki just as well even if his personality is, quoting Denki, "flaming crap mixed with sewage." At this point, I'm just tuning out all the times the narrative tries to claim that Izuku is completely mentally sound, or that Katsuki has made significant progress.

You can keep shouting it from every roof top you want to, but unless you're showing CONSISTENCY, you're not showing substance.

So, TL;DR This chapter continues to push the Bakudeku rival dynamic while instead showing how Katsuki has ultimately barely changed and is continually enabled by other characters and the narrative to continue his behavior because virtually everyone around him has an abnormally high tolerance for his bulls***.

That's all I can write right now. Thank you for reading.

-Crimson Lion (18 January 2020)

[bigskydreaming]

Hey, any comic recs to ensure that I get Dick Grayson character right? Other batfam included, if you're willing. I'm trying to make sure I don't write a character completely ooc, because that drives me up the WALL when I read that. However, since I dubbed you the #1 Dick Grayson person, I thought I'd ask you to make sure I do him justice rather than a smear campaign or something lol! Thanks! ALSO TELL ME YOUR THOUGHTS ABOUT THE TITANS SHOW! That's all xD

LOL thanks I appreciate it, but while I’m good for the rants, for actual comics recs I would go to the likes of @northoftheroad, @hood-ex, and @nightwingmyboi because they’re a lot better than I am at knowing where to find specific stuff and comprehensive reading lists! I tend to jump all over the place in terms of my go-to comics for Dick.....I’m always on about Robin: Year One but I’m like eh Nightwing: Year One is pretty trash tbh. I prefer pre-Flashpoint continuity overall but I did enjoy some of the early Nightwing Rebirth stuff and before that the pre-Forever Evil New 52 stuff had some good beats. But for the most part, my favorite Dick Grayson tends to be him as a member of teams like the Titans....he shines most in ensembles, I think, because his strengths ultimately are that like...he gets people, he knows how people work, and he knows how to get the most out of the people he’s with, how to make people gel and get in sync and become more than just the sum of their parts.

(Speaking of nightwingmyboi, haven’t seen them posting in awhile, anyone know what they’re up to? Hope everything’s okay!)

Which brings me to the problems with the Titans show. There’s a lot I like about it - Anna Diop and Ryan Potter in particular - and a lot I was never gonna like about it - I’m heavy on the Ugh why must Dick Grayson be a cop ever why is that a thing make it stop. And so while I don’t think Brenton Thwaites does like, a bad job with the role or anything, there was always kinda a ceiling on how attached to or invested in his take on the character I was ever gonna reach.

But Season 2. Oof. Let’s talk about Season 2, and how so many of the problems with it are identical to the problems that surround Dick in the comics, but also aren’t limited to just his character or DC and just as equally show up in all kinds of media. Like, I could have (and probably did) offer an identical rant about the role of Scott McCall in TW’s S5.

The problem is one I’ve kinda taken to calling in my head “The Ensemble Lone Wolf Effect.”

This is when writers have a character they nominally want to be part of an ensemble....but that they repeatedly go back to the well of “this character should however spend most of their time on their own, or are more natural on their own, or just wants to be on their own, or also sometimes they just deserve to be on their own cuz they suck for Reasons we decline to specify.”

But its that thing of wanting it both ways....believing a character honestly NEEDS to be a loner or off on their own for the sake of their story, but also still wanting to utilize them as part of an ensemble, not willing to actually MAKE them a solo character, and so it kinda creates this never-ending feedback loop wherein they pay lip service to the character being part of an ensemble, but that’s never really on display, which creates a lot of unnecessary conflict among characters that’s to NONE of their benefits.

(And honestly in the comics, you could apply this to pretty much all the Batfam at times...not just Dick. They do it with Bruce ALL the time, they’re doing it with Damian right now, did it with Tim with Red Robin, Jason most of the time he’s not with the Outlaws and Cass most of the time she’s not with Babs or Steph or the Outsiders. As well as Babs herself at times).

Basically what I’m talking about here is like....so much of the drama in S2....and specifically the parts that most every fan I saw had issues with....came about not organically, because it made sense for the characters to behave that way, but solely in order to launch a specific plot, that the writers clearly wanted for S2:

And that was Dick Grayson off on his own, at his lowest, facing his demons on a solo journey of self-discovery the writers clearly deemed necessary before he could find himself as Nightwing and rise to his most heroic self.

Now the thing is....this isn’t inherently a bad plot or a problem. The problem lies in how they went about it.

Because rather than looking at the overall story and saying okay, that’s what we want to do with Dick Grayson, that’s what we want for HIS story, now how do we get that and where do we take it from there, rather than looking at that as just a STARTING point, and engineering a plot that grows OUT of that.....

The writers just started out by viewing that as an ENDPOINT, and reverse engineered a way to get Dick TO that point first and foremost....at the expense of so many characters who then basically turned on him and held him solely responsible for the things many of them also had a hand in....purely to get him off on his own and isolated.

But that was never necessary!

Because Dick’s character contains multitudes when it comes to guilt and self-blame, everyone knows that. He never needed anyone else to blame him for what happened to Joey because he blamed himself. So the second they conceived of the plot “Slade wants revenge for something Dick at least blames himself for”.....they had all the ingredients needed for Dick to decide proactively that the best way to protect everyone was to put distance between him and them, that he should try and hunt down Slade on his own, solve this between just the two of them.

And that should have been the STARTING point, for that narrative journey of self-exploration, not that journey resulting as an ENDPOINT in and of itself from Dick being FORCED into a kind of isolation by the others all blaming him.

Because now see what ripple effects result:

Now, the other characters are just as able to focus on their own individual storylines as they were in the show, with the additional concern of wanting to ACTUALLY find Dick and figure out what’s going on with him or tell him they still want to help....without this in any way needing to distract them from their own storylines, practically speaking, or cut into Dick’s narrative alone-time, because as part of the equation you ALSO have Slade, who has his own wants and agendas, not to mention tactics. And Slade’s perfectly capable of and willing to work with others, or utilize the long game, or engage in a game of cat and mouse as a distraction...there are numerous ways that you could engineer a plot FROM these motivations that allows him to keep the rest of the Titans distracted and even targeted individually, without allowing them to group back up with Dick or Dick to even know that they’re in danger and that his attempts to avoid that backfired.

You want the characters isolated and divided? The PLOT can do that for you. You don’t need the characters to do that to themselves.

IMO, most if not all stories are meant to advance characters, first and foremost. Take Characters A-Z and leave them different from how you found them. Move them to a different position in their lives as much as anything else, from where they began. The goal is character DEVELOPMENT.

What this means, in my book, is that the plot should serve the characters, NOT the other way around. The plot should grow FROM the characters and what they would or would not do....the characters should never have to be forced to FIT INTO a plot.

That’s backwards.

There shouldn’t be any need to reverse engineer a certain starting point, characterwise.

Just like....start the plot, plotwise....and from the moment you first introduce a single plot element, prioritize how would the characters react and BUILD from there.

The only engineering you should need to do is how to get to an eventual END point....which is still all about the forward momentum, not backing your way into anything.

Its one thing to have an endgoal for your plot, a point in character or narrative development that you want characters to reach. But its all about perspective. About keeping that what you’re working towards rather than something that you like, have to reach before you can even really BEGIN.

Which is what Titans S2 did. The real GOAL of the season in terms of Dick’s storyline, was his solo journey of self-discovery. But there’s a million different ways they could have LAUNCHED that journey, without it having to be the forced and contrived outcome of events and character decisions that literally only existed to initiate a journey that never required a forced initiation.

And so all this narrative energy gets utterly wasted and expended on stuff that it just flat out doesn’t need to be spent on in the first place....instead of just putting that same energy to use building forward-facing storylines for ALL the characters, that don’t require contrived spats of disharmony when the goal of such moments isn’t even the disharmony but rather just that they’re kept apart, the end RESULT of the disharmony.

Imagine what S2 could have built if instead of wasting time, characterization and energy on getting to a point they could have simply started from if they’d simply looked at it that way and chosen to just....start. If they’d applied all that to building across the board, everyone’s story in service to their own character first and foremost, no tangled feedback loops making characters regress or cycle through the same behavior or narrative positionings over and over again in order to not get in each other’s way or cross paths at a time when the show didn’t want them to cross paths....because rather than make all these characters work at cross purposes, they’re all on the same page, they still want the same things....you’re simply engineering from their own natural characterizations and organic decisions and reactions, ways the PLOT can be utilized as a TOOL, to keep them moving forward in their own respective chapters, WITHOUT their characters having to be bent out of their natural shapes or forced into niches that don’t really suit them, just to keep them, PREVENT them, from more naturally or organically making a choice or action that would ‘get in the way’ of the plot.

Bottom line......the plot is supposed to be there to advance the characters, because the characters are what we come to stories for. The characters are who we invest in, relate to, ROOT for.

The characters aren’t there to advance the plot. We’re not here to yell yeah, I really hope the writers do whatever it takes with characters, no matter how backwards or unnatural it seems, just to get that sweet sweet and oh so specific ending we want that is in no way dependent on how invested or not we ACTUALLY are in the characters by the time it arrives, in order for it to actually be effective or not!

Lol. Y’know?

So yeah, that’s my biggest gripe with Titans so far. I’m still eager to see what happens between Kory and her sister, and although I’m not thrilled it seems to be becoming Batfam Straight Outta Gotham rather than like, Titans: The Show, I admit I am curious about what take they’ll go with for Babs. As I still pretty vividly recall that weird as hell Birds of Prey show the CW or UPN or WB or whatever it was at the time did for one season, where Babs was honestly not terribly adapted despite the show otherwise bearing like, zero in common with any existing DC property or character (do not even get me STARTED on their takes on Dinah and Helena, no, blehrrible, those were bad, those were like super bad)....anyway, I’m kinda curious even if it wouldn’t have been my choice for what direction the show should take. Not that I have a specific one in mind, just, yeah. And I also kinda would not hate if we got a new Roy Harper now, to replace the not!Roy of Arrow, because I don’t know him, no seriously, who is that, its not Roy Harper.