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tarobytez · 3 years

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disability in the Six Of Crows Duology; an analysis of Kaz Brekker, Wylan Van Eck, and the fandom’s treatment of them.

****Note: I originally wrote this for a tiktok series, which im still going to do, but i wanted to post here as well bc tumblr is major contributor to what im going to talk about

CW: ableism, filicide, abuse

In the Six of Crows duology, Leigh Bardugo delicately subverts and melds harmful disability tropes into her narrative, unpacking them in a way that I, as a disabled person, found immensely refreshing and…. just brilliant.

But what did you all do with that? Well, you fucked it up. Instead of critically looking at the characters, y’all just chose to be ableist.

For the next few videos paragraphs im going to unpack disability theory (largely the stuff surrounding media, for obvious reasons) and how it relates to Six Of Crows and the characterization of Kaz Brekker and Wylan Van Eck, then how, despite their brilliant writing, y’all completely overlooked the actual text and continuously revert them to ableist cariactures.

Disclaimer: 1. Shocker - i am disabled. I have also extensively researched disability theory and am very active in the disabled community. Basically, I know my shit. 2. im going to be mad in these videos this analysis. Because the way y’all have been acting has been going on for a long ass time and im fuckin sick of it. I don’t give a shit about non-disabled feelings, die mad

Firstly, I’m going to discuss Kaz, his play on the stereotypical “mean cripple” trope and how Bardugo subverts it, his cane, and disabled rage. Then, I am going to discuss Wylan, the “inspiration porn” stereotype, caregivers / parents, and the social model of disability. Finally, I will then explain the problems in the fandom from my perspective as a disabled person, largely when it comes to wylan, bc yall cant leave that boy tf alone.

Kaz Brekker

Think of a character who uses a cane (obviously not Kaz). Now, are they evil, dubiously moral, or just an asshole in general? Because nearly example I can think of is: whether it be Lots’O from Toy Story, Lucius Malfoy, or even Scrooge and Mr.Gold from Once Upon A Time all have canes (the last two even having their canes appear less and less as they become better people)

The mean/evil cripple trope is far more common than you would think. Villains with different bodies are confined to the role of “evil”. To quote TV Tropes, who I think did a brilliant job on explaining it “The first is rooted in eugenics-based ideas linking disability or other physical deformities with a "natural" predisposition towards madness, criminality, vice, etc. The Rule of Symbolism is often at work here, since a "crippled" body can be used to represent a "crippled" soul — and indeed, a disabled villain is usually put in contrast to a morally upright and physically "perfect" hero. Whether consciously on the part of the writer or not, this can reinforce cultural ideas of disability making a person inherently inferior or negative, much in the same way the Sissy Villain or Depraved Homosexual trope associate sexual and gender nonconformity with evil. ”

Our introduction to Kaz affirms this notion of him being bad or morally bankrupt, with “Kaz Brekker didn’t need a reason”, etc. This mythologized version of himself, the “bastard of the barrel” actively fed into this misconception. But, as we the audience are privy to his inner thoughts, know that he is just a teenager like every other Crow. He is complex, his disability isn’t this tragic backstory, he just fell off a roof. It’s not his main motivation, nor does he curse revenge for making him a cripple - it is just another part of who he is.

His cane (though the shows version fills me with rage but-) is an extension of Kaz - he fights with it, but it has a purpose. Another common thing in media is for canes to be simply accessories, but while Kaz’ cane is fashionable, it has purpose.

The quote “There was no part of him that was not broken, that had not healed wrong and there was no part of him that was not stronger for having been broken.” is so fucking powerful. Kaz does not want nor need a cure - its said in Crooked Kingdom that his leg could most likely be healed, but he chooses not to. Abled-bodied people tend to dismiss this thought as Kaz being stubborn but it shows a reality of acceptance of his disability that is just, so refreshing.

In chapter 22 of SOC, we see disabled rage done right - when he is called a cripple by the Fjerdan inmate, Kaz is pissed - the important detail being that he is pissed at the Fjerdan, at society for ableism, not blaming it on being disabled or wishing he could be normal. He takes action, dislocating the asshole’s shoulder and proving to him, and to a lesser extent, himself, that he is just as capable as anyone else, not in spite of, but because he is disabled. And that is the point of Kaz, harking back to the line that “there was no part of him that was not stronger for having been broken”.

I cried on numerous occasions while reading the SOC duology, but the parts I highlighted in this section especially so. I, as many other disabled people do, have had a long and tumultuous relationship with our disability/es, and for many still struggle. But Kaz Brekker gave me an empowered disabled character who accepts themselves, and that means the world to me.

Keeping that in mind, I hope you can understand why it hurts so much to disabled people when you either erase Kaz’s disability (whether through cosplay or fanfiction), or portray him as a “broken boy uwu”, especially implying that he would want a cure. That flies in the face of canon and is inherently fucking ableist. (if u think im mad wait until the next section)

Next, we have Wylan.

Oh fucking boy.

I love Wylan so fucking much, and y’all just do not seem to understand his character? Like at all? Since this is disability-centric, I’m not going to discuss how the intersection of his queerness also contributes to these issues, but trust me when I say it’s a contributing factor to what i'm going to say.

Wylan, motherfucking Van Eck. If you ableist pricks don’t take ur fucking hands off him right now im going to fight you. I see Wylan as a subversion another, and in my opinion more insidious stereotype pf disabled people - inspiration porn.

Cara Liebowitz in a 2015 article on the blog The Body Is Not An Apology explains in greater detail how inspiration porn is impactful in real life, but media is a major contributing factor to this reality. The technical definition is “the portrayal of people with disabilities as inspirational solely or in part on the basis of their disability” - but that does not cover it fully.

Inspiration porn does lasting damage on the disabled community as it implies that disability is a negative that you need to “overcome” or “triumph” instead of something one can feel proud of. It exploits disabled people for the development of non-disabled people, and in media often the white male protagonist. Framing disability as inherently negative perpetuates ideals of eugenics and cures - see Autism $peaks’ “I Am Autism” ad. Inspiration porn is also incredibly patronizing as it implies that we cannot take care of ourselves, or do things like non-disabled people do. Because i stg some of you tend to think that we just sit around all day wishing we weren’t disabled.

Another important theory ideal that is necessary when thinking about Wylan is the experience of feeling like a burden simply for needing help or accommodations. This is especially true when it comes to familial relationships, and internalized ableism.

The rhetoric that Wylan’s father drilled into his head, that he is “defective”, “a mistake”, and “needs to be corrected”, that he (Jan) was “cursed with a moron for a child” is a long held belief that disabled people hear relentlessly. And while many see Van Eck’s attempted murder of Wylan as “preposturous” and overall something that you would never think happens today - filicide (a parent murdering their child) is more common than you would like to believe. Without even mentioning the countless and often unreported deaths of disabled people due to lack of / insufficient / neglectful medical care, in a study on children who died from the result of household abuse, 40 of 42 of them (95%) were diagnosed with disabilities. Van Eck is not some caricature of ableist ideals - he is a real reflection on how many people and family members view disability.

Circling back to how Wylan unpacks the inspiration porn trope - he is 3 dimensional, he is not only used to develop the other characters, he is just *chefs kiss* Leigh, imo, put so much love and care into the creation of Wylan and his story and character growth that is representative of a larger feeling in the disabled community.

That being said, what you non-disabled motherfuckers have done to him.

The “haha Wylan can’t read” jokes aren’t and were not funny. Y’all literally boiled down everything Wylan is to him being dyslexic. And it’s like,,,, the only thing you can say about him. You ignore every other part of him other than his disability, and then mock him for it. There’s so much you can say about Wylan - simping for Jesper, being band kid and playing the fuckin flute, literally anything else. But no, you just chose to mock his disability, excellent fucking job!

Next up on “ableds stfu” - infantilization! y’all are so fucking condescending to Wylan, and treat him like a fucking toddler. And while partly it is due to his sexuality i think a larger portion is him being disabled. Its in the same vein of people who think that Wylan and Jesper are romantically one sided, and that Jesper only kind of liked Wylan, despite the canon evidence of him loving Wylan just as much. You all view him as a “smol bean”, who needs protecting, and care, when Wylan is the opposite of that. He is a fucking demolitions expert who suggested waking up sleeping men to kill them - what about that says “uwu”. You are treating Wylan as a burden to Jesper and the other Crows when he is an immensely valuable, fully autonomous disabled person - you all just view him as damaged.

And before I get a comment saying that “uhhh Wylan isn’t real why do you care” while Wylan may not be real, how you all view him and treat him has real fucking impacts and informs how you treat people like me. If someone called me an “uwu baby boy” they’d get a fist square in the fucking jaw. Fiction informs how we perceive the world and y’all are making it super fucking clear how you see disabled people.

Finally, I wanted to talk about how the social model of disability is portrayed through Wylan. For those who are unaware, the social model of disability contrasts the medical model, that views the disability itself as the problem, that needs to be cured, whereas the social model essentially boils down to creating an accommodating society, where disability acceptance and pride is the goal. And we see this with Wylan - he is able to manage his father’s estate, with Jesper’s assistance to help him read documents. And this is not out of pity or charity, but an act of love. It is not portrayed as this almighty act for Jesper to play saviour, just a given, which is incredibly important to show, especially for someone who has been abused by family for his disability like Wylan, that he is accepted.

Yet, I still see people hold up Jesper on a pedestal for “putting up with” Wylan, as if loving a disabled person deserves a fucking pat on the back. It’s genuinely exhausting trying to engage with a work I love so much with a fandom that thinks so little of me and my community. It fucking shows.

Overall, Leigh Bardugo as a disabled person wrote two incredibly meticulous and empowered disabled characters, and due to either lack of reading comprehension, ableism, or a quirky mix of both, the fandom has ignored canon and the experiences of disabled people for…. shits and giggles i guess. And yes, there are issues with the Grishaverse and disability representation - while I haven’t finished them yet so I do not have an opinion on it, people have been discussing issues in the KOS duology with ableist ideals. This mini series was no way indicative of the entire disabled experience, nor does it represent my entire view on the representation as a whole. These things need to be met critically in our community, and talked about with disabled voices at the forefront. For example, the limited perspective we get of Wylan and Kaz being both white men, does not account for a large portion of the disabled community and the intersection of multiple identities.

All-in-all, Critique media, but do not forget to also critique fandom spaces. Alternatively, just shut the fuck up :)

happy fucking disability pride month, ig

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revenant-dumpster-fire · 3 years

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Warm (Revenant x Reader)

Theme: Reader comforts Revenant after a somewhat brutal loss in a duos match as Revenant becomes concerned with his image.

Warnings: Mentions of mania, mentions of depression, mentions of suicide, threats of violence, graphically described violence, pain, sharp objects, borderline sexual fluff.

Reader's Notes: Revenant (Apex Legends) x Reader, reader is non-gendered in this chapter, this is getting romantic but hasn't crossed the line quite yet, reader will eventually have to be gendered (but I'll hold off as long as possible).

Writing Notes: Compliments give me fuel. Lot of development this chapter, more characters. I feel like this is increasingly revealing of who I am as a person, so I'm glad I'm anonymous.

Navigation:

First Chapter | Previous Chapter | Next Chapter

The Apex Games are brutal. It's a miracle these people can be suspended in death boxes and sewn or pieced back together after what happens to them. You've heard murmurs that some of the visual brutality is simulated by an AI for the cameras while the much less damaged person is imprisoned in a deathbox, but you are not so sure of that. It looks too real, and the Legends seem way too accustomed to pain and morbid destruction for it not to be. You are desensitized to a lot of gore and snuff yourself, but you've come to know the Legends just well enough to shudder when they are disemboweled in front of you. When you first started volunteering to help, you remembered being endlessly relieved the first time you saw them all return from the medical ward.

Even though you know they will likely be fine, you whimper as Bloodhound takes an apparently fatal blow from the favorites for this duos match: Loba and Bangalore. It isn't very often that random chance creates such an iconic duos pair, but it's happening today and the cameras are loving it. The cameras have been so fixated on these two that you haven't seen night or day out of Revenant. According to the trackers on the screen, Revenant is still in the game, but his teammate--Fuse--was knocked out of the match early on. Knowing those two, they likely agreed to drop hot--in an area with lots of combatants. While it's a good way to get kills, it's also an ideal way to get killed. From previous matches, you have the impression Revenant will drop hot if his teammate or teammates agree, but he won't do so otherwise. Fuse is absolutely the type to agree to dropping hot. You worry for Fuse even though you are certain he will be back tomorrow or soon thereafter, ready for more.

Loba and Bangalore have used their combined skills to gather long-range sniper weapons and considerable kills so far this match. Bangalore is able to use her abilities to create confusion and draw combatants out from cover, and Loba could create or close distances with her warp band while also gathering excessive amounts of high-level weaponry, mods, and armor to make them all the more terrifying. They pulled ahead early in the game, and now they feel unstoppable. The cameras watch as they run across Olympus' beautifully groomed grass towards the next team to victimize.

You feel like you're not doing what you should be doing. Did Revenant really just want you to watch the match today? Shouldn't you do something helpful?

You get yourself to the edge of the bed, hop up, and start to make it. It was so perfect when you hopped in yesterday, you want to try to make it equally as perfect. Your legs no longer hurt, and you feel well-rested despite Revenant's creepily watchful eyes. You take a deep breath, stretch backwards, and get to making the bed. You will have to go to your volunteer bunk and change soon. You wonder if you will have to move out of the volunteer area--even though it's small and cramped, it's been your home for a few years now. Your coworkers feel more like roommates, varying from cool but introverted to outgoing but overbearing. You like all of them, and you have the unusual standing as one of the longest-running volunteers, staying through off and on seasons to keep things functioning. You don't want to lose them, or the only home you've known for a few years.

Gunshots ring out on the television, Loba and Bangalore are taking shots at another team fight from afar. You see the symbol for Lifeline pop up as knocked, then eliminated. Caustic's name pops up next. Finally, Revenant came up as knocked, but not eliminated. You can't help but panic just a little, but Revenant apparently had a self-revive and is moving again, fleeing the area as Loba gives vicious chase trying to make up the distance from sniping. Revenant is in bad shape, he has been fighting solo for a while, and Loba knows he is practically a free kill at this point. You're afraid this is going to turn into another Loba versus Revenant fight, a favorite of the audience due to how ruthless they both are with each other. You don't like them fighting. You don't like seeing Loba be nearly beheaded or gutted, and you don't like seeing Revenant be slowly but surely tortured to death. There is no alternative ending with those two. It's always violent, and Revenant doesn't stand much of a chance at this rate. He clearly knows that.

You stare at the television breathlessly, trying to make the bed without looking away. Loba is hunting, and Revenant is unable to keep enough distance. In a last gambit, Revenant manages to break line of sight, launching his silencer into the doorway of a bunker and then intentionally running into the opposing bunker. Loba falls for it, as she makes an immediate path for the bunker with the silencer, opting to take the back door. It buys Revenant enough time to use a Pheonix Kit, a piece of equipment that restores his shields and health completely for a much fairer fight.

Hell is about to break loose.

You plop down on the bench having finished the bed, unable to look away. Loba and Revenant meet eyes from within each bunker through the small windows on each side. Loba looks infuriated at his newly rejuvenated state. Revenant's look is too intense to be smug, it truly is a mechanical malice undescribable by any other terminology. These two loathe each other. The spectators roar in excitement at another bloodbath between the lovely but deadly master thief and her mechanical antagonist, the commentators giving a short review of the last time these two met on the battlefield.

Revenant, now unafraid of the odds, immediately dashes to close the gap between their bunkers. Loba flings her warp band in his direction, landing behind him, and immediately getting two Mastiff slugs in his back. You cringe at the sight. Revenant turns to meet her fire with his Volt, but Bangalore's lobbed smokescreen fills the area before his shots meet. Bangalore had been lagging behind Loba, but she was close enough now to take shots again. You hear Loba's Mastiff take a number of more shots in the smokescreen, the Volt returning fire. Bangalore calls in her Rolling Thunder, cascading aerial bombardment all throughout the smokescreen. Revenant manages to break free of the now-fading smokescreen, trying to escape the explosives, but it was clearly Bangalore's intent for him to do so. With her well-equipped Longbow, she manages to snipe Revenant, knocking him to his knees.

Loba was soon looming over him, waiting for the camera to catch up. The crowd chants and screeches waiting for the gore. There are no microphones on the Legends themselves, but you can tell that Revenant is cursing her as she comes over to finish him. You wince, you don't want to watch this, but you feel you have to.

Loba kicks his head hard enough to knock out any human opponent, sending him to the ground. His mask is cracked open, revealing the copper lining underneath and the wiring for his optics. He stays grounded, glaring at her with an unspeakably vicious hatred. He faces his demise with just as much malice as he had moments earlier, perhaps even more. She goes in for a direct stomp, plunging the five-inch tall heel of her shoe into and through Revenant's left optic. You grimace at the horror of it, wanting to cover your face to escape the imagery. Revenant's body lurches backwards and writhes in pain, grabbing aimlessly at his face, screaming so loudly that the drone camera picks it up as his vocalizations crack and become inundated with static.

Revenant isn't eliminated. Revenant is treated differently than the human and more finite combatants. His deaths are of no consequence, so he isn't protected from them. He can just come back, over and over. So the cameras roll and he's left to suffer whenever it makes for better television. The most bloodthirsty fans have always loved this double-standard, but you are beginning to revile it more by the moment.

Loba spits on him, taking a moment to parade to the crowd her triumphant moment. Revenant's last remaining optic is dimming uncontrollably, but is still locked on her when she returns to finish the job. They lock eyes for a moment. You don't know the details--nobody does--but it's clear they have some kind of history where all the hatred stems from. Revenant looks away in acceptance of his defeat, and his neck is immediately clamped down on by her heels. With a single twist of her leg, the cracking noise of his head being forcibly freed from his torso rings out. You want to vomit.

Revenant is only now considered eliminated, his husk of a chassis lying nearly in two pieces, his head twisted perpendicular to his torso. The crowd is absolutely ablaze. Loba reaches down, tearing the scarf off his head and holding it triumphantly in the air, looking as if she just scalped her kill. Bangalore shies away from the cameras herself, she's clearly ready to move on. Loba revels in the violence, just like Revenant does, but there is something especially malicious between them.

You feel the nausea taking hold even stronger. Revenant is someone you know now. He's shown you kindness, and you've become very fond of him. You can't say you know him extremely well, granted, but well enough to feel empathy for his pain. Watching him essentially have his skull broken, eye gouged, and neck severed is a lot to take. You could literally see the excruciating pain in his body language when his eye was stomped out. They shouldn't allow it. The moment a human life is in danger they get deathboxed. Only now that Revenant's body is dead and vacated of all living code, as well as the audience thoroughly satiated, does Revenant's corpse get deathboxed. He managed to fight his team all the way to seventh place alone. Loba and Bangalore continue on, the cameras lovingly cataloging their sweep.

You get up and turn off the television, sheepishly use your new ID to leave the room, and head to the volunteer bunks. It's the middle of the day, so nobody is around. A note on your bunk reads "Worried about you! Let me know when you get back. -Sherry". You scribble back, "Sorry Sherry, had a special request I had to run, need to talk later. Text me." and place it on her bunk. Sherry is the de facto leader of the volunteers, here since day one of season one. You know each other well. She doesn't pry often, but disappearing for a night is really out of character for you, so you don't mind it this once. She will know if you're allowed to stay in the volunteer bunks or not. You gather your things, just in case, and haul them to Revenant's room. You only have a single duffel bag of clothes and toiletries to your name. It has been that way since you found yourself on the streets years ago. It's easy enough to carry, but some amount of sadness still lingers in you as you haul your only worldly possessions in a single bag. The Apex Games gives you year-round work in exchange for a place to live rent-free. The Legends who tip well basically keep you at a decent wage for the hours. So despite not having much to your name in terms of assets, you now have a bank account with enough value to move on if absolutely necessary.

You use the badge to open Revenant's door. It dings satisfactorily, and you dump your bag on the floor. You're not leaving the area until he's back. You already decided. You're in some stage of denial after watching him die, but simultaneously you cannot be in denial if he always comes back. You shake your head, the nausea fights for its throne in your gut. You grab a change of clothes out of the bag and head to the bathroom in the far left corner of the room.

As you enter, you see a mostly untouched bathroom, spare for a strangely out-of-place comb, shaving cream, an old-fashioned razor blade, and the mirror smeared opaque with dried suds--likely from the shaving cream. None of those items make sense. Not a single one. Why was the mirror so filthy? Why did a simulacrum have shaving or hair brushing tools? You consider that it might be a coping mechanism, but that doesn't explain the mirror. Whatever, you'll clean it in a second. No need to make a big deal out of it all.

Halfway through changing, you lose your battle with nausea. You don't have anything in your stomach, a fact you quickly realize as you lurch over the toilet. Just stomach acid. What a violent and terrible death. You know he feels just as a human does, it's not his fault he isn't as fragile. It's so unfair. You stand tall, having expelled the worst of it. You finish putting on your "I'm not feeling it" shirt, and make a quick orbit to the duffel and back, picking up your toothbrush, toothpaste, and mouthwash. You clean out your mouth thoroughly, trying to fight off the taste of acid.

You finish up, leaving your oral care items behind to take your dirty clothes to the laundry room and grab some mirror cleaning supplies while there. Since you know how to fully clean down a room, you figure it is within your ability to completely clean Revenant's room. Maybe Fuse's too, these cleans tend to be quick and efficient when you perform them.

• • • •

"Hey, oh my gosh, where were you last night?" The text comes in as you're hauling the cleaning supplies to Fuse's room. It's early afternoon, you'll be done with this before it even begins to get dark.

"Hey, sorry, I had a special request. I didn't mean to worry anyone. I'm cleaning Fuse's room now." You text back, hoping Sherry will meet you here and help wrap up even faster.

"OMW" The text comes in only moments after.

After a few minutes, you hear Fuse's door open. Sherry is a petite blonde woman in her early twenties. Despite her longer, curly hair, she is otherwise not too dissimilar looking from Wattson, her favorite Legend. They have a good relationship apparently, Wattson regularly jokingly adding "request for mon Sherry" to her requests, a play on "mon cherie" in French.

"I didn't see a request for Fuse to have his room cleaned, did you delete it from the system?" Sherry was always on-task.

"Oh, sorry, no, I kinda needed something to do." You look up from changing the bed sheets, "Do you mind giving me a hand?"

"Sure, but there are tons of requests you could have taken, why make one up?" She walks to the opposite side of the bed, nabs the sheet, and looks up, locking sights on your ID.

Her shock is immediate and silent. You notice that she has noticed.

"How did you get that..." She trails off, her head clearly running at max capacity with various theories.

"Revenant gave it to me." You answer blankly. "I don't know what to do."

Sherry stares, her expression becoming increasingly appalled and concerned.

"What... what happened last night? You didn't like... "earn" that, right? I mean, you didn't trade for it, did you?" Her expression grimaces further. "Does he even have the parts for that...?"

You suddenly realize what she's saying, and wave your hands to snap her attention.

"No! Nothing like that! He sees me so often he wanted a personal lackey instead." You see her expression soften for a moment before it snaps back.

"Then where were you last night?"

"Wha--?"

"You heard me, where were you then?"

You stare at the floor, unsure if you can lie so blatantly to her. She stares at you for a moment.

"One moment you're depressed, then next thing I know you're manic, then you disappear for a day and a half. Is this some kind of new suicide plot you have? Seduce a murder robot?" She seems genuinely worried.

"I promise it's not like that! I was exhausted! I accidentally fell asleep when I brought him water--"

"Why did nobody call the paramedics? If you passed out, you should have been given a health check! Why didn't that robot call anyone?" She genuinely cared about you, she was a good friend, through and through.

"Uh, well, I kinda slept in his bed."

Her face went from worry to one of shock and morbid concern. Her knees buckled for a moment and rectified themselves as she cartoon-ishly tried to process her thoughts.

"You see, I guess he's taken a liking to me, and he saw how tired I was, so--"

"So you slept with him just so you could get a break? You should have just asked for time off! You never take it! I would have given it to you!" She was clearly upset.

"It didn't happen like that!" She had a tendency to catastrophically think, so her mind was already five steps ahead of you in the worst possible timeline. If you could stop it now, hopefully it wouldn't continue.

"Wait, why are we changing Fuse's sheets? How many robots and people have you slept with?!" she dropped the sheets at a complete loss. Too late to stop her mental train, it was already off the rails and burning in a ditch.

"Sherry! Pay attention! I didn't do anything with anybody. I just passed out in Revenant's bed, and he decided not to kill me but promote me instead because he's Revenant and he does what he wants, even when it makes no sense to anybody. I didn't even see Fuse yesterday, I just figured I'd clean his room since both him and Revenant took a heck of a loss today." You didn't often get loud, so when you did it tended to garner attention.

Sherry sighed.

"Yeah, that sounds more like the truth than my insane theory." She rests her face in her palms for a moment. "So, uh, I guess you and Revenant are friends now?"

"Subordinate or lackey is probably a better term, but he actually is nice to me! Aside from all the threats..." You trail off, wondering if he means it or if he simply is keeping up his persona.

"Well, congratulations on becoming the homicidal robot's plaything?" She wasn't wrong. Actually, her term was probably more accurate. "Please don't get murdered. I didn't get you out of that homeless shelter just to deliver you into the hands of a bloodthirsty robot with a fascination for evisceration. I'll feel so bad if you die..." She trails off, catastrophic thoughts ablaze. "Just quit!" She perks up with her solution.

"He's not going to kill me, and if he does, it's not your fault. I'm choosing to do this."

She sighs, and starts making the bed with clean sheets, unsure of how to argue, or if the argument is worthwhile.

Sherry was the one you reached out to when you heard that you could work for the Apex Games in return for a bed, bathroom, food, and basic healthcare. She picked you up at the homeless shelter, and helped forge some fake credentials on your resumé at the time. She cleared you herself, pretending as if she never met you before and calling your previous "boss" who was actually just a very confused telemarketer, resulting in getting you the place and position you have now. You've always thought she's an upstanding person; her maternal instincts sometimes getting in the way of her letting people make their own choices freely though. She felt like an older sister to you.

"Please tell me you're at least getting paid. Without the tips from the other Legends, how are you going to keep saving up?" She asked weakly, finishing up by fluffing the pillows.

"Uh, well, I haven't asked yet... I actually meant to ask if I have a room still." You answered, a bit dumbfounded you hadn't considered that before.

"What?! Did you think this through at all?" She burst, but quickly softened, "Of course you still have a room, there should be a door in the back of every Legend's room with the same kind of bunks as we have. Those are for you special folks. It has a bathroom and everything."

"Ah, good, I kinda wish I could stay with you guys, but..."

"...but your new robot-boyfriend is calling you?" She breaks her melancholy with ruthless teasing, just like an older sister. "Yeah, I'll need the space for a new volunteer, definitely."

"I figured as much. Always running on short-handed here." You're a little relieved the choice is made for you.

"So, I'm guessing you now have all Revenant requests, now and forever?" She chuckles a bit. "You somehow take the biggest demotion and consider it a promotion. I can't believe you like dealing with that guy."

You banter back and fourth, finishing up Fuse's room. It'll be nice for him to come back to a clean room, especially considering how his match went that morning. Sherry promises to come around this part of the building more to keep an eye on you, swearing she will kick Revenant's ass if he does "whatever murder-bots do". You go your separate ways, laughing at each other's stupid quips.

• • • •

There is a door at the back of the room. Sherry was right. It is intentionally made to camouflage into the wall, as well as the scanner that opens it. You hold your ID up to it, hear the positive chirp, and the door slides open to reveal a nice small room and bathroom. It's a private bedroom embedded within Revenant's. The door now freely slides like a pocket door to open and close, apparently you only need to activate it once to get access. A nice little bed, a nice little dresser, and a nice little bathroom! It reminds you of a super tiny hotel room, everything is compact but still a notable step up from shared bunks. You breathe deeply, inhaling the smell of a fresh new room. You haul your duffel bag in and toss it into a little cubby under the mattress, and boom, you're moved in! So easy!

Revenant still isn't back yet though. You wonder how long it will take for his new chassis to activate and return here. You wish so badly to know how he is doing, but it is impossible to know. You grabbed some snacks from the kitchen alongside dinner with Sherry, so you have food to stress-binge on if necessary. You figure laying down for the night can't hurt. So you hit the lights in Revenant's room, leaving it to only be lit by the rising moonlight overhead through the skylight. You sneak into your little cubby of a room, flipping the lights off as you slide the door shut behind you. You don't have any skylight, in fact, your ceiling was about 6 feet or so shorter than his, making it much more average. Granted, his room is massive, but you are happy with your tiny private closet. It is so cool.

You fall back in the bed. Soft as can be. Same as his.

Sleep takes you very quickly.

• • • •

You wake up to an inhuman screeching. You jolt up, making yourself panic further as you check your surroundings and recall where you are. You're alone in the little bedroom, the screaming is from the other side of the door, in Revenant's main room. It echoes in a uncanny valley between human despair and mechanical detune. You leap out of bed and rush to open the door to see what is wrong.

The door slides open and you see Revenant, his mask and jaw tilting in opposite directions to replicate an open mouth, revealing a disturbingly black void where his mouth would be, no headscarf, howling in some kind of agony under the moonlight. It sounds so sad, so sorrowful. The pocket door clicks as it reaches its full open position, and Revenant's eyes lock on as soon as the sound is registered. His instincts are instantaneous. His howl slowly fades as he uses up what's left in his artificial lungs, his eyes never breaking from yours. The sorrow leaves him, his jaw slowly closes, and his stature returns for a moment.

"Are you okay?!" You ask him.

He hides is face and his body motions like a person who is sobbing for a few moments, but he doesn't. He couldn't even if he wanted. He regains himself quickly, walking up to you blankly.

"Hey, uh, are you oka--?"

"Keep me warm, skinsuit." His voice shakes as he pulls you into him in an embrace.

He is extremely cold, but his metal parts start to sap your body heat immediately. He is alive. He is new, but alive. You wrap your arms around his small abdomen, slipping under the pistons that hold up his large torso. You squeeze harder than you mean to, giving away that you are genuinely worried about him.

"I thought you left." He admits shakily, still not wholly able to hide his emotions. "I didn't..." He trails off. He places his hand on your head, messing with your hair a bit, until you gaze up at him. He looks down at you in the eye and you see something familiar. Disbelief. "You stayed."

You don't have words. Words mean nothing anyway in moments like this. You squeeze him tighter and he winces a little. You realize his abdomen is probably the least protected area of his body, and even you might be able to hurt him with the wrong touch. You lean forward and bury your face into it anyway, you're pretty sure you can feel a pouch through the leather skin that acts as a stomach receptacle, but you're not sure.

Revenant's body shakes a little like he cannot hold back tears, but as a simulacrum, he has none. You hear a sorrowful moan instead that is quickly stifled. Despite his persona, he has a very human personality.

"Come, keep me warm." He pulls you away for a moment so he can move again, then grabs your wrist and pulls you to the bed. The bed he never used. "It's easier with insulation." He rips the blanket off of it, wrapping it around you both in one sweeping movement, and sitting on the edge, pulling you down with him.

Your face flushes hot red. This is unlike him. He notices, and you swear you see a little bit of a pink glow on him too. He definitely had been flush during his stunt on live TV before joining the games. Insane to think they built that functionality into a mask. He grunts and breaks eye contact.

"Don't look at me like that, I'm just cold." He pulls you into his lap before you can say anything in response. "I have an easier time cooling down with fans than I do heating up. I'd have to run really stressful code to do that and using you is so much easier."

He redirects you to face away from him, and as soon as you do he sucks you in as close to him as you can. You're practically inside of his giant, looming frame. His breath rattles a little in his artificial lung pumps. His hands grapple around your hands while holding the blanket taut, holding them in balled fists and trading his cold for your heat. His vocalizer sounds as if it's giving a deep growl, closer to a purr, almost too soft to be heard, but not quite.

His new chassis smells a little more like plastics, metal shavings, and leather than the previous one, which had been muddled with the scent of dirt, grass, and polish. It's so cold, he must have only just made it inside. You wonder how far he had to run to get back here.

His head lowers to rest his face into your shoulder. You rest your head back on his. For a moment, this creature is just the same as you. Human.

He stays there, humming and purring and enjoying the moment. His body is no longer cold at all, he is now reflecting your heat back at you and feels warm himself. You carefully turn your head and push your face into the side of his mask where his ears would be. His head perks up a little for a moment, just long enough to catch his dumbfounded expression and pinkening cheekbones before his face retreats into your shoulder again. He squeezes you close, grappling your fists as if to never let go.

You sit there for a while, until finally you feel his cooling fans click to life. He lifts his head off your shoulder.

"Thank you." He says as he releases you. He looks away, clearly trying to hide from your gaze. You don't get up. You keep staring in his direction, hoping he will give in and turn to you. But you are both stubborn.

After a long while, you stand up in surrender, but place your hand on his unclothed head, petting it once, just for good measure. His hand rises to cover his face.

"Please go back to bed, I'm sorry for scaring you." He says in an abnormally low baritone, trying to hide himself further.

You surrender. It isn't worth prying away his façade when he isn't ready. He had already shown different colors than he did most of the time. This was scary, but in an unexplored territory sort of way. You weren't giving this exploration up after a single expedition. So it is best to rest up and not overextend.

You retreat into your little closet of a room, sliding the door gently shut. The moment it shuts completely, you hear Revenant move around rapidly. He's normally so silent. You recline into your bed, happy to be as warm as you are. You fall asleep almost instantly.

• • • •

You wake up, no idea what time it is. The room doesn't have a clock, maybe a bit of an oversight on the decorator's part. You get up, lurk over to the bathroom, and start performing your daily routine. Brush the teeth immediately, get the gross overnight flavor out of it. Strip and shower, thankfully there are already towels in the bathroom. Brush your hair while still damp after trying to get it as dry as possible with your towel. Deodorant. Grab your clothes. You put on something a bit nicer than yesterday. Finally, you're ready for whatever.

You waltz over, and knock on the door to make sure he won't be startled.

Instead, you hear a surprised grunt, scraping metal, and hushed curses against the door. You quickly go to open it, thinking he may be hurt, but the door is locked. You hesitate, dumbfounded. The Legends can lock people in like prisoners if they want to. Your attention snaps back as you hear the lock disengage, and the door flies open before you can move it. Revenant faces you, somehow looking a little disheveled.

"Were you outside my door the entire night...?" You ask, still fairly shocked.

"Doesn't matter." He absolutely was. He spoke hurriedly, potentially a little embarrassed. But he recovers his slow speaking pace quickly. "I should have just let myself in, I feel like I missed a great episode. Do you know what you said last night? Some pretty exciting gibberish."

"So you were against the door all night."

"Dammit, skinsuit!" He throws his arms up and turns away from you, towering over the doorway too short for him to enter comfortably. "You should have just slept out here. You know I get bored."

"I didn't think you wanted me to, you acted like you didn't."

"Well, I didn't really care!" He cared immensely, apparently. "I just needed something entertaining to keep my mind off yesterday." He crossed his arms, and began to meander over to the computer desk.

"I'm sorry, I wish you had told me."

"I was in a bad mood, just forget about it. It's fine." He tapped away at the computer, letting out a depressed sigh. "That scene from yesterday has all of Loba's fans riled up. They're posting it everywhere." He covers his face with his hands for a moment, motioning in embarrassment. "I can't believe I let that happen. I would have been better off letting Caustic gas me earlier."

"You were outnumbered, you did the best--"

"I'm getting my damn scarf back." He refused your comforting words, flinging himself to his feet and trudging out the door in a huff. You go to follow, but he whirls around, pointing straight to you, locking you in a glare. "You stay away from Loba, understand?"

He pauses, waiting to hear your reply.

"Uh, okay, I'll try to stay away from her."

While not an entirely satisfactory answer, Revenant whips back and disappears from sight. You sigh aloud. If those two have some kind of long-running hatred for each other, it would probably be best if you didn't get in the middle of it.

You peer over to the computer. He's right, Loba standing over his dead chassis holding up the scarf is everywhere. Loba fans are absolutely enamored by the triumphant image. Revenant fans openly mourn, swearing revenge. Loba and Bangalore apparently took the win, finally fighting down the second place team of Wattson and Rampart. Sherry will be miffed that Wattson had the spotlight and win taken from her. Although, now knowing you're on team Revenant, she probably will spare you any of her rants.

You stare at the image. It makes you overwhelmingly sad. Right before that snapshot was taken, Revenant was in unspeakable pain. The scream you heard on the broadcast echos in your head. It was one born of pain: strong, violent, and sharp until the static began to overwhelm it. The screeches you woke up to last night were not the same. They were mournful: hollow, airy, and almost melodic in their melancholy. Revenant can feel great pain, but clearly has some kind of appreciation for warmth and a kindly embrace. Why didn't others see that? Why does he have to suffer so much more, just because he is a simulacrum?

You close the browser. It messes with you. The imagery makes you upset. You feel you might vomit again if you're not careful.

You're snap back to attention at a commotion outside in the hallway. You peer out in the general direction of the other Legends' rooms.

"Fuck. You." Revenant's voice is so low it could rattle someone's bones. Fuse is standing in front of him, but Revenant is speaking beyond him to Loba, holding the scarf.

"It's my trophy. I'm a master thief, I don't just give things back." Loba proudly holds it in front of her face.

Fuse tries to keep Revenant at a fair distance from her, but Loba is standing her ground, completely unafraid.

"Woah now, come on, we don't need to settle this here and now." Fuse is attempting to keep the peace.

Revenant's growls can be heard from down the hallway, a number of volunteers have stopped to avoid getting too close, and a couple Legends are peering out their doors. The extra attention is displeasing to Revenant.

"Fine, but you will regret this." He starts to back off, prepared to fight another day, but Loba is relentless.

"Not if you want anything from me. Including that source code." Only now is she content to click her heels and turn away, Revenant suddenly looking like he lost the fight.

"Geeze, mate, do you really have to be so aggressive all the time?" Fuse gasps in a sigh of relief, addressing Revenant. "And I think I come on strong--you're a whole 'nother level!" He is already beaming a smile from under his moustache again, chuckling at his own joke.

Revenant shoots him a scowl for a moment, then turns back to you and begins to come back to the room, scarfless.

Fuse keeps pace with him as you retreat back inside, not sure if you should stay out of their way or not. You instinctively dive in behind the bed, staying low as not to be seen. You hear them come around the corner.

"Wait a minute, mate, I wanted to apologize." Revenant is already in the room, turning around to face Fuse who is standing in the doorway. You stay hidden behind the bed, nearly on the floor, listening in on their conversation. "That wasn't my best work out there yesterday. I feel like if I had been there, maybe you wouldn't have, uh..." He trailed off, his point was clear. "Listen, I'll talk to her, see if I can get 'yer scarf back. I don't want there to be any hard feelings."

Revenant's breathing pattern and low growl sounds like he is about to explode, and Fuse knows it too.

"Oh hey! They cleaned your room too!" His diffuses can be surprisingly effective. "Heh, I didn't even ask and apparently they decided to be like mum and make sure it got done whether I liked it or not."

Revenant hadn't actually noticed until now. He turns to look into the room. He peers across the way, seeing the bathroom mirror is reflective again.

"You're right." He sounds surprised. You swear you can hear another sigh of relief from Fuse now that the anger is gone.

"I was told it was that runner who seems to have a bit of a thing for 'ya did it. Seen 'em around lately?" Fuse asked. "I like to tip everyone, they do such a great job and they're not getting paid."

Revenant ignores him, walking into the middle of the room, peering around. To your recollection, he had never asked for his room to be cleaned as long as you have been volunteering. His room was very dusty. Now light is shining through all the windows, the television is clear, the bed sheets fresh, the carpet vacuumed...

"Yeah, where are they?" Revenant finally asks aloud. Is that your invitation to reveal yourself?

"Um, hi, sorry." You slowly pull yourself up from the floor, revealing your truly mediocre hiding spot.

Fuse gives a surprised stare, clearly catching a glimpse of your red badge, then laughs it off.

"You picked a cute one, didn't 'cha Rev?"

Revenant turns to face him in an absolute fury.

"Listen, I'm just telling ya to play nice." Revenant gets in Fuse's face immediately, but Fuse doesn't budge and meets him eye-to-eye for his next words. "You seem pretty defensive of 'em. Keep it that way."

Those words take Revenant aback just long enough for Fuse to break away and waltz up to you.

"Cheers, thanks for bein' my mum for me." He hands you enough money for a month of groceries, so generous!

"Thank you! That's very kind of you!" You chirp back, very happy to have more for your savings. Revenant seems shocked by the genuine joy in your voice.

As Fuse walks by Revenant to leave, you hear a short exchange:

"I'll try to get the scarf. Don't go killing anybody, and I didn't see anything out of the ordinary." Fuse murmurs.

"...thanks." Revenant sounds genuine.

Fuse gives him a side-hug on the way out, Revenant leaning away to escape it, but failing. Fuse laughs at Revenant's bashfulness. Getting a thanks from Revenant is a miracle unto itself, worthy of such a small celebration. Fuse is a genuinely good person. He is universally loved by the volunteers for his generosity and positivity. A lot of people have crushes on him, and you can understand why. One swift set of finger guns at each of you and Fuse is gone out the door, closing it behind himself.

"He's nice!" You say very matter-of-factly to Revenant.

"Sure, whatever you say, little skinsuit." He mumbles, seeming a bit exhausted by all the exchanges this morning. "What did he give you?"

"Money!" You hold out quite the wad of cash. Revenant chuckles a little under his breath at your happiness.

"What are you saving up for, anyway?"

"Well, for when this gig ends, I guess." You think aloud. "I just never want to be homeless again."

"Homeless?" Revenant looks at you with concern, "You were homeless before the Games?"

"Yeah, it's terrible out there..." You trail off your own words a bit sadly, but in seeing his concern for you, you decide to end on a high note. "With everything I save, I'll make sure I always have enough to live off of, and with the experience I'll have an easier time finding a job."

"Would it help if I paid you?" Revenant asks, plainly.

"Well, yes, but you don't need to."

"You should have told me." He almost whispers. He sounds a little sorrowful again.

You walk up and give him a quick hug.

"Sorry, I didn't know you would want to."

"If you keep getting too close to me, one of these days you're going to end up in a body bag." He sneers, trying to regain his vicious demeanor.

"Sorry, just keeping you warm, boss!" You play along, for now. You release him. "I have to actually get some food, go by the medical ward for some medicine, and then I need to leave the facility to pick up some new clothes. Do you need anything?"

Revenant stares for a moment.

"I'll be here when you return, bring me something alcoholic though." He answers, studying your eyes.

"Yes sir!" You rush out the door.

• • • •

When you return in the evening, you find Revenant's chassis laying like a corpse on the bed, his headscarf back on his head. His eyes are glowing dimly, staring at the ceiling with little interest.

"Oh hey." You address him.

"Oh, hey." He addresses you back, but slower. He keeps his eyes on the ceiling.

"You okay? You got your scarf back." You acknowledge, hoping he will perk up.

"Yeah." He sounds... depressed?

You put the bag of medicine on his computer desk, along with your bag of new clothes. You walk over with the remaining bag, which has the largest bottles of rum, whisky, and vodka the store sells. It is heavy and expensive, so you carefully place it on the end table next to his bed.

"I got you a ton of alcohol. It was kinda expensive, I'll probably need to be paid back." You carefully request, unsure how he will react. He gives you a thumbs up before his arm collapses onto the bed again. "What happened while I was gone?"

"Nothing much, I just got my scarf back." He sighs.

"Well, how did you get it?"

He moans audibly.

"Fuse got Mirage and Caustic to help him. Apparently it was an absolute mess. Mirage had to make tons of fakes to play keep away with my scarf, and Caustic gassed Loba's room with... zinc chlorides...? Something like that. It set off the fire alarms, everyone had to evacuate--"

"You didn't evacuate, did you?"

"Absolutely not. Anyways, in the chaos my scarf somehow ended up with Artur and Bloodhound."

"Oh geeze, what happened then?"

"They cleaned it, brought it to me, and gave it to me folded up neatly."

"Oh. Well... that last part isn't so bad."

"They were kind." His eyes tightened with discomfort, "And they left me with this." He holds up a single crow feather, perfectly dainty and undamaged.

"Aw, Artur!" You chirped; Artur was the sweetest bird you have met, not that you have met many.

Revenant sat up suddenly, his eyes getting bright again.

"Why would they do that?" He studied the feather in his hands, like he is completely bewildered with the concept of kindness. "They didn't owe me anything." He puts the feather down in front of him on the bed, pulling his hands up to hold his scarf in his grip on the two sides of his head. "They don't owe me this."

"Are you alright? You seem to not want to accept that Bloodhound is a nice person." You wanted to feed him the answer inside the question.

He stays silent for a while, taking the feather and handing it to you.

"Artur said this was for you, specifically."

"Wait, what do you me--"

"It's Bloodhound. It's in their name." He sighs, as you recognize concern in his tone, "They know who you are, they know you're here, and they recognized your scent on me." He lays down on his back, exasperated. "I can't let more people know." You hold Artur's feather, twirling it in your fingers. "They can't know. I am not like this." He seems genuinely upset.

"You seem cold." You prompted.

"I am very cold." He responds, overanalyzing each word for their deeper meaning.

"Do you want to be warm?" You put the feather down next to the bag of alcohol.

He pauses to sit back up before answering.

"Yes, but I can never let any of them know that." He answers plainly, but seriously.

You sit down next to him and are quickly grabbed and enveloped in his cold body, pulling you deeper onto the bed and directly under him. He almost instantly rests his head on your shoulder. His breath slows to a relaxed pace, rattling a little in his chest. His vocalizer hums at a low purr, and he moves his hands to feel your pulse, one at your chest and one to your jugular. He presses in, studying your inherent tick.

The television is on in front of you, but you haven't noticed it until now. The commentators are going over the edits of the "Loba the Scalper" image they found on social media, having nothing more important to talk about before the upcoming trios match. Revenant sighs a bit in your ear, still clearly bothered by his very public execution. You wrap your arms behind you to hug his waist. He holds you tighter for a moment, clearly understanding your intent is to comfort him.

You begin to massage the leather and the mechanisms underneath, unsure of how he will react; but he almost instantly squeezes you again, endorsing your idea. As you work into his back, his eyes dim and his breath quickens and deepens at strange intervals, relating to each long, deep stroke you perform. He slowly but surely relaxes his grip on you, potentially not realizing it. His mask digs into your shoulder, possibly trying to stifle his abnormal breathing. You keep at it for a few minutes, revelling in how sensitive his chassis is. Simulacrums were truly amazing.

Revenant's body melts under your touch, his chassis making odd movements clearly out of pure enjoyment. He's completely warm now, actually turning a bit hot as his code runs trying to keep up with your inputs. You worry that perhaps his circuits are being stressed too hard, but he also seems to be enjoying it so much.

He suddenly seems to shut down. His eyes go black, his weight falls on your shoulders, and his arms dislocate and slump out of his shoulder armor. You struggle to hold up his weight, his torso must be nearly two hundred pounds alone. No wonder he needs pistons to hold it up with his skinny waist.

He roars back to life, literally growling like a beast. His hands open and stretch like talons, the tips sharpening into claws. His legs cross in front of you, and his arms cross in front of you, and they pull you up against him in a nearly-crushing manner. His talons press into your flesh where they land, causing you a minor amount of pain. More concerningly, his jaw pulls open and he immediately goes as if to bite you, pushing your neck into the void of his mouth. He doesn't bite down though. His eyes are needle-thin, and brightened to a nearly red color. You gasp for breath in complete shock.

"You're mine!-Mine!-Mine!" His vocals are skipping as his hoarse, aggressive voice practically screams. "You belong to me!" He falls silent for a few moments. His shoulders refit themselves into their sockets as he slowly relaxes and retracts his claws from you. His softer voice returns. "Mine..." he calmly finishes. His jaw removes itself from your neck and closes. "I'm sorry. Emotions load faster than logic. It's hard to control myself after a reboot."

You had been holding your breath, and finally exhale and inhale, feeling faint with fear and deoxygenated blood. You slump back in his grip, putting your hands on your diaphragm to steady your breathing. You let yourself completely melt onto the bed, allowing yourself to look up at his face, gazing down at you.

"So, that's how you really feel then?" You pant, still catching your breath.

"Only a bit." He tries to comfort you, taking your hands in his. "I'm sorry, I don't mean to scare you. Being a simulacrum is complicated. Even more complicated if you don't learn humanity while you're still human." He looks away, apparently not necessarily sure what he is missing in himself. "But I cannot deny there is truth in that emotion."

"It sounds like 'if I can't have you, nobody can' isn't off the table yet." You are slowly catching your breath.

"I would be very upset. I don't handle being upset well." His words are foreboding, but you're unsure if he is uncertain himself or trying to hide the truth. You want to sleep; you feel like you're going to have a heart attack. He squeezes your hands, noticing your weariness. "Sleep out here tonight."

You give him a weak thumbs up, fully expecting to just sleep right where you are. Revenant releases your hands, throws a blanket over you, and pulls you by your torso into a better sleeping position, up against a pillow. You throw out another thumbs up in approval. He snickers in response.

"I'm getting drunk. So sick of today. I'm going to create a scene so gruesome next game that everyone forgets about this little fiasco." He grumbles. You hear him cork something as you drift to sleep. "Have a good night, little skinsuit." Sleep was taking you rapidly.

"Thank you for the warmth." is the last thing you hear.

160 notes · View notes

troquantary · 3 years

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Cutting Hair as Punishment in the Twilight Saga

Okay, I’ve been trying to organize my thoughts around this into a sort-of-essay format for a while, because I find it disturbingly mean-spirited: Meyer has a pattern of using hair-cutting as a form of punishment for characters, especially female characters, who fail to embrace Bella and the Cullens with open arms. I’m talking particularly about Leah and Lauren, both of whom, while not outright antagonists like Victoria or James, are situated along with Rosalie as “against” Bella throughout the series. The Quileute pack, meanwhile, is situated largely “against” the Cullens, meaning Jacob and the rest of the pack get the Haircut of Shame, too.

(Also, I’ve been creeping through @panlight ‘s blog because I thought she had a recent post relating to this -- I was probably thinking of this submission and her addendum, which does discuss Meyer’s “punishment” of certain characters, but that post was about characters suffering for not waiting for True Love, or daring to do the Devil’s Tango before marriage. Still, it’s on-theme and very much worth reading, like all her stuff!)

So here’s the general outline: first I’m gonna talk about the shapeshifters and how their overall lack of choice frames cutting their hair as something forced on them and therefore punitive. Then I’m going to discuss Meyer’s FAQ response where she reveals that Lauren was tricked into cutting off most of her hair over the summer before New Moon, and how this adds an extra fun misogynistic element to the hair-cutting theme with respect to Lauren and Leah. I also use way too many words to do it, sorry.

Punishment | The Shapeshifters Are Given No Other Option

I don’t have the background or knowledge to discuss the significance of long hair to indigenous culture and identity in detail, and my understanding is that different tribes ascribe different meanings to it. What I’ve read it about it suggests that, generally, long hair represents strength of one’s individual spirit and of the community. It’s a source of pride, and is only cut off voluntarily in extraordinary circumstances, often as an expression of grief, or to mark a significant life change.

This sort of works in the context of the shapeshifters all cutting their hair -- phasing into a giant wolf, discovering the existence of the supernatural, and assuming the role of protectors is a major life event for these characters. But the negative associations make it a troubling choice on Meyer’s part, and that’s without even getting into the problem of her imposing her own worldbuilding onto the legends and culture of a real tribe. Because of the lack of choice involved in becoming a shapeshifter, the whole situation feels like a scenario in which the Quileute characters have their hair forcibly cut -- a degrading and traumatic act that (depending on their particular tribal belief) might symbolically sever them from their sense of cultural identity and connection with the rest of their tribe.

It all kind of begs the question: why does Meyer even have shapeshifting work this way? What narrative utility is there in having the length of their hair in human form determine the length of their fur as wolves, thereby compelling the shapeshifters to cut it so it isn’t a physical impediment? It’s another sign of the changes in Jacob, sure, but he’s already being uncharacteristically cold and distant, plus suddenly has the physique of a fit twenty-five-year-old; Bella already knows something’s very wrong. His short hair is just another jarring thing for Bella to notice and mourn, like the loss of Jacob’s “baby face” and general sunniness.

It does work as a symbolic thing, representing another sacrifice Jacob has to make and the change in how he now has to perceive himself -- but he’s already got a literal giant wolf form to represent that change in identity/self-perception. Forcing him to cut his hair too just feels like piling on. My argument here, which I hope will be supported when I discuss Lauren and Leah further in, is that it’s not just piling on, but actively punitive -- because much like Leah and Lauren are “against” Bella, the pack at large is “against” the Cullens pretty much through the end of the series.

The Quileute pack is definitely not a Cullen fanclub. The entire purpose of their existence is to destroy vampires, and the truce they have with the Cullens isn’t friendly. They still don’t particularly like or trust the Cullens even after allying with them in Eclipse, and in Breaking Dawn Sam is fully prepared to go to war against them to enforce the treaty. Bella expresses frustration with Jacob and the pack for not appreciating the Cullens more, yet is curiously less willing to scold Alice, Edward, or Rosalie when they call the Quileutes dogs and complain about their smell. (I think she might reprimand Edward for it at some point, but I don’t remember the exact passage.) Bella even starts throwing around “dog” and “mutt” as an insult herself -- I think we know whose side ol’ “Switzerland” is on, here, and whose side Meyer is on as well. The Quileutes aren’t exactly enemies, and in fact are crucial to the Cullens’ survival in both the newborn and Volutri conflicts, but they’re punished nonetheless because they aren’t wholeheartedly Team Cullen from the get-go.

So to explain why I’m so convinced that there’s a link between hair-cutting and punishment in particular, let’s talk about Lauren. There’s a definite gendered element to it this time, too -- by being tricked into cutting her hair, Lauren isn’t just diminished/shamed, but rendered (*thunderclap*) unfeminine.

Lauren Was Rude To Bella Like Twice, Let’s Humiliate Her

I think Meyer’s answer to the question “What happened to Lauren’s hair?” on her FAQ page speaks for itself:

Ha ha. I had fun imagining this one—I only wished that it had fit into the book somewhere. Lauren fell victim to the “model discovered in the mall” scam. An alleged modeling agent approached Lauren in a mall in Victoria, B.C., and told her she was a natural model. Lauren ate it up. The agent told her that if she did something edgy with her hair, and took some high quality head shots, her future was assured. Lauren followed the instructions—dropping fifteen grand on the pictures taken by the agent’s partner—and waited for her career to begin. She’s still waiting. Snort.

It’s pretty obvious that this was done spitefully. Here’s the list of Lauren’s crimes against humanity Bella at this point in the series: 1) she was jealous of the attention Bella was getting as the new girl; 2) she talked behind Bella’s back once, saying Bella might as well just sit with the Cullens now (and she isn’t wrong); 3) she eyed Bella “scornfully” the day of the La Push beach trip; and perhaps most damningly, 4) she’s blonde.

Post-haircut, she has the gall not to be thrilled that Bella’s deigning to speak to the lowly non-Cullens again, then sides with Jessica after Bella uses Jessica to make a point to her dad, is shitty company, and then risks getting them both raped and murdered in Port Angeles so she could get off on her hallucination of Edward’s voice.

I think it’s pretty common knowledge that long hair is tied to patriarchal notions of femininity and attractiveness. Women with short hair are still derided for being ugly, or assumed to be lesbians in a derogatory sense, or simply considered less feminine and therefore less desirable/worthy (because a woman’s worth depends on her desirability, after all). For many women and girls, losing their long hair -- whether because of illness, or gum getting stuck in it, or whatever -- is very upsetting and a hard blow to their self-esteem. Just look at Alice as an example of Traumatic Short Hair; her hair was shorn like that because she received electroshock “treatments” in an asylum. (Although in Alice’s case, I don’t think her having short hair is punishment, but a facet of the traumatic backstory all female characters in Twilight have to have for some reason. Plus, she started the series with short hair, which distinguishes her from the pack and Lauren, who were tricked or compelled into cutting their long hair during the series.)

But Lauren’s so bitchy, so she deserves it, right? Ha ha, she was mean to Bella and cared about her appearance too much, so now she’s ~ugly!

Leah Has It the Worst and It Makes Me Want To Burn Everything

The misogynistic aspect of hair-cutting as punishment is taken up to like, twelve with Leah. Not only does she suffer for being “against” the Cullens along with the rest of the pack (and Bella, too, so extra sinning), but she suffers uniquely for being the only female shapeshifter. A bunch of teenage boys regularly see her naked body against her will. Her previously devoted boyfriend imprints on her cousin/best friend, Sam dumps her and can’t even explain why, and the whole pack -- including her own brother -- resents her for being upset about it, even though she can’t help the lack of mental privacy. Because of that same lack of mental privacy, she has to hear every gripe the boys have about her, plus every enthralled thought Sam has about Emily while she’s still deeply wounded by their breakup.

She blames herself for her dad’s death, because she phased at the wrong time. We don’t get any indication that her fellow shapeshifters or the elders are trying to reassure her otherwise.

And of course, because she’s a shapeshifter, she has to cut her hair. In addition, because Leah’s a woman, this has the same misogynistic connotations as it did with Lauren. In Leah’s case, though, the de-feminization is compounded by her sudden infertility. It’s clear that Leah attaches her sense of womanhood to her fertility, rightly or wrongly -- she bitterly calls herself a “genetic dead end” in Breaking Dawn and thinks of herself as a freak. She feels like there must be something wrong with her, some un-womanly flaw, that made her one of the shapeshifters at all.

Then, just when Jacob starts to see her as a human being worthy of compassion, he imprints on Renesmee and doesn’t give a shit about anyone or anything else anymore. No more bonding with Leah, no blooming friendship to help her heal and come to terms with the new realities of her life. (This is one of those dropped threads that aggravate me to no end -- what was the point of having Leah opening up to Jacob, or starting Jacob on the path of realizing he was being a dick to her this whole time and that she’s a person with value, if he was just going to spend the rest of the book as Renesmee’s love-zombie and never think about it again? Disgusting.)

Leah was a lot more forgiving of Jacob than he deserved at that point in the story, for all the good it did her -- I think she’s mentioned maybe once in Book 3 of Breaking Dawn. At least she got her god-tier moment of yelling at a deranged, pregnant Bella Swan.

Speaking of Bella...

I’m just going to note, for no particular reason, that in Breaking Dawn we get to hear explicitly that Bella’s got hair that falls “almost to her waist” and that she looks like “a freaking supermodel” because she’s so “beautiful and pale.” It just strikes me as a telling contrast at this point.

#twilight renaissance #i stared too long and the twilight abyss gazed back #leah clearwater #lauren mallory #jacob black #the wolf pack #long post #i felt myself getting petty about bella okay -- i'm aware it's happening but i have no self control #i also know i sidestepped the racial element to this and it's because i don't feel qualified to speak on it #so any additions from more knowledgeable people on that score are much appreciated

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the-descolada · 3 years

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Penny and Winter as Symbolic Human Machines

So honestly, I’m really impressed by how well done the ending of RWBY Volume 8 was with regard to character arcs being fulfilled, especially for Penny and Winter. I’ve seen a lot of takes, some that I somewhat agree with, and some that I just don’t, that Penny’s death was “bad writing,” and I think that, subjectivity of what constitutes bad writing aside, this is ignoring a lot of aspects of V7/V8 that made for a very compelling narrative, and feels heavily based in just people wanting Penny to not have died.

And I get this! Penny is one of my favorite characters and I’m very sad that she died; however, I really actually loved how fitting her death was for her story and the broader story of RWBY as a whole, so I wanted to do a write-up of my whole rant on this so that people could read it and see my thought process for why this only made me love Penny’s writing more. I’m not necessarily going to ascribe value to the writing itself in this analysis, as that is highly subjective, but I am biased so that’ll shine through some.

V7 through V8 had a lot of moments that frankly I hadn’t picked up on right up until the end that worked to build a dynamic interplay between Penny and Winter’s characters. Specifically, Penny's role is of a literal robot becoming less of a machine in the thematic sense and more of a person throughout, contrasting with Winter, who, while she is helping Penny realize herself as more of a person and less of a tool, is going through the opposite experience herself. This is essentially textual - it’s explicitly said by Winter herself in less words during the Maiden power transfer scene in V8E14.

When we as the audience reconnect with Winter at the start of V7, she is firmly entrenched as Ironwood’s confidante and second-in-command, serving as a face of the Atlas military as it squeezes Mantle. It’s safe to say that not many Mantle citizens like her very much, but she is insulated from this and continues to follow orders without regard for the welfare of the people. Ironwood at this point is already extremely authoritarian, even though he hasn’t graduated to full on dictatorship and declared martial law yet, and his will is also imposed on her through bringing her into the fold with the chief purpose of grooming (god this word feels grossly fitting given their dynamic) her to become the next Winter Maiden.

Winter, despite holding a a significant level of power and authority due to her military rank, has very little agency in this decision. She insists that her choice to take up the duty as Ironwood ordered is something she’s grown into and chosen, but it’s alarmingly clear that this is not the case; nearly every action she takes in V7 is still fully in the purview of Atlas (read: Ironwood)’s goals. I would go so far as to suggest that Ironwood giving her this position within the military after she escapes her father’s influence is intentionally conditioning her to view him as the sole way out of an abusive situation, and to disguise the fact that this new situation is just as abusive as the first below the surface.

Penny’s role in V7 is completely in opposition to this; while she is still theoretically under the control of the Atlas military, she is presented as the Protector of Mantle and seems to be beloved by the people. Our immediate image of her in Atlas is one of emotion and caring; she is overjoyed to see her friends from Beacon again, and this continues throughout the volume as she talks about what it means to be a person with them, Ruby and Winter especially. When things start going wrong and she is accused of killing people through the doctored footage from the rally, she is horrified at the prospect of being seen as a monster and continues to make every decision with the aim of protecting everyone around her, even at the expense of what her “duty” to Atlas might be. It’s clear that she is growing into her own agency, rather than being beholden to what Ironwood wants for her, and this helps prove to herself that she is her own person, not simply a tool of the military, not a machine.

The climactic scene of V7 takes these two character arcs running in strained parallel and drives a wedge between them, even as they battle a common enemy side by side. Winter’s devotion to Atlas (read: Ironwood) results in self-destructive tendencies, uncaring for her personal survival if it would further a goal that she ultimately and ironically does not truly believe in. Penny, however, begins to entirely shake this duty, risking even the Maiden power going to Cinder if it means saving Winter from dying. To her, personal feelings (ding ding ding!) and personal friendships mean more than duty to a state, or even (as we see later) her own well-being. Self destructive tendencies aside, this loyalty to people she earnestly cares about, who earnestly care about her, is loaded with symbolism that separates her from the metaphor of machine.

The result of the V7 finale reinforces the track the two of them are on; Winter, having been molded into a machine of the military, fails in her duty, while Penny, who has begun to recognize herself more and more as a person, succeeds at keeping the power from Cinder. She still has a massive amount of self-doubt and deep-seated fear that she doesn’t count as a person, but the Maiden power, being the perfect thematic symbol of “maidenhood”, goes to her, proving her to be a “real girl” and reinforcing the ongoing narrative. Winter, battling her own mixed feelings over being chosen for the power, never questions this; it’s clear that she, too, recognizes that Penny “was always the real Maiden, while [she] was the machine.” This also reinforces Penny’s narrative being heavily trans-coded, but I think that’s pretty obvious and doesn’t need to be reiterated. The two of them part sides here, one remaining with the Atlas military and one actively rebelling against it.

As Ironwood starts going off the deep end at the end of V7 and throughout V8 and starts sacrificing everyone around him to fuel his own narrow and tyrannical view of how to save Atlas, Winter simply...falls in line. She is continually forced to follow harsher and harsher orders, and any choices she makes as part of that, with only two exceptions, still are entirely in service to Ironwood. She has become, in essence, a machine locked into a set path, a path she, conflicted as she may be, follows all the way up to a choice she cannot abide - mass murder. Even orders that would result in her sister’s closest friends’ deaths she follows unquestioningly - it’s unclear whether she would have actually gone through with it, since the option is taken off the table by forces outside her control, but she certainly says as much in her conversation with Marrow. Only the prospect of annihilating the entire city of Mantle finally snaps her off the track Ironwood has set her on, making her recognize that all of this has never been for Atlas at all, but for Ironwood’s own ego. Fittingly, finally seeing Ironwood as her enemy and not a savior, she is tasked with taking him down herself.

Contrasting this, Penny’s role in V8 is entirely one of rebellion. The entire volume is her building her agency more and more, making decisions based on what she thinks is right and what she values. She rarely listens to any one person telling her what to do; even her father, who she loves dearly, isn’t able to make her do something when her sense of justice is on the line. Ironwood no longer has his hold on her for the most part; any attempt at manipulating her into doing something against her own morals is met with defiance, supported by her friends’ love for her. She has to be outright hacked to be forced into doing his bidding, and she fights this all the way down, her own inherent personhood pushing back against this attempt to dehumanize her. In this sense, even her becoming organic symbolizes this; she and the people she cares about defy this dehumanization of her, finding a way to free her from the last remaining vestiges of Atlesian influence and further reclaiming her own agency.

And what does she do with that agency when she is faced with oblivion? She simultaneously affirms it by making her final choice in a desperate situation, defying Cinder’s attempt to rip her power away, and also gifts it in the form of the Maiden power to the woman who she is watching attempting to also shake the shackles of Atlas, symbolically showing Winter her own inherent humanity. This decision, though dire, is in recognition of what is most important to her: her friends. Even believing half of them are dead, she gives up her life to ensure the rest survive. In the final moment she has with Winter, she reassures her that she won’t be really gone: the memory of her choice and who she is as a person will live on through Winter’s continued choices, through her agency.

In the end, neither of them were machines; just two hurt people fighting back against a brutal world that sought to strip their agency away. The tragedy in this conclusion, that that brutal world took one of their lives away, is fought just as defiantly. Penny knows that gifting the power in her soul to Winter means that her death won’t be meaningless, that her agency will last beyond her mortality and might result in the world finally being freed from the threat of destruction. It’s because of hope, not despair, that she makes her final choice.

#rwby spoilers #rwby8 spoilers #my writing #CRITICAL ANALYSIS TIME #i've been meaning to write up my rant on this for months #rwby #winter schnee #penny polendina

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thevindicativevordan · 3 years

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On Maxima

Every time DC wants to put Supes in a relationship with someone other than Lois, I always wonder why they don't just go with Maxima.

Especially since she's basically what they turn Diana into every time they try to hook the two of them up. Why not just go with the actual Superman Rogue/supporting character who is also a warrior-queen? Who is already almost as violent as she is horny, forcing Clark to try to get her to chill out, even as he's tempted to join her? If it isn't already clear, I like Maxima. Her character archetype, the supervillainess who tempts the hero with sex appeal, is one that's pretty damn popular for obvious reasons. Also for obvious reasons, this kind of character can provoke a backlash nowadays.

Personally I think she can still work just fine, she just needs some revamp. The basics of her character and backstory are still solid and offer storytelling potential. She's the Queen of the alien Empire of Almerac. Maxima is drawn to Superman because of his power. The real big fix is changing why she's attracted to his power, and why she came to Earth in the first place, shifting it away from eugenics to something else.

What I'd Do With Maxima

So I'm going to take some cues from the DCAU incarnation of Maxima in that the reason she seeks Superman out is because she's been deposed.

DCAU Maxima got deposed after she met Superman, but she lost her throne because her people judged her too self-absorbed and immature to lead them. Which she totally was, and changing that formed the crux of her character development over the course of the episode. I'd take a similar route with reworking comics Maxima's backstory.

Maxima has just taken the throne when the Interstellar Empire of Almerac comes under the assault of Mongul of Warworld. Crushing Almerac's defenses, Mongul gives the world an ultimatum: Turn over a selection of their greatest fighters to fight for Almerac's continued right to exist in Mongul's gladiator arenas or he'll reduce the entire planet to ashes. He also demands a sizeable portion of the population be turned over as slaves tasked with keeping Warworld running, and he wants Maxima to be among those slaves as a symbol of Mongul's authority over Almerac. Maxima angrily refuses, but her people don't trust in her leadership on account of her youth and immaturity, and Maxima is overthrown. She's handed over for transport to Warworld, but while en route she breaks free and seizes control of the transport. Alone and without allies, Maxima sets a course for Earth to seek out the one person she's heard is a match for the Lord of Warworld: Superman.

Only interested at first in his power, and planning to use and dispose of him afterwards, Maxima at first presents herself to Clark as a potential mate. Her hope is that will entice him to support her on what could be a suicide mission, and that offering power and wealth via marriage will cement his loyalty. Being betrayed by her subjects still stings her though she takes great pains to pretend otherwise. Superman turns down the marriage offer, but agrees to follow her to take down Mongul and free Almerac. The two travel back to Almerac which is in the midst of choosing who will fight on Warworld. Clark pretends to be a native of Almerac and is chosen as one of the champions. Initially planning to stay on Almerac and purge those who betrayed her while Clark fights on Warworld, Maxima chooses to give herself up to Mongul, after he announces that he will be vaporizing an entire continent as punishment for the Almeracans failure to turn her over to him. Amused at her compassion for those who betrayed her, Mongul adds Maxima to the roster of gladiators, and she departs with Clark to the arenas.

Over the course of a series of battles, Maxima and Clark butt heads, watch each other's backs, and gradually fall in love with each other. Maxima admires Clark's resolve, restraint, and maturity, traits she's forced to admit she lacked. She's skeptical of his idealism however, seeing it as a flaw that undermines his effectiveness, particularly when it comes to killing. Clark admires Maxima's passion, bravery, and refusal to settle for anything less than the best in anyone including herself. All traits that make him ponder if perhaps she does have it in her to be a good leader. He dislikes her arrogance and entitlement however, particularly when it comes to her royal right to rule. A frequent source of fights between the two is whether the common person should have any voice in government with Maxima scoffing at that and point at how the mob gave in to Mongul, with Clark countering that Almeracans had long felt unheard and cut off from their rulers. Obviously that they're both super hot doesn't hurt as part of why they end up sleeping together.

Ultimately through a series of events Superman and Maxima succeed in freeing Almerac and driving Mongul away. Then everything promptly goes to hell. Having fallen for Clark for real over the course of their adventure, Maxima repeats her offer to him of marriage, except genuinely this time.

The two have had sex a couple times already, and Clark is genuinely tempted at the prospect of sticking with Maxima. He's grown to enjoy her company (having sex tends to do that), he enjoys the freedom to be himself without having to hide his powers, the Almeracans embrace him as their champion, and as Maxima's consort he could take an active hand in shaping society. At the point in Clark's career where I'd want to do this story, he's growing out of his youthful rage, but he's still not at peace with his lot in life. Earth's inability to meaningfully change at the pace he wants frustrates him, and leaving behind the restrictions of life there does entice him. My point is that I think the appeal of Maxima to Superman should and can be more than just breeding little Clarks as has been the case in the past.

However Clark ultimately rejects the offer. He can't bring himself to cut ties with Earth, Maxima's unwillingness to cede some of her power to her people isn't something Clark can accept, and Clark is also concerned that taking up her offer would compromise his ability to be a hero. As you would expect, Maxima is pissed at his refusal, treating it as another stab in the back. Due to his help in freeing her people and reclaiming her throne, she spares his life but exiles him from Almerac, declaring him persona non grata throughout the Empire.

Unbeknownst to Clark, who leaves after it's made clear the Almeracans don't want a civil war, Maxima is pregnant with his child. The child allows her to avoid entering into a political marriage, maintaining her independence since she now has a heir. This daughter will be groomed in hidden to take over the Empire, which Maxima now has plans to expand. The humiliation Mongul visited upon Almerac has had a big impact on her mindset. Now she's focused on eliminating any potential threats to her people, and she wants to transform Almerac into the greatest Interstellar Empire in the Milky Way. Then it will never be at the mercy of a foreign power ever again.

For stories, Superman and Maxima are clearly going to clash given she's become an imperialist herself, no better than Mongul. You can tell stories about Clark foiling Maxima's attempts to conquer other worlds, or Earth itself. Maxima would occasionally dispatch assassins or go personally to attack Clark, for the purpose of preventing him from getting "soft". The public reason for this is that he's become a roadblock to her aims, and needs to be eliminated. Secretly, her goal is to constantly push him to be stronger because she wants him to meet his daughter one day. Not for any sentimental reasons mind you, Maxima wants Superman to teach their daughter to be his equal in ability and resourcefulness. After learning everything she can from Clark, said daughter will be charged with leading the invasion of Earth. Conquering Earth, and defeating Superman, will be the girl's rite of passage into cementing herself as Maxima's heir. The world of her father, Superman, is destined to be her own Throneworld as Almerac's is Maxima's.

Think you could have a lot of fun in giving Clark a "Damian" of his own to deal with. Personally I'd have it so that the "daughter" would be akin to the New 52 Maxima who I thought had some potential. You could have Maxima and Maxima Jr. argue about the morality of Almerac's expansion, with MJ ultimately taking her father's side which causes enormous problems for her mother since she can't disown her daughter without a replacement heir. I think that could be a fun family dynamic to explore.

Wondering where Maxima will show up next. Part of me was hoping Almerac was that part of underdeveloped Superman lore PKJ talked about fleshing out, but that seems to be either Warworld or the Phantom Zone. I still think Maxima and Almerac have a lot of potential to be major players in Superman's world, but it's going to take someone being interested in fleshing them out. Maybe the upcoming Superman cartoon will accomplish that? If not I'll just have to hope someone will down the line.

#superman #maxima #mongul #dc comics

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cto10121 · 3 years

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you’re oversimplifying the argument surrounding the darklings hunger for power. i agree, alina isn’t alina without her powers. but it’s quite clear that the darkling is willing to prioritize the use and commodification of her powers over her agency and personhood. his main goal was to orient alina towards his political cause so he could use her powers, the feelings came after. when it became clear that alina would choose a different path, the darkling threw her independence and right to consent out the window and collared her to harness her power as his own. this is a clear indication that he prioritizes that utility of alinas powers > her. the argument that “alina is not alina without her powers!” in this case makes little sense because you’re somehow implying that the darkling’s primary motivation for pursuing alina was because he liked her for who she was, which is just as inaccurate.

Okay, this is where we have to be clear which Darkling we are talking about, book!Darkling or show!Darkling. Because there is a clear difference between the two and how their motivations and actions were written and we cannot move forward without acknowledging the changes and the (bad) writing that plagues the Darkling re: motivation.

Because for better or worse, unlike book!Darkling, show!Darkling makes little to no distinction between Alina the person and Alina the Sun Summoner. Even in his language he uses mostly Alina or Miss Starkov, depending on the situation and context; post-Episode 5, he uses Sun Summoner with Ivan and the other Grisha, but (revealingly) Alina with Zoya. He constantly looks straight at Alina during her light demonstrations and not her light, even when others do. “I have seen you for what you truly are, and I have never looked away. I never will” betrays the core of this attitude and it does ring true (Barnes at least confirmed it to be a non-manipulative line). To the Darkling at some level, Alina and the Summoner are one and the same. It’s even questionable that he even planned to control her power with the amplifier from the get-go; it reads more like he expected (delusionally?) Alina to see his side of things and understand why they should keep to the Fold for now. It reads more like a decision he took only after Alina left him, which he construed as a personal betrayal and a break of trust (from his POV).

Yes, he did plan to use the Sun Summoner for his own devices because, well, he knew her as only the Sun Summoner in the beginning—just like most if not all the characters in the show. She had political significance to him and others. But that he started to see her as more than that is pretty evident even early on. I won’t lie, I did laugh at the “are you sure?” consent request—oh, yes, control her power via amplifier without her consent, but for sex, surely not!!!—but again, it reaffirms the theory that show!Darkling’s original intentions were most likely to let Alina kill the stag and take over its power and then reveal his plan to expand the Fold. It would even explain lines like that incredulous, cold, and even judgmental “You would give up your gift?” Ep. 2 line after Alina offers to transfer her power to someone who would use it—not the type of reaction someone planning to do exactly just that would have. You’d think 500 years of existence would give you a finer appreciation of irony.

Does this mean that since the Darkling initially planned to use her that his eventual falling for her is therefore less pure/inferior to Mal’s love? Yeah, if you have a black-and-white “only love based on and arising from pure motivations is valid!!!” type of view. Does this mean that since he wouldn’t have looked twice at Alina had she not been the Sun Summoner, his love for her is less pure? Well, considering book!Mal 1) did not even notice Alina romantically until after she was taken to the Little Palace and 2) definitely had tons of trouble accepting Alina as the Sun Summoner in Book 2 before magically becoming warmly supportive in Book 3, I’m not too fussed over splitting logical hairs and playing the what-if fanfic AU game at ridiculous levels (“Voldemort would never look twice at Harry Potter if he weren’t a wizard destined to destroy him!! He just hated him because of the prophecy, it’s not true hate!!!” *le sigh*). Also, what about Nikolai? He, too, initially viewed Alina as a symbol of hope, used her for his gain, and proposed a strictly political marriage for alliance. Doesn’t take away from the fact that he did come to like her for herself and it sure did not stop most of the fandom from simping for him hard or shipping him with Alina.

I’m frankly too old for purity tests; kindergarten was a long time ago for me, you see. We may enjoy fictional villains for their nigh-omniscient, well, villainy, but in the real world and in fiction that seeks to portray its messiness, you never have as much control as you think you do, no one does. Power and privilege are very much relative. And above all, things never go according to plan. The fact that the Darkling initially viewed Alina as the Sun Summoner to play a key part of his plans does not take away from the fact that he did honestly fell for her and came to see her as more than just the Summoner. He did do wrong in trying to control her, definitely, but for reasons I’ve explained, it’s not as revealing of his true view of her as you’d think. “I’ll relax,” as he tells Zoya when he rejects (!!) her advances, “when I have Alina.” Not Sun Summoner.

(Also, as a bit of a P.S., much of my original post was not so much about the Darkling as the fandom’s own cleaving of Alina from her powers. I get that Bardugo’s narrative almost encourages the reader to view Alina’s powers as something apart from Alina, powers that corrupt her or could, but I must question that artistic decision, especially since 1) it contradicts the established magical system so damn hard and 2) magical male heroes like Harry Potter never face the prospect of losing their power or having their power be controlled by another or even being “corrupted” just by using their power. I really resent that sexist double standard. If Harry weren’t a wizard, he would not be Harry. If Alina weren’t the Sun Summoner, she would not be Alina.)

#i come anon #the darkling #shadow and bone #shadow and bone meta #darklina #hopefully i cleared up some things #ask #anon

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lucky-dreamfisher · 4 years

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Queer Subtext in The Illusion of Living - Part 5/5

It’s time to address the elephant in the room: Henry.

Joey tries very, very hard to ‘no homo’ his relationship with the man:

“His presence was helpful, I can happily admit, but his absence was even more so. Not having him at the studio ended up being one of the best things that could have happened to it. Of course, the funny thing is, I couldn't have not had him without having him in the first place. Just like you can't appreciate the light if you haven't spent time in the dark, so too does a person's absence become clear only if he has been around.” TIOL, page 154

“A letter from Henry. You might not think I'd keep such a thing, but I do. I have no ill will toward the man as you know. Him leaving, as I said, was the best thing that could have happened to the studio. His letter reminds me of that.” TIOL, page 218

The lady doth protest too much, methinks.

The only hint we get regarding Joey’s true feelings for Henry is the following note by Nathan:

“NateA: Joey has always been a professional person, far more so in many ways than me. That is why this section of the book is so forgiving of the man who abandoned the studio he helped create. Joey can't help but see the good in people. That being said, as a good friend of Joey's, I know that Henry's departure was a great upheaval for him and a great personal betrayal. Joey never truly forgave Henry, and I don't think he should have felt obligated to. The fact that Joey is so gracious in this part of the book is a reflection of his incredible generosity in allowing Henry Stein to be stainless in the eyes of history. I think, had he lived longer, Joey might have in later years called it his greatest illusion.” TIOL, page 155

I’m very surprised by the harshness in Nathan’s tone here. Especially since Henry appears to believe that he and Joey have parted on good terms, and Joey admits that they have continued to exchange letters for a while after Henry’s departure. We’ve also seen Henry’s note to Joey in the game, and it comes across as warm and supportive:

It really doesn’t sound like anything ugly happened between him and Joey. So then why are both Joey and Nathan convinced that Henry is a monster?

While I can believe that Joey is pathetic enough to consider anyone who slights him his worst enemy, Nathan comes across as a more level-headed person. So for him to voice his approval for Joey’s petty grudge must mean that he knows something that we don’t. But what could it be?

Honestly, nothing else comes to mind except for romantic heartbreak. It’s the only thing that could justify a man holding such a deep grudge for so many years. This isn’t Joey’s first friendship that grew apart over the years - his army friends have moved on with their life as well. It’s a normal part of life and there’s nothing in TIOL that would suggest Joey is unable to cope with that. We also know that the studio did fine for quite some time after Henry’s departure, so it’s not like Henry left Joey deep in debt. Henry wasn’t even the only animator at the studio:

“When the studio opened I surrounded him with artists of all skill levels, and the Writing Department had its own de facto leader in Mr. Hemmings, and so the whole of Creative was well managed for that first year of the company before I had to part ways with Henry.“ TIOL, page 155

And so we’re left with only one rational explanation: that Joey isn’t so much hurt by Henry leaving his job, as by the fact that Henry left specifically for the sake of his marriage.

Try as I might, I found no reference to Linda in TIOL. Even though Joey claims to have been friends with Henry for many years, he makes zero mention of ever having met Linda. While there are some hints that Henry wasn’t yet married to her at the time when he and Joey opened the studio together (such as the fact that he claims he hasn’t seen her in “days” even though he presumably slept at home, implying that he and Linda weren’t living together at the time. A shopping list among his notes in the Handbook also suggests that he cooked his own meals, which would be unusual for a married man with a demanding job), the two were already a couple by then, and must have known each other for a while already. Surely, as Henry’s friend, Joey would have met her?

Even when talking about Henry leaving, Joey uses a cryptic language:

“Henry left for his own reasons, and the correspondence between us became less and less. To be honest, it was almost like a weight off when he left. He had grown more sensitive as the studio became more successful and giving him pep talks had become exhausting for me. All the good qualities he brought, the hard work and diligence, were being undermined by a restless need for something different. Something that wasn't Bendy. I will never understand that drive. Bendy was and is perfection.“ TIOL, page 177

In DCTL Norman claims that Henry left to spend time with his wife. Why doesn’t Joey say that? It doesn’t make him look bad to admit that an employee left to enjoy a quiet family life. It’s almost like he refuses to acknowledge Linda’s existence at all. Like it’s too painful for him to speak of her.

Perhaps the “personal betrayal” that Nathan is referring to is related to Henry choosing a real family, over the “studio family”, and the possibility of having a real child, as opposed to a fictional one?

The symbolic image of Bendy as a child shows up multiple times in the game: for example the drawing from Henry appears to depict Bendy, Alice and Boris as a happy family, with Bendy holding onto their hands like a child would:

There’s also Alice using a womb imagery to describe the ink machine:

And of course, the final monologue is centered on Henry’s choice to pursue a family:

That monologue is very interesting if we assume Joey to be gay. Because a gay man would never have been able to follow Henry’s road. Gay!Joey could never choose to have a real family with a man he loved, because that option was denied to him by the homophobic society he was living in. The studio is the closest thing to a family that gay!Joey could ever hope to have.

And evidently, that was not enough for Henry.

If Joey’s indeed gay, that must have felt incredibly unfair to him - knowing that he had no chance of happiness in marital bliss from the start, through no fault of his own. This would explain his desire to create a real, living, breathing Bendy, no matter the cost, just to prove to Henry that Joey’s “child” can be just as real as the one Linda could give him.

“Bendy was Joey's child, and he felt just as strongly about Bendy as I feel about my flesh-and-blood son.“ TIOL, page 2

This idea of an illusory choice very much resembles the choice between the Angel Path and the Devil Path in Chapter 3. It’s the only choice that Henry ever gets to make in the game, yet no matter which way he chooses, he still ends up in the same corridor. Some of the golden messages highlight his helplessness:

The symbolic meaning of the choice between the Angel and the Devil also shows up TIOL. There’s a scene in the book, where Joey writes a play about an Angel and a Devil fighting over the soul of a human man. Eventually, the Devil confesses that he doesn’t want the human to make his choice, because then one of them would have to leave. The play was supposed to end with the man making his choice, but according to Joey they lacked a third actor, so the ending was never played out.

I believe that the play is symbolic of the relationship between Henry and Joey, specifically with regards to Henry choosing a relationship with Linda over his friendship with Joey.

There are several reasons that lead me to believe this:

The human in the play making a choice between the Angel and the Devil is reminiscent of Henry choosing between Devil Path and Angel path in BATIM.

The play highlights that the Devil is on the left side of the human, while the Angel is on his right side:

“ANGEL: Spending my time with a devil has been an enlightening experience. Working with you over these years with you sitting on that left shoulder, so far and yet so near, all our debates, they were invigorating for the spirit.

DEVIL: I won't miss you! Fighting all the time, trying to trick you into agreeing with me, trying to push you off that right shoulder of yours. The violence and the anger. I won't miss it at all!”, TIOL page 89

Much like the Devil Path is on the left side in the game, while the Angel path is on the right side:

The Devil is obviously a stand-in for Bendy. Joey even dances on the stage at one point, and one of Bendy’s nicknames is “The Dancing Demon”. Joey also claims that the Devil from the play was an inspiration for Bendy:

“Let's start with the basic idea of a cartoon.You need a main character. Someone who has adventures and who the audience relates to." I did. I needed that. I needed a character who didn't just reflect the general population back to itself, but a more exciting version. I had no interest in moralizing, besides I didn't think moralizing was particularly realistic. People don't see the world as one populated by do-gooders. I thought of the angel in my play. She could never be a lead character. The devil on the other hand…” TIOL, 165

The fact that Joey claims the ending was never played out is strongly reminiscent of the missing ending of the Tombstone Picnic

It’s possible that Joey is lying about the ending not having been played out, to hide Henry’s role in the success of the play, much like he removed his part in Tombstone Picnic. After all, what would be the point of writing a play for 3 actors, when you only have 2? Why not ask someone to play the 3rd?

Although the play itself is centered more on the relationship between the Devil and the Angel, rather than their relationship with the human, there is still a strong queer symbolism in the play:

“Abby shifted nervously next to me the whole evening. She was in a dress for the first time in a long time, white and soft. I was pleased she'd come in character. For my part the only red thing I owned was a garish bow tie, so that was all I was able to contribute visually.” TIOL, page 82

The angel is played by a woman, who usually wears men’s clothing, but of course, the Angel being a symbol of Christian values couldn’t possibly be portrayed breaking the gender norms. She had to wear a dress, though Abby is clearly uncomfortable in it. She’s essentially performing heteronormative feminity. Next to her we have Joey as the Devil, dressed in a red bow tie, which as I’ve mentioned in the first part of this analysis, used to be a symbol of homosexuality.

This contrast between the uncomfortably heteronormative Angel and flamboyantly queer Devil is striking. It’s also very much in line with the views of the society in the 1920s. For something to be the symbol of purity and goodness, it has to be heterosexual, and the Devil is queer, because he’s also the symbol of sin.

That symbolism could be indicative of Joey’s own internalized homophobia. Back in his army days, his friends used to bully him for breaking gender norms. Joey likes to present himself as the hero, who was easily able to outsmart the bullies, but many of his later remarks in the book and in DCTL show that some of that attitude has left a deep mark on him.

The symbolism could also be intentional. Joey boasts about having personal ties to Noel Coward, a real life gay playwright, who was known for his many affairs with men, and for putting an ungodly amount of queer symbolism in his works:

“The old woman took a liking to me, and she was nice enough. Besides, her connections were incredible. She knew everyone, she even had the playwright Noel Coward come to stay with her whenever he was in town.” TIOL, page 144

There’s a lot of evidence pointing to the play being symbolic of Henry’s choice between his relationship with Linda and with Joey. But it’s also symbolic of Henry’s choice between Bendy, and a real child. The studio family, and a traditional family. Heteronormative relationship vs a queer relationship.

Although there’s no indication in canon that Henry might be bisexual, he doesn’t need to be. The game has beaten into our heads that the “choice” is an illusion. Henry was never going to choose the Devil, or at least that’s what Joey believes. Although we’re never told what choice the human in the play was going to make, we’re told that he was supposed to be dressed in white, which suggests that he chose the Angel.

“(The door stage right opens. A man all in white enters calmly and chooses a seat, brushes it off carefully and sits. He takes his hat off and holds it gingerly in his lap.) (Quiet.) (Curtain.) THE END” TIOL, page 91

That might be why the Devil in the play confesses that he doesn’t want the human to make his choice, fearing that one of them will have to leave once such a choice is made:

“DEVIL: You think he has made a choice?

ANGEL: It is possible.

DEVIL: Do you think he might be all bad?

ANGEL: I hope he is all good.

DEVIL: If he is all bad, my job here is done. If he is all good, you can go home.

DEVIL: Strange. If we win we also lose. You would think that would be something I would find delightful.

ANGEL: You would think I would love to make such a personal sacrifice.” TIOL, page 89

The line about a “personal sacrifice” is very interesting in this context. The Angel and the Devil clearly care for each other and for the human, and don’t want their relationship to come to an end. Though the Devil in the play seems to make gestures that the audience interprets as romantic in nature, Joey insists that it isn’t the case:

“I leaned in and placed a hand on Abby's knee. There was a gasp from someone in the audience, but I knew Abby wouldn't be flustered by it. That wasn't the nature of our relationship.” TIOL, page 89

It makes me wonder if perhaps Linda and Joey used to be friends at some point, and both competed over Henry’s attention.

There’s a much overused trope in fiction where two men compete over a woman, which ends up ruining their friendship. It would be really interesting and subversive to see a man and a woman competing over a man instead.

EDIT: I can’t believe I forgot to add this part:

"Joey, thanks for coming," said Henry, approaching from behind us. I turned to look at him He had dressed up for the event but every item of clothing looked slightly wrong. The sleeves of his shirt a bit short, his vest a bit long, his tie askew. He smiled, though, with such confidence that I couldn't help admire him. I still do.” TIOL, page 160

Joey fell for Henry’s smile, how romantic!

“We watched in silence as he worked. Despite his lack of genius, to this day, I will always say that watching Henry work was a real pleasure.“ TIOL, page 173

“It's fascinating. Henry was never the showman like I was. He didn't tend to be easily remembered by those who met him when we did business. I was invariably the face of the company, the one introduced first at a gala, the one to whom people slipped their business cards.Yet in the end he ended up setting up camp in this small corner of my memory. I can't deny that he is tied to the creation of Bendy, to the creation of the studio itself. That at one time, in one small apartment, one too warm evening, we had shaken hands. That once upon a time we had been partners. He'll always be there, in the dark recesses of my mind. Always linked to me that way. Funny how the forgettable man is now forever in my mind” TIOL, page 177

#Bendy and the Ink Machine #batim #bendy: the illusion of living #joey drew #Henry Stein #Linda Stein #dreamfisher certified #nathan arch

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shinidamachu · 3 years

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I haven't watched anything after ATLA, but I was shocked to find out that Zuko and Mai don't work out. What are your thoughts? Do you think the writers could have gone in a different direction or was it for the best?

I gotta be honest, you're not missing out much by not engaging with the extras. I only watched Legend of Korra and I don't really remember Mai even being mentioned on it.

They did give Zuko a daughter, though. Her name is Izumi. And even though they never explicitly revealed the mother to be Mai (or what was made of her), I just assumed she was the mother due to the remarkable resemblance:

Now, I haven't read the comics (nor will I ever), so if you're actually refering to them, my knowledge is very limited. But it is my understanding, from the metas I've read about them, that Zuko and Mai break up and make up, as it was their modus operandi in ATLA.

Mai not being around in LOK doesn't necessarily mean she's dead or that they broke up for good. The fate of their relationship was purposefully left open and they do end up together at the end of ATLA, so what happens after doesn't really matter since not everybody takes the comics or LOK as canon, anyway.

Now, since you asked for my opinion... I wasn’t shocked to find out about how they were portraying Maiko in the comics at all. First, because Bryke suck at writing romance. Second, because from the interactions in ATLA, this was more or less what I imagined their relationship would play out and that’s why I never shipped them.

MAIKO CRITICISM UNDER THE CUT!

The writers should have gone in a different direction, but in the ATLA finale. I love Zuko. And I love Mai. But I don’t like them as a couple because I think they are not fitted for each other. And I’m not just saying that because I’m a Zutara shipper, let’s get this out of the way right here, right now.

I’m saying this because I would rather they had ended up alone than together. Not only them, but Aang and Katara as well. They were all so young I feel like there wouldn’t be any harm for the story if no couples were canonized.

Especially because, again: Bryke suck at writing love stories (with the notable exceptions being Yukka and Sukka) and romance was actually the less compelling part of ATLA.

More than that, if Zuko and Mai had to end up with a love interest, it shouldn’t have been each other because Maiko is actually a disservice to their characters. In some aspects, it keeps Mai from growing and it regresses Zuko's development.

You see, their relationship always struck me as something they would eventually grow out of. Don’t get me wrong, I have no doubt they really cared about each other. But the narrative went out of its way to show us that the years they spent apart changed their dynamic fundamentally.

Mai and (especially) Zuko aren’t the same people they were when they first met. And when they finally reunited, no real effort was made to learn who was this new person in fron of them. He tried to open up, but she shut him down.

Instead of reconnecting, of deepening the relationship, they insisted on jumping head first into dating and picked things up where they left off, desperatelly trying to cling to what they knew and forcing two pieces of a different puzzle to click. Of course it wouldn’t work.

The person Zuko became needed someone passionate by his side. Someone he could open up to and confide in. Someone with the same sense of honor, of justice. Someone who understood him and his actions, who got how important it is for him to take the throne and right the wrongs of his country. Someone he could count on to help him get there. I guess we can all agree that this doesn’t sound like Mai.

The person Mai became needed someone who would focus on her and her needs for once. Someone who would have made her a priority. Someone who could actually see past her poker face. Someone who would take her away from the boring royal stuff she hates so much. I guess we can all agree that this doesn’t sound like Zuko, either.

When he took off to join the Gaang, he left the life style he had always known behind because it didn’t fit who he was anymore. He can’t go back from that. And this includes Mai. She is the personification of that life. And as much as they liked each other, being together just doesn’t make sense anymore. Especially because becoming Fire Lady inevitably traps her in the life she was trying to get away from. It’s one of the worst endings they could have given to these characters.

And the way it was executed? Even worse. They reconciled without as much as a conversation about what happened: his “betrayal”, the end of the war, what it means for their relationship, if their feelings were still the same. In fact, apparently Zuko kind of... completely forgot she was in prison and made no move to get her out because he had been too busy fighting Azula and taking lightning to the chest for Katara.

Mai isn’t even a part of the apotheosis of his arc. He got where he needed to be and she wasn’t one of the characters who activelly help him get there. This is very symbolic. And the apotheosis of her arc? Was saving him from Azula, but she didn’t did it because she understood his reasons and wanted to be supportive. She did it because he is the guy she likes. Which is fine, but not enough to “award” her with Zuko. There were feelings there, but they were never on the same page.

“Mai Alone,” is what she deserved. To travel the world on her own. A different place every day. Never the same, always moving. Maybe that way she would have seen the things Zuko did. Maybe this way she would have understood. And after tasting freedom, she would have realized she would have never want to be confined to palace walls ever again. Not for Zuko, not for anybody.

She would have been much happier as the first woman in the White Lotus or as a Bounty Hunter. A spy who, after seeing what the Fire Nation did to the world, finally found her calling by working on the shadows to make sure nothing will break the peace the Avatar and the Fire Lord managed to achieve.

And Zuko deserved the family he always wanted, with a partner who would not only put up with the political duties, but would have been thrilled to do so. Katara seems like the obvious choice here, but even Jin would have been a better fit.

Sometimes things aren’t meant to be and that’s okay. Zuko and Mai work better as friends.

#I'm sorry but as a Mai stan I simply can't accept my girl spent the rest of her days unhappy and bored as all hell #She despised the political roles and having to behave all the time for the sake of someone else's career #And you're telling me this is exactly what her endgame was?#Whe she could have been a badass woman on the run #Kicking asses and taking names?#Plus I ship her with Ty Lee #And June #Anyways #ATLA #Avatar The Last Airbender #Mai #Zuko #Sidmailing

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sigynpenniman · 3 years

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Julian Bashir Playlist Time!!

Apple Music playlist (if you're a heathen and subscribe to apple music like me) here

I know that there's plenty of people making playlists, but I really feel like this is an under-utilized brand of fan content. Instead of attempting to create a list of songs that Julian would listen to, or a playlist of songs which were all lyrically directly applicable (though there certainly some of those in here) regardless of genre, I tried to create something which captured, above all, his vibes instead, by choosing songs that balance at least somewhat relevant lyrical content with the energy or feel that I associate with the character. What it means matters, but not as much as how it makes you feel. That said, I signed up for apple music and read a TON of those overwrought iTunes store album review descriptions while I was making this, so I have a whole lot to say about all my choices here. In depth explanation of my symbolism and methodology behind each song under the keep reading. (I love tumblr. I want to write 1,000 words of analysis about why I picked songs to represent Julian Bashir and some of you are gonna read it. This is where I get to pretend to be one of those iTunes music writers. I feel joy.)

Good Morning - Two Door Cinema Club TDCC's Gameshow is high on my favorite albums of all time list for nebulous reasons I myself don't really understand. It was this album, though not this song (but one that will pop up later) that actually inspired me to make this playlist to begin with, as for some reason, from the color scheme of the album cover, to the overall vibe, to the ever-present references to illness, injury, surgery and healers in the lyrics, the whole thing feels inescapably Julian to me. And with an opening like I'm a sinner/I'm the victim/I'm an alien when I'm myself/I'm a healer/I'm a fixer/I'm a present danger to my health/I'm so strong/Doing what I'm supposed to do/ There's something wrong/With somebody like me, it's hard NOT to think about Julian when you hear this song, and I can't think of a better way to start this off.

Sweater Weather - The Neighbourhood I think there's a joke somewhere about bisexual people all liking Sweater Weather, and yeah, I resemble that remark. Sweater Weather is just good. You'll notice there's a sort of chill-indie-alt-electronic thing going here, and that is very much the vibe I'm sticking with. Sweater Weather slots in beautifully, both sonically and thematically. As the singer looks to warm and protect the person he's with from the cold, you can't help but feel a loving coziness coming off of this one. It always makes me feel cozy, at least, so it's here.

Gooey - Glass Animals I have nothing to analyze here because the artists themselves have said that the lyrics of this song have no meaning, they're just meant to capture a vibe, and capture it they do. Close your eyes and ride the vibes of this one. The energy is right, I love it, it belongs here.

Blue - Mika I could probably write a couple hundred words on Blue alone, in any context. This might be my beloved Mika's magnum Opus. Opening the song with the inherently counterintuitive lyric Blue is a feminine color, Mika manages to pack it ALL into this 3 minute song: questions about gender; concepts of sadness, joy, and their intersections; of the perception of melancholy as a flaw and loving people despite, or maybe because of, those "flaws" and anything else about them; a powerful first person reassurance that made me start weeping in my car the first time I heard it; just the phrase "why are humans cruel to you." And oh boy, ARE there questions of gender. Why is blue NOT considered a feminine color? Is that a good thing, a bad thing? In 3 minutes of artful poetry, Mika manages to wrap up sadness, love, joy, pain, the feminine that exists within the masculine and the masculine that exists within the feminine, in the simple color of blue and then, in one lyric, validates it all. And on a much simpler and more obvious note, this is in fact all a philosophic musing on the symbolic meaning of the color we see Julian wearing almost all the time (when he's not in uniform, almost all his civvies are also shades of blue.) I feel like this is one of those songs that's hard to analyze because it does what music and poetry does best - communicate something that cannot be communicated any other way. With these broad themes of loving others around the things they can't love about themselves, you can decide for yourself if this one is coming FROM Julian or directed AT him, either works. I find myself struggling for exactly the words to explain this one, but listen to it; you'll understand.

Little Dark Age - MGMT Another choice with no obvious lyrical relevance, but the tonal fit was just too good to pass up. The vibes pass.

The City - The 1975 This song is one of several present because it leans on medical symbolism to get its point across, though I would be lying if I said I fully understood what that point was. But the entire second verse, apparently about the song's subject suffering from some kind of illness and reassuring him that the next one's the M.D./You'll be feeling just fine, seems somehow to transmit the discomfort of illness directly to the listener. I don't know how or why, but the effectiveness of the empathy the second half of this song elicits, in me at least, puts it squarely in the "odd medical vibes" category.

Surgery - Two Door Cinema Club THIS is the song that inspired this whole playlist, mostly because of its title and general vibe. Another example (of many) of medical/anatomical references in this album (another of the songs is called Fever, etc), this song just feels like Julian to me.

The Other Side Of Paradise - Glass Animals I really like Glass Animals. That is probably becoming obvious. Aside from its delightfully cohesive vibes, this song opens with what's simultaneously the slyest and most brazen gay lyric I have heard on the radio recently, as the male singer says When I was young and stupid my love left to be a rock and roll star/HE told me... The song seems to be about a man whose male lover left him in pursuit of fame and fortune, and eventually ends up with a woman, leaving the singer behind. It's got simultaneously subtle and obvious gay themes, it's got confused love affairs, it's got so much bisexual energy. I cannot think of anything that could be more Julian.

Sit Next To Me - Foster The People Kind of like Sweater Weather, this whole song is built around a rather cute and sweet "sit next to me," and you can't help but feel a bit warm and cozy when you listen to it. I think it pairs with sweater weather well, and slides in with the rest of the picks very nicely.

Nothing Better - The Postal Service (the original band of the lead singer of Death Cab For Cutie) Another example of heavy surgical symbolism, the very first lyric of this song is Will someone please call a surgeon. This is actually a duet, and the singers speak of their real hearts to represent their emotional ones. Something about Your heart won't heal right if you keep tearing out the sutures always gets me and always will. And it vibes good. It vibes so, so good.

&Run - Sir Sly Sir Sly's &Run is my favorite song for driving too fast. It does an amazing job of musical onomatopoeia, talking about running while making you want to run. It's a song about running out of plans and running as far as you can instead, which is all very "I'm illegal by definition so I went to the farthest possible reaches of space." And like everything else here, it just feels good. It's also one of the only highlights here that I can actually see Julian listening to.

Cosmic Love - Florence and the Machine It's no coincidence that it seems like most of us who are invested in Julian Bashir are some flavor of genderqueer, be it trans, nonbinary, questioning, or something else entirely - the man's got a Gender with a capital G, and there's a whole lot going on in there. Between the words that were written for him on the page, and the words that were actually spoken, and the way he carries himself, Julian always seems caught between the white, western, and frequently toxic masculinity that the writers often seemed to want to imbue him with, and the very different, racially and culturally distinct masculinity Sid actually brought. But there's an undeniable element of the feminine in Julian too, at least by a traditional definition. The presence of this part of him at all, much less the fact that, in-universe, it's the more traditionally "feminine" parts of himself - the caregiving and nurturing aspects - that Julian seems proudest of or to like most about himself, is a large part of what makes his character so interesting, at least to me. So there was no way I was getting out of this without acknowledging that somehow, and I can't think of a better way to acknowledge a complicated relationship with the feminine side of one's own gender than with this world's own Celtic divine feminine, Florence Welch. I can't think of any better artist, at least that I know of, to represent femininity as a nonspecific ethereal goddess-concept. I basically spun the wheel of Florence here, as anything would have worked, but Cosmic Love felt very appropriate for a character who does in fact live in space. There could even be some Garashir in here, I think.

Dream Sweet In Sea Major - ミラクルミュージカル, or Miracle Musical, a sister act made up of members of Tally Hall I also couldn't leave off without acknowledging Julian's affection for classic lounge music, especially since it's the only thing about his taste in music that we actually know. But instead of tacking on some rat pack, instead I'm polishing this off with the incredibly chaotic and somehow also perfectly cohesive and calm Dream Sweet in Sea Major. It's got all of the vibes of a lounge singer but gone completely off the rails, which just seems perfect somehow. And it's also a very nice feeling to be left with, so it seems only right to put it at the end.

and if you've read all of this, I love you. Y'all didn't know I was this into music did you. but I am. oh boy. I AM.

#julian bashir #playlists #Spotify

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aspoonofsugar · 3 years

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RWBY Chain Of Faves

Who are your top 10 favorite RWBY characters and why?

Hello anon!

Thank you very much for this ask! I love talking about faves!

1) The murder kids aka Emerald and Mercury

I have talked about them here and here and I’ve shared some minor thoughts here and here.

I think their story has yet to enter its climax, so the metas on them are not as finalized as those on other characters. Still, the set-up is all there and I love it. As I say in the metas linked, they are a unit (body and soul, weapon and semblance). They are also two of the characters who mostly explore the cycle of abuse (together with Cinder, who is both victim and perpetrator).

I like how they are given the chance to screw up very very badly (and are given consequences for their actions), but are also always framed as two kids who try to be toughter than they are.

What is more, I love their relationship and their dynamic with Cinder. I think both bonds are very complex and are shown rather than told. This is why Emerald and Mercury’s body language is very effective imo. Their closeness is mostly conveyed through them glancing at each other or how they move around each other. This makes sense because they are in a place where they can’t speak freely.

In particular, I like that their relationship is deep, but not idealized. They care about each other, but are too scared to save each other. This is why Emerald needs the help of an adult (Hazel) to leave her abusive environment. This is also why she is recovering in a healthier environment that also lets her understand the consequences of her actions better. At the same time, Mercury who is instead stuck with another abusive mentor can’t currently escape.

When it comes to each one of them individually...

Emerald’s design and semblance are among my personal favourites. Her semblance especially is at the very top of my list. It has so much potential thematically and flexibility in terms of use (invisibility, transformation, specific illusions fitting a character’s flaw). I hope they use it more and in diverse ways in the future to show Emerald’s growth. For example, how cool would it be if she used it to help another character overcome a panic attack? Or if she helped Ruby enter the mental state to use her eyes with it?

I also really like she has a specific fighting style that fits her thief motif and is very different from others. It is less scenographic, but very pragmatic and I love it.

I also liked the focus she received this season and I think it needs to be finalized. I am curious on how it will happen.

Mercury’s background is the one which breaks my heart the most. The little we know is horrible :( I also think it is a story that heavily relies on symbolism to convey the idea of abuse...

Marcus took Mercury’s legs, so he can’t psychologically escape the cycle of abuse... Marcus told Mercury he needs no crutches and Mercury is refusing to aknowledge his hurt and to heal... Marcus’s violence messed up Mercury so much he is not sure what he wants and his semblance is missing to underline it.

I wonder if we will discover more about his background or if what we have so far is all. I can see it go both ways to be honest. Also, Tyrian’s interactions with Mercury are interesting and meaningful, but also terrifying. I both want more and I am scared of having more :’’)

I am also looking forward to see how his allusion will be used. As for now, he has the potential to have at least three different motifs going on. The one of Mercury the God, the one of Mercury the metal and the one of Mercury the planet. Curious to see what is done with them!

Finally, I’m the One is one of my favourite songs because it is full of foreshadowing and perfectly conveys what their characters are about. I would love to properly analyze it one day, even if I have used it in multiple metas already :), so I am not sure I have new things to say.

The same can be said about their fight against Coco and Yatsuhashi and their fight with Cinder against Amber. In a sense, those two fights are complementary, since the first one foreshadows their major assets that are properly shown and charged symbolically in the second.

In short, their fight with Coco and Yatsuhashi is how they want to appear:

I'm the one that your mama said 'Don't mess with them or you'll end up dead That type they don't follow any rules'

Their fight against Amber is who they are deep down:

I'm the one That was born in a nightmare a murderer's son

I'm the one Who rose out of filth and was loved by no-one

3) Penny

She is the protagonist of the Atlas Volumes and has my favourite arc so far.

Her arc is contradictive, sad and powerful. In a sense, her whole character is written to hurt :’’’) She is given a happy and enthusiastic personality to hide how tragic her story is.

Penny is an example of how to write a specific kind of tragedy, where the main conflict does not lie in the character’s flaw, but in the environment she is in. Penny wants to be a “real” girl, but others won’t let her. This conflict escalates until she tragically manages to affirm her personhood in death.

At the same time, she is given self-issues that can be seen as a flaw and tie to her environment. She is self-sacrificial and struggles to see herself as a true person. Still, this flaw does not really drive her plotline (others’ control of her does) and, as @hamliet has stated, it does not eat everything around Penny.

So, she dies tragically because she never gets the chance, not even to overcome these self-issues, but to properly face them. At the same time, her death is powerful and cathartic because she negates others’ control and manipulation. She negates the mechanisms that had her develop self-issues to begin with.

Is it a happy outcome? Not at all. It is sad and contradictive. It is gray, but this is precisely why it is powerful. It manages to convey and explore complex and contradictive ideas. It does not offer an answer, but only bittersweet questions.

I also really like how Penny’s allusion is used in the story. It is played straight in terms of plot since Penny becomes human as the story goes on. However, it is problematized in terms of themes. It conveys that humanity is about making choices and experiencing both happiness and pain. Finally, Penny’s final scene is an inversion of the original novel.

Penny is not the Blue Fairy’s creation, but the Blue Fairy’s creator:

She goes from Creation (passive, a child) to Creator (active, an adult).

Incidentally, Penny too has one of my favourite songs. Friend is beautiful and it perfectly describes her arc. It conveys how much she loves humanity despite how complex and painful it is. The music starting slow and melancholic to gain more power as it goes on describes Penny’s life beautifully. It is a story that ends too soon (the music interrupts at its most vibrant), but it is still a melody full of love for life:

An answered prayer A chance to Share the world To be a girl Who fin'lly felt alive

4) Cinder

Cinder is probably the most complex and best written character so far.

She manages to make me feel for her and to make me incredibly angry with her at the same time :’’’)

I have written several metas on her, so you can read my thoughts on her background, the focus she received this volume, how I think her arc will end and some minor symbolism.

Cinder is built on an equilibrium between victim and perpetrator. She is both and the narrative strikes perfectly with its framing of her. It is both sympathetic and strict and most of all tragic because no matter if Cinder wins or loses... she keeps spiralling either way and she can’t understand she is fighting a worthless fight.

She is also full of interesting motifs and symbolism. One I would like to explore more in the future (and for it to be explored more by the story itself) is her fall motif.

She chooses the surname “Fall” herself when it is decided her first target is the Fall Maiden. This makes for a nice juxtaposition between her and Winter.

Cinder is born with nothing. Her own name refers a substance almost completely burnt, something with almost no color. It is a very humble name, so she chooses a surname which is important. It is a surname that hints to her role as a vessel of the Maidens.

She is not chosen to be a Maiden... she is not supposed to be one. However, she decides she is going to take the power even if it is not hers. She is taking destiny in her own hands.

Winter is born with apparently everything. However, this is also why everything gets decided for her. She is given the name Winter before she was born. Similarly, Ironwood chooses her as the Maiden even before she discovers about them.

Cinder sees Winter as having everything Cinder deserves. However, she misses how Winter is facing very similar struggles. She might be given what Cinder is negated, but she too has to make that destiny hers. She has to take her story in her own hands, just like Cinder.

At the same time, Cinder’s fall motif is linked also to the idea of falling. She falls and makes others fall. Exactly like she burns and is burnt. The orange of her flames aesthetically calls back to the orange of the falling leaves.

This idea is also conveyed through Cinder constantly mistreating and even killing characters representative of sides of herself.

She abuses Emerald and Mercury aka her child selves.

She kills Watts aka her negative foil.

She kills Pyrrha and Penny aka her Maidens’ foils.

It is clear that all this hurting and killing parts of herself won’t end well for her. I mean, she, not Salem, is the one responsible of the two major deaths in the series (Penny and Pyrrha), so she is bound to receive consequences.

Another thing I love about her is how her intelligence is people focused. She is very good at reading and manipulating others and this is how she wins her major fights. This is both her flaw and her major asset. I like it because I think RWBY is good in showing different kinds of intelligence and Cinder’s one is very coherent with her personality.

Finally, I love how her Cinderella allusion is used. It is a deconstruction of the original fairy tale that is born from a question: “What if Cinderella were not the kind victim of the story, but a bad victim?”. It is also interesting how the key character in Cinder’s allusion is not the Prince or the Stepmother, but the Fairty Godmother who fails her twice (Rhodes and now Salem).

As a side note, I can’t wait for The Truth to be out in its complete version.

5) Oscar

Aka the one who deserves nothing of what he gets :’’’)

I love him because he is an example of how to write a character who is a cinnamon roll, but that also is not boring and has complexity.

His struggle is about his sense of self. He starts the story by wishing to become more than what he is, but he does not like that this “more” turns out to be about fusing with another person. He wants to grow not to lose himself to another entity.

This is his major fear:

Who will you see? There in the darkness When no one is watching Who will you be? When you're afraid And everything changes Will you see a stranger? Feel proud or betrayed?

This is well conveyed also by his relationship with the rest of the group. He starts as the odd man out and others mostly rely on Ozpin rather than him. He sometimes even seems to disappear behind Ozpin. However, as time goes on, he forges genuine bonds and he becomes dependable on his own. He becomes even more so than Ozpin because he has something Oz lost out of cynism. The ability to trust.

In the Atlas volume he is the character that embodies the thematic statement about trust:

Oscar: You want him to trust us? Then trust me.

The point is that to be trusted you should trust first, even if there is no guarantee it will work.

It is interesting because the theme of trust is explored starting with Ozpin, Oscar’s foil, who does not trust others, so our protagonists feel betrayed. However, in Atlas they find themselves in Ozpin’s shoes and must choose if to trust Ironwood or not.

Here, we explore a form of conditional trust. This idea is presented by Ruby, who wants to be sure it is safe to trust Ironwood. So she keeps secrets and studies him until she decides she can trust him... only to discover that was not the case immediately after. This happens because trust can never be completely safe. Actually, in its most negative declination, this kind of trust becomes the control symbolized by Ironwood.

No matter what, trust is always a leap of faith. This is why trust is a risk. Oscar shows this concept well. He decides to still trust Ironwood at the end of volume 7, but it does not work. Still, he does not stop and decides to trust Emerald and Hazel. This time his trust and faith are repaid. He is fred and gains a new ally:

I love Emerald and Oscar’s interactions btw :’’’) It is good that Oscar is the one who is growing closer to her. They escape Salem together and Oscar has not been hurt by Emerald the same way the others are.

Anyway, even if trust is worth it, the exploration of this theme in Atlas actually ends on a negative note. It ends with Cinder who is an enemy of trust because she uses others’ trust and feelings against them.

Anyway, Oscar is a key character and I can’t wait for his story to develop more!

6) Ironwood

He breaks my heart.

He is a an excellent tragic Hero.

He thinks he is the Great Good, but this is precisely why he spirals out of control and falls with his own Kingdom, hated by his allies and forgotten by his enemies.

His downfall stems from his inability to trust, his refusal of emotions, his single-mindness and mostly his convinction he is better than others. This idea is structural of Atlas society and is seen in many of his inhabitants. No matter the social class, we see multiple people thinking they deserve better and that they are above others. This is why Atlas falls and his people becomes refugees in the poorest Kingdom of Remnant.

Anyway, Ironwood thinks he is better than others, so he should be the one deciding for others as well. This idea is flawed and perfectly conveyed through his ideology of sacrificing everything. He feels he has everything, so he can sacrifice what he wants. Still, this is not the case. Others’ lives and feelings are not his. He doesn’t own them.

7) Weiss

I love Weiss. She has one of my favourite designs and one of my favourite semblances and fighting styles.

Her snowhite allusion being played to explore the idea of a dysfunctional family is very good.

In general, I love how much she has grown slowly, but steadily and how she has progressively become warmer. I enjoyed her interactions with her siblings this season. She also gets many moments where she shines for her humanity and intelligence.

She is both Snowhite and the Prince, but also the Huntress that changes and makes others change. She becomes an inspiration for her whole family and since the Schnees are all in Vacuo and she will eventually join them, I am curious if there is going to be more about their family dynamic.

Other than this, I am excited about her Nevermore summon, what is means symbolically and when she will use it.

8) Ruby

I think Ruby’s arc must still enter its climax and that she will shine towards the end of the series.

That said, I love her as a protagonist. She has an interesting set of skills that makes her competent, but not invincible. Moreover, I like how she is important and a participant of the plot, but also does not single-handedly solves everything by herself. She has to learn just like the others. For example, this volume she learns that trust is a risk and the importance of taking risks.

Moreover, she is actually very rarely the protagonist of a volume climax. Speaking of the most climatic volumes, Pyrrha is the protagonist of the climax in volume 3, Yang and Raven are in volume 5, Penny in volume 8.

The climax where she is the most in focus as a character is volume 6 and that is the volume where her eyes are explored and her personal arc is set up. That said, she still manages to be important and to contribute to the action in many ways.

I think her role is to inspire others and I guess that by making that speech this volume she is gonna grow into a symbol even more. If that happens it will be interesting to see what this means for her.

Apart from this, I am curious about her subplot with her mother and if it will tie to her choice to save Cinder with her eyes (since I think this is where we are going). She is going to be both Hood and the Huntsman who kills the Wolf and saves the Victim.

9) Nora and Ren

They are my favourite canon romance.

Their story starts with Ren getting focus (with Nora as a support) and is slowly shifting to Nora developing as her own person (with Ren as a support).

It fits for them to be one of the series main romances because as characters they both explore the concept of emotions and emotional intelligence.

I would say Nora is one of the most emotional intelligent characters in the cast. She is aware of her own feelings for Ren and tries to push their story forwars. She quickly picks up on Pyrrha’s crush and encourages her to make a move. Honestly, she sees herself as a dumb jock, but she is far from it. She is one of the wisest and most sensitive characters:

Nora: You shove people out so you don’t have to feel things that are hard!

Ren is ironically the one struggling with feelings, even if his semblance is all about emotions. In a sense, it is as if he develops it precisely because he struggles with this part of himself.

As a child he is easily overwhelmed by emotions like fear, which goes in the way of his actions. So, when he is under stress he deveops a magical power that lets him control this part of himself. However, as time goes on, it becomes more and more obvious that he should face his own feelings. And once he faces them:

Ren: No! No one is replaceable.

Then he becomes able to see both himself and others more clearly.

In general, both Ren and Nora must overcome their issues if they want to end up together.

Ren’s issue was his fear of being completely vulnerable and to open up with another person. Nora’s is her complete dependance on Ren and how she sees herself as only a part of him, while she is much more.

As a side note, Ren finally confessing his feelings for Nora only to be (temporally) rejected is a great note for his character arc. He was repressing his feelings out of fear, but now he has grown enough to take a risk (opening up, showing vulnerability). Well, this risk does not pay off immediatley. Nora asks him for some time and this is surely not how Ren would have hoped things to go. Still, he understands and supports her. He takes an emotional risk that does not pay off immediately, but he is able to live with it.

In terms of writing, I also think Raven is top notch. Moreover, Winter is a lowkey favourite as well.

I also like some minor characters like Ilia, whose background is built on a very interesting premise that fits her chameleon motif, and Whitley who manages to be helpful even if he is not a fighter. Velvet also has a cool weapon and semblance that tie with her photography motif.

I also love Yang, Blake and Jaune aka the other members of the main cast.

In terms of design, many of my favourites have also my favourite designs (Emerald, Weiss, Mercury, Cinder, Penny, Winter, Ruby, Ren and Ilia).

Other than them, I love Neo’s design, characterization and fighting style:

Finally, I also like Tock’s design and concept, even if she only appears once.

Thank you for this ask! I had fun with it!

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beyond-far-horizons · 4 years

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Analysing the Zutara Cave Scene from a Writing and Psychological perspective

Forgive me, I’m an enthusiastic newbie to the ATLA fandom and Zutara (mainly because I knew the ship was perfect for me but was not canon and so I held off watching it for years.) So I know you’ve heard it all before but I wanted to break down this famous scene in more depth from my background as both a writer and a student of psychology. It’s also important since the age old ship wars are being resurrected (which I want no part of) and Zutara and this scene has been looked down on and belittled from some quarters.

Warning - Wall of Text TM incoming!

The main thing that gets most people is these mortal enemies going from hating each other to being open and vulnerable in about five minutes of screen time. I get the impression more time and therefore more conversation has gone on off screen, but it’s amazing that Katara goes from tirade at the literal face of the Fire Nation (a country whose plagued her people and killed her mother, and Zuko himself who has hunted her and her friends, captured her at least twice and has had several intense fights with her)

to tenderly touching Zuko’s face and “let me use our one of its kind Holy Water TM to maybe heal your face.”

Also as others have pointed out Zuko lets this ‘peasant’ (who defeated him, wounded his pride and foiled his lifelong goal several times) touch his scar when he doesn’t let anyone else do that at this point, even girls he’s been close to.

I doubt many Zutara shippers think this happened because the two suddenly decided the other was hot, even though there might be an unconscious physical attraction under all the animosity. But no-one can deny the writers were trying to show a shared connection that makes them open up to each other. That to me makes the relationship much deeper whether it’s platonic or romantic.

Katara, despite her understandable rage at Zuko, is surprisingly open to forgiving and helping him as soon as he -

a) mentions they have something in common - the Fire Nation being responsible in some way for the loss of their mothers.

b) his resolution to make his own destiny and overcome his difficult past associated with the scar.

I just love this about her character. She’s passionate, feisty and full of integrity but she can’t stop herself wanting to help make things better, even to one of her worst enemies. Her compassion is such a strength and it comes out even more when she realises she’s accidentally hurt his feelings re his face.

Zuko in turn is softer with her than I’ve ever seen him with others, even Iroh most of the time. He doesn’t get angry or even really defensive and he opens up about his mother for the first time. Extraordinary considering he’s talking to an enemy.

But this isn’t the first time he’s tried to win Katara over against his normal combative persona. When he captured her in Ep 9 you’d expect him to threaten her, especially surrounded by his men and bloodthirsty pirates. Instead he asks for her understanding and tells her (the little peasant and enemy of the Fire Nation) about his lost honour.

He then goes momentarily into full skeevy villain mode (which I loved) and offers her necklace back by placing it round her neck. (As an aside, yes this was totally the wrong tactic considering it was her mother’s who the Fire Nation killed, but I do love that he unknowingly offered her a Water Tribe betrothal necklace.)

Analysing it more deeply from a writing and psychology perspective, I’d say Katara represents the integrity and vulnerability that is at the core of Zuko’s character - the thing that got him that scar and banishment from his warlike family.

The same side he struggles with and that Iroh tries to heal and encourage within him. It’s masterly from a writing POV that they brought this mirror up and allowed Zuko to connect and own this aspect of himself again briefly before Azula (the opposite representation and Zuko’s ‘shadow’) literally crashes the party. This is truly his ‘crossroads of destiny’, raising the stakes and therefore making us - the audience - ache all the more when Zuko makes the wrong but understandable decision to choose Azula and his family’s version of him and betray not just Katara but Iroh too (dat angst.)

(As an aside look at the framing of the above shot. They do this alot showing him literally caught between two sides. In the previous scene with Azula and Iroh, they show both the unscarred and then scarred profile of Zuko to show the ‘two sides of him’ symbolically represented by Azula and Iroh.)

Two sides, Fire and Water, the battle of opposites and the bringing of balance is of course the core of ATLA, and Zuko and Katara’s fraught relationship sums this theme up perfectly. Another reason so many still ship them and feel aggrieved by the non-canon ending.

I think Zuko is so wounded by Katara’s refusal to forgive him and so determined to earn that forgiveness is because she represents his true ‘honour’ - the right way to be - to fight for balance and justice with integrity no matter what. Thus he must make amends to her, not just as someone he has wronged, but as the mirror of that aspect in himself.

Thematically this is tied up beautifully in him asking her to join him to defeat Azula in the final season and them working together to do so.

(As another aside, the theme of balance and Yin and Yang is also mirrored in Zuko and Katara’s relationship and character development. At the start Katara is the caring, altruistic almost motherly sort and Zuko is the angry, aggressive pursuer. However like Yin and Yang that contain an aspect of the other within them, whenever Katara meets Zuko she becomes more aggressive and is allowed to process her grief and anger, unlike with her friends. Zuko, in turn is often softened by her, reawakening his compassion and deeper feelings. Yes these aspects are also fostered by others, but Season 3 highlights this dynamic to Zutara allowing Katara to address her anger and Zuko to practice caregiving and support.)

Coming back to the Cave Scene - the most poignant part for me isn’t actually the face touch (even though I love it). It’s the final glance between them as Katara and Aang leave. Katara looks back worried, it’s as if she can sense the threshold Zuko is on and feels torn between staying and supporting him and her duty to Aang. I feel if they had had more time together Azula would have had less chance to turn Zuko.

He looks back at her softly and there’s a beautiful musical cue, hinting at things unsaid and unfinished, she gives him a final lingering glance, still anxious, then goes.

We all know what happens next.

Conclusion

Looking at this from a purely plot point of view it -

raises the emotional stakes and therefore make Zuko’s betrayal hurt worse.

Sets up Zuko knowing about Katara’s healing abilities and Spirit Water so he knows there is a possibility the Avatar could be saved. This all plays into the shenanigans of Book 3, letting Zuko go back to the Fire Nation, Azula giving him the credit and then letting down her father etc.

Giving Zuko more character development work to earn everyone’s trust esp Katara’s when he finally makes the right choice.

However I’m surprised that Bryke didn’t realise how this episode would look to the eyes of most fans esp Zutarians. Yes you could say it’s hetero-normative and why can’t they be just platonic etc but it was the Noughties, it’s a kids show and they are blatantly playing into those well known tropes - Zuko’s previous verging-on flirtatious treatment of Katara, his uncharacteristic softness and openness with her, her touching his scar, the music, their lingering glances, Aang’s jealous look (you could argue it was animosity towards his enemy but while we get this from Zuko, it is definitely played as suspicion about a potential rival so close to ‘his girl’ from Aang’s side.)

Ultimately the writers didn’t choose the romantic route, which I feel is a real shame and missed opportunity because of the depth of feeling and potential there. But what I really resent is when people act like Zutarians were stupid and/or biased for seeing and loving that potential. I hope this analysis has shown that the romantic subtext was strong (and much more believable for me than with Katara and Aang) and in line with the core themes of ATLA itself. This also refutes the suggestion that Zutara was somehow dark, toxic or shallow cos ‘he’s a bad boy’ or something.

Zuko was owning his own struggles, emotions and destiny in this scene, it’s why Katara finally opens up to him. She doesn’t have to ‘do the work for him’, but she supports him in it as he supports her later on when he earns her forgiveness. And that’s why I love it!

Thank you for coming to my TED talk...

#zutara #zuko #katara #atla #avatar the last airbender #meta #my meta #my writing #long post is long #wall of text tm #anti-kataang #better put that in there even though I don't really go into the rival ship #antis please don't interact I respect your right to ship let's be civil

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aquamotto · 4 years

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Polish School of Magic or what Rowling gets wrong about Poland

In short: many things.

The only mentions of polish wizards come from two instances - some Quidditch team (Grodzisk Goblins) and Hagrid’s visit to Europe (with some goblin mention, again).

Why goblins, anyway? There is no such creature in real polish mythology. Instead, there are much more Harry Potter-esque things such as: Beast of Krakow, Dragon of the Wawel Hill who is the most famous and ferocious creature in all Eastern Europe. The majestic power of this beast can only be matched with majestic power of its city of dwelling - Krakow, to put it simply, is the city of Polish kings.

Below: Krakow, the city of “goblins”, according to JKR:

But let me guess - goblin invokes this image of rudeness and primitivity that probably comes from british understanding of poles as construction workers and such. It is curious that nuanced portrayal of poor people that is reserved for characters like Snape is not allowed to poles. They are “goblins” but Snape is a “working class hero”.

What I will describe below, is my headcanon based on what I imagine Wizarding Poland to really be like, sans goblins and other imperialist fantasies but based on my own observation of Poland as both pole and outsider (because, unfortunately, I am both).

Personality, culture

Quidditch champion image as rude and loud lads couldn’t be farther from the truth. Polish wizards, much like their friends in neighboring Czech Republic, are wise, eccentric, philosophical and brave people. They have been blessed and cursed with difficult history (Such as Partition of Poland and German and Soviet Invasion) and know very well how to operate in secrecy. In fact, they are the most secretive of all european wizards and if muggle were to accuse them of witchcraft, they would deny the fact to their last breath. In the same time, polish wizards love magic and often risk everything to pursue their next magical experiment. They are prone to be idealistic and live with their head in the clouds, sometimes literally, which can lead to both troubles and brilliant inventions.

Some believe that Nicolaus Copernicus, the genius astronomer who placed the Sun at the center of the Universe, was a polish wizard (painting by polish artist Jan Matejko):

This image of genius, sudden discoveries and epiphanies is valued in Poland to the point that students of Polish School of Magic wear stars indicating their year on their uniforms - to honor Copernicus.

However, poles aren’t Ravenclaws in disguise - they are traditional, obedient and lawful people at the core and no polish wizard, even the smallest first year, would dare to cheek their headmaster or teacher the way Harry and co. do.

Teacher - student relationship is sacred in Poland and it’s almost like your second parent - someone to be treated with utmost respect. This can lead to quite harsh hierarchies in Wizarding Poland.

Looks

Polish wizards dress modestly, colorful suits Weasley Twins style are not for them. They can sometimes even look monk-like (or medieval knight-like) in appearance. Since Poland is filled with minor aristocracy called szlachta (and I am proud to belong to it, too*) many polish wizards openly wear their coat of arms on their clothes. (*If you are wondering whether I have a coat of arms - yes, I do).

Polish School of Magic uses dark red monk-like hoods with more normal suit under as an unifroms. Since they want to be the guardians of well respected traditions, it fits them.

This doesn’t mean that poles are somber, though. They can be playful but in their distinct, “I challenge you” way. They can be competitive and fiery to the highest degree, especially when their honor or honor of their school is involved. They are indeed the most patriotic of all wizards, thinking of themselves as separated not only from muggles but from foreigners too.

Relationship with muggles

Polish wizards do not like muggles very much but unlike Britain, it rarely comes in a form of hostility but rather patronizing and light mockery. Rather than valuing pure blood,poles just think of themselves as superior to muggles in intelligence.They are especially suspicious of muggle disrespect of culture and the past which leads to wizards thinking that muggles are morally and spiritually, rather than genetically, impure. However, there was never an attempt to deny muggleborns education - in fact, they are welcomed with open arms and often even relief - “Finally, another one of us!”. This makes them a bit closer to Grindelwald’s idea of superiority than Voldemort’s one.

Music

Anyone knows Chopin, the great french-polish composer and indeed, poles adore music. To the point that Polish School of Magic considers participation in a school choir mandatory. But highest praise is reserved for those who dare and pick up an instrument (be it violin, cello, horn, piano or something else) to join the School Orchestra. If Triwizard Tournament accepted Poland, they would arrive in most curious way possible - operating the giant musical machine which would look like a church organ mixed with piano and other instruments. The headmaster would play it and the students (dressed in cloaks) would accompany him with some strange melody to make the grandest entrance ever.

Polish School of Magic

Pictured below: Frombork

Thanks to Copernicus, magical astronomy and astrology are best subjects to learn in Polish School of Magic. Unlike their colleagues in Prague who are obsessed with alchemy, potions and dark arts, poles are more interested in the spiritual so they also value divination in any forms and defense against the dark arts. Since living in a country as difficult as Poland forces you to always be on your toes, teachers consider it important to teach their students nonverbal magic as soon as possible. They also encourage wandless magic and actually had a lot of luck with it (unlike other european schools). Thanks to a certain WW2 incident, they also offer a superior course of arithmancy (If you know what I am hinting at, well done!)

Pictured: Frombork Cathedral Bell Tower

Since poles are not very practical people, they don’t teach their students about Magical Creatures at all (aside from a side course on dangerous creatures such as dragons in DADA). This just doesn’t fit their heady aesthetics. Being honest and reliable people, they also dislike transfiguration - something about turning things into animals and other things strikes them as unnecessary cruel and even devilish. Being pious at the core, poles want magic to always come from the source of respect and light. That’s why almost all students leave the school with full patronuses - most common of which is a white eagle, of course - the symbol of Poland. Poles are often so patriotic that even their best memories are linked to their national identity!

Poles are also good at charms and make superb magical duellists. In fact, not many nations can best them in this regard, if any. It is thanks to their wandless magic, wordless spells, quickness of reaction and harsh discipline (almost military-like) instilled in them in their school.

Talking about discipline... Polish School of Magic’s discipline is indeed very strict. The school grounds are usually quiet, students know best not to laugh too loud, not to pull pranks or fool around needlessly. Spontanous duels are forbidden. Teachers love their work and always keep an eye on misbehaving individuals. Lazy, incompetent or misanthopic teachers don’t exist in Polish School of Magic. Instead they can be overly strict, demanding, mocking, conservative and overly eccentric. (This one is based on real life experience, everyone.)

Below: Ksiaz castle

Teachers in Polish School of Magic lean old and getting a place there is very difficult and demands tons of connections. They also lean male but not just because of prejudice (although, unfortunately, such prejudice exists - Poland is a country of soldiers in many ways), because DADA course there is especially harsh and physically exhausting. (Some say it’s because they want to best Durmstrang and it comes with knowing your enemy).

Despite the notes of traditionalist gender roles, female teachers are usually well-respected, even more than male ones. And that’s why many female teachers are quite haughty and have queen-like demeanor.

Below: Ksiaz castle room

But when do poles rest from all their strict training? The answer: when holidays come. Holidays are sacred for poles and many missteps are forgiven during them, rules become slightly more relaxed.

One of the curiously LESS regulated things in Polish School of Magic is love. While british and american wizards such as Snape may get into a puritanical rage seeing two students kissing passionately, polish teachers would just smile sweetly at them and leave them alone. Girls sending boys postcards is not considered cringeworthy as it is in Hogwarts (I am looking at you, Harry) but natural and enviable. In fact, teachers encourage students to dance together and on holidays such as Christmas, they even overlook duels related to love triangles (a rare case of them approving non-DADA duels). Poles can dance well and you can often find them waltzing in the school balroom in their festive robes. They also flirt well and all this combined with the fact how good they are at duelling, makes them formidable rivals in love for students from any other school, including Beauxbatons, especially considering that Beauxbatons boys lean narcissistic rather than chivalrous.

In the end, if Poland did participate in Triwizard Tournament, I think it would charm everyone with their quick wit, intelligence, modesty, good manners and passionate spirit.

Quite far from the “Goblin” stuff, isn’t it?

Below: various beautiful views from Poland

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