#there's always an interesting balance of trying for respectful representation as well when a character is like. y'know. straight up evil.

[prince-liest]

IIRC, Alastor was specifically retconned to having Creole/African heritage after concerns were raised over Vodou being a closed practice/religion; he was always intended to practice Vodou, and still uses their religious symbols in the show.

The only official art of human Alastor we have was done BEFORE that retcon, uncolored, but he looks white- which is why fandom usually chooses to interpret that as him being white passing. That's how little thought was put into his backstory as of the pilot.

I've seen fanfics incorporate Vodou tastefully into Alastor's character and background, though- those usually go along the lines that his mother practiced it, but she worked mainly in positive aspects, like healing, protection, and divination (which is what REAL Vodou was commonly used for). There's this one Radiostatic fic that theorizes Alastor's shadow dolls might actually be zombis, lost/dead souls that have been captured by a sorcerer and turned into servants in Vodou folklore.

AH, okay, this makes sense! I love that take on his backstory. And the whole situation also really highlights something else that I have issues with with Hazbin, which is that so much of the background information is just plain not in the show (and oftentimes not in any place where I would even know to find it, at least not as a trustworthy source). I actually didn't even truly know 100% that the common human Alastor design that I see around a lot was based on an official art. I assumed it probably was just from how widespread it is, but I've never seen it, so I wondered if it was also just a fanon that got popular...

But I fully agree with you that I strongly suspect it came into creation with the assumption on Viv's part that Alastor was white. Not because mixed people who look like that don't exist (and boy can that be a trial in and of itself, when people are judging whether or not you look too white), but because the general way that the whole thing went down and Viv as a person make me suspect her default mindset for character design when she was creating her oldest character was indeed 'white.'

I do at least personally really like how a lot of the community has taken to addressing that, both in terms of drawing variations on his design, and in tackling the subject from the perspective of the complexity of being a mixed man in 1920s America and what role being white-passing (or not, or working to try to be) played in Alastor's life.

I'm not Black myself and I don't really have room to speak about this in a great deal of depth, but at least in the circles I've been kicking around in, I've seen a lot of love and effort poured into thoughtfully fleshing out this character's portrayal (especially by people of color), and it makes me happy to see.

[luna-rainbow]

(I've seen a couple of Peggy posts turn up today and please note I'm not trying to be contrary, just want to discuss things from a different perspective)

I've talked about this in another post before, but the MCU movies need to be examined in the context of the genre convention of superhero movies. From a writing perspective, CATFA (and all the Cap movies) needed to center on Steve Rogers (which is why CACW and TFATWS were failures in their primary story). All the other characters are meant to be support -- Bucky was the main foil, but so were Sam and Nat - Nat as the deceptive spy to Steve's blunt soldier, Sam as the modern parallel of Steve's traumas. By and large, CA1 and CA2 managed this balance well. Bucky Stans may not like me saying this, but as much as it would be nice to see more of Bucky's inner voice about his horrific experiences, that was not the point of those movies. The point of the movies was to focus on Steve, and Bucky's part - as lean as it was - fulfilled his narrative purpose. Of course it could've been gayer better, but it was good enough (** CA3 should have dealt with Bucky's recovery because that would have been important to Steve's recovery).

So now we come to the awkward subject of the Carters. We can argue about "better" female representation until our voices dry (that representation was given to Nat, by the way), but the two Carters were written as pure love interests in the movies. That was the first part of how the writing failed them. There was no narrative acknowledgement of how the Carter's experiences might mirror or contrast Steve's - and there were many! The first conversation between Steve and Peggy in the army - instead of drawing parallel between a man struggling against ableism and a woman struggling against misogyny, it simply plays up Steve as an incel and Peggy as the disinterested trophy. Instead of comparing how difficult it was for Steve and Peggy to get into the army, instead of discussing their respective reasons for wanting to join, the only parallel it draws between them is both are waiting "for the right partner" (i.e. a romantic connection only)....which it then reneges in CATWS when Steve talks about "someone with shared experiences" and does not include Peggy in that mix.

As the movies continue, more and more contrast is shown in Peggy's and Steve's experiences -- Steve, who laments of feeling lost and uncertain, and Peggy, laughingly dismissing him as "always so dramatic"; Peggy, who has lived a full life without him, and Steve, who still struggles to extract himself from the past; Peggy, who has used Steve's fame to set up SHIELD and thanks Steve for "finding" her husband, and Steve, who has to contend with the legacy of what Peggy has created and what her role might have been for "finding" Bucky; Peggy, who was willing to compromise with Nazis for whatever war she intended to win, and Steve, who stared Fury in the eye and said "SHIELD, Hydra, it all goes."

But the stories never have the self-awareness for these contrasts, as they do - and they do, the CATWS writers knew exactly what they were doing - with Bucky and Nat and Sam. The poignancy of Bucky's narrative/moral connections (and Nat's and Sam's) with Steve are intentional, but for Peggy, accidental.

She was written as a sexy lamp - which, while annoying, is part of the genre convention that I can ignore - with multiple moral failings, who continually demonstrates an inability to connect with Steve on an ethical or emotional level.

But since Endgame, Disney keeps insisting that she's the female equivalent of Steve. And that's where my dislike of the character comes from.

[crazyworldofemmamarie]

Day 21 of Rammstein's Countdown to Halloween

The Last House on the Left (1972, dir. Wes Craven)

Plot: On her 18th birthday, Mari and her friend set out on an adventure and while trying to acquire some narcotics for the night, they are tangled up with a bunch of criminal convicts who put both girls through hell and back. However, unknown to the convicts, the girls family quickly seek them out.

Okay, where do I really begin with this one. It's honestly one of my favourite films out there which is pretty messed up to say given the fact that it's a 70s arthouse film that includes murder, kidnapping and even r*pe, but I sometimes feel those little details about it cover up what ho honestly makes this film great.

I honestly think this film is very ahead of its time, I mean the subject matter alone is enough said, but it is fair to mention that the bisexuality representation is wild. I even find Mari and her friend, Phyllis are very homoroctic towards each other, it's interesting for sure.

Another thing to point out is that fact at the convicts consists of two men and one woman, Sadie who I find the film focuses on especially. She's a character who was not only ahead of her time but also a great representation of her time, strangely enough. Besides style, Sadie is sort of a twisted idea of feminism in a weird sort of way. To be fair, she was probably quite a concept, especially to Western audiences as being part of the r*pe and torture.

Going back to my earlier point on feminism, though this is in anyway, not what I mean feminism is. I am more so speaking from a standpoint where Sadie is able to stand her ground and get respected by the others. And again, with the concept of her being one of the 'bad' guys, it really sets a pace for woman in horror. It's empowering to me.

And actually, I find this a very empowering and hopeful film. For multiple reasons: one with sadie, two : the two girls are really realistic and relatable and I enjoy how they are written in a way where they are comfortable speaking about their bodies and sexuality, not only with each other but at one point with family, I admire how natural the film sees it cause it is natural. Also with the whole revenge aspect to it, it's hopeful to me to see the love ones getting revenge on the bad guys , I really appreciate the girls getting justice served for them and the girls aren't completely helpless either. It's poetic.

Really, everyone is such a great representation of their time. The hippie dream had died and now, everyone is trying to recoup. The 70s from what I see was a darker time, especially for those first five years, so I can imagine everyone just spit out and saying what ever they want, the violence and be stuck upholding certain ideals between beliefs. In other words, this film bleeds 70s like I'm not gonna lie to you.

The story is perfect. A twist at every turn and honestly the idea of a revenge horror involving parents or someone avenging a love one is a rare occurrence and zi honestly enjoy when I see it.

I am absolutely in love with the fashion and aesthetic of the film. The Cinematography is so so beautiful. Every detail is well thought out.

Like most Craven films, the tonal shifts between absolute horror and comedy is always perfectly balanced and when it comes to this film it really works. You'll see what I mean if ya watch it.

The musical score really works into those shifts and as a huge David Hess fan, I am in LOVE with this movies soundtrack. The songs are just so good and catchy, especially the main theme: Road Leads to Nowhere/Wait for the Rain. I actually own a copy of soundtrack haha.

One final thing, I really enjoy how not everyone in this film is good, some aren't bad, but no one (not including the victims) is good and everyone has to face a moral dilemma at some point. This creates a complex universe and I am a slut for those.

I honestly really recommend this film both as an enjoyable watch and study and if you ever find the time, look up the song/or movies soundtrack or even anything from David Hess (sometimes including the Hess Brothers) you will not regret it! (I like to think)

[pyroclastic727]

Notes from the Amphibia panel!

• Matt Braly got into animation when a Pixar guy came to his school to inspire him. Then he took figure drawing classes, went to CalArts for 4 years, worked at Dreamworks storyboarding, and started pitching shows.

• Jessica Chandra went from live action to applying for the Nickelodeon animation internship. Then she worked on Tangled before Amphibia

• Roxanne Cole did character design at first and then switched to storyboards--then Matt reached out to them

• Joe Johnston followed Matt's path, even being college roommates--but before that, he and Matt went to California Summer School for the Arts (now Interspark)--along with Alex Hirsch and others. He got Matt to work on part of SU.

• They start with a clip! It's an animatic for the Marcy Theme Song Takeover, and Haley Tju sings

• IT ENDS WITH HER SINGING "HOPE NOTHING BAD EVER HAPPENS TO ME"

• What are challenges in balancing the show's tone, after the s2 finale?

Joe: The tone kinda marches along with you as you go, esp with s1 and s2, and it's been pretty easy.

Roxanne: I came on for season 3, so my experience is watching the tone evolve from the beginning to the end, which is a lot of fun. Stuff about when are we getting into plot, into fun episodic moments (there's plenty of both). The characters are complex and flawed, albeit fun and goofy.

Jess: We had to bolster our design team and add to our schedule to make Matt's vision come true.

• Favorite episode you've directed, and more specifically, favorite scene?

Roxann: it would be from season 3...

Joe: From season 2, is Bessie and Microangelo, since it's funny and lighthearted

• How does Amphibia explore Loss?

Matt: Loss is one of the many feelings that is part of this cocktail called life. It will be something that everybody deals with. These intense things that the characters go through create realistic scenarios. The running theme of Amphibia is that the price is paid and every dream costs something. It will get heavy. Kids love to see these things explored. You want the full spectrum of the human experience in the show.

Jess: I agree. Watching this, I was like but why, Matt, why? It is part of life, and I think it's gonna be interesting to see how this is gonna affect all the characters and how they deal with it.

Joe: being 13 is tumultuous, and it's all about change and loss.

Roxann: I'm trying to be real careful because I know more about s3...Anne from s1 to s2 has become a completely different character and they [characters] are gonna change more in s3

• What do you love most about your role on the show?

Matt: It's less about what I can do and more about inspiring others... it's good to see people do their best work because they're motivated and have a rapport.

[Jess, Roxann, and Joe agreed, that the people are important.]

Roxann's first directory experience was on season 3.

• How do you decide what needs more budget? How do you balance action and comedy?

Joe: You can plan ahead a little, and roll with the punches. Jenn Strickland storyboarded everyone when they fought the robots.

[It got boring and I zoned out. They discussed distributing episodes to boarders.]

• What inspired some of the episode

Matt: Studio Ghibli, Legend of Zelda

Jess: Movies that came out recently, Jurassic Park, Star Wars, magical world genre

Matt compartmentalizes. Which is why Anne does that as well.

[They discussed their hobbies outside work. Matt has none.]

A season takes about a year to produce. They are produced stacked so that you don't have year-long gaps between airing. Episodes are done in production order usually.

Holiday episodes are out of order because of when they need to air. (Christmas special might be out of order).

• Out of all the roles, which goes underappreciated or doesn't get enough attention?

Roxann: Production gets glossed over. Artists have terrible time management and production keeps them on track

Matt: Revisionists, who "spackle" everything and go unrecognized. Basically, they clean the boards and get underpaid for it.

Jessica: The Checker! At the end of the production line, they catch ALL the errors. They're also called continuity editors. Often people will forget the right number of props, such as swords.

• What is it like, balancing episodic comedy and story art? Both dealing with heavy topics and making them approachable.

Matt: it's designed to be an episodic show, one that you can watch out of order if needed--although jumping in can make you a little lost later on. He wants self-contained AND long-form stories. (This is probably why we have lore-bomb episodes matched with plot arc episodes). He was inspired by Steven Universe's pacing, especially with the buildup "to a fever pitch"--and he hopes they can do the same.

• Is there a story you haven't told yet, that you have always wanted to tell?

Matt: Had wanted to tell a story about someone stuck in the hospital, since he was stuck in the hospital once. (Might be the inspiration behind Marcy in the tube, implying she won't get out quickly).

Jessica: Mrs. Boonchuy's childhood--coming to America, raising a child...

• What are your feelings about pitching boards?

Matt: I personally really like it. The energy in the room when you're pitching a new board.

Roxann: It's not my favorite thing. I was more involved in the animatic process, and recording scratch was the only pitching I did. (She pretended to be Hop Pop and took psychic damage at her recorded voice).

Joe: I really enjoy pitching (he's great at it, does voices and plays music)--especially when you have time to prepare.

In the chat, the top questions were about LGBTQ+ representation. All were ignored in favor of the

• They showed the s3 trailer rough, with music written by JAKE NEUTRON

It's really quiet and sad

"Making friends and enemies" showed Marcy and Sasha respectively

Lots of reused clips

MARCY HAS A CRUTCH AND IS MOVING

[fenristheorem]

Hi! First of all, I just wanted to say that I fell in love with your writing and the way you analyze the characters. Now, there is something that has been on my mind for some time, since I found out that Huang Hua can feel other people's feelings, I just imagine that she found out how Lance started to develop feelings for the Guardian. The secret looks he gives her, the restlessness he feels when she enters.

Hello! Thank you so much for the compliment! ❤

The request wasn’t exactly formatted in the way of the typical ask, so I wasn’t exactly sure if you were requesting this as a hc / scenario or just commenting for a discussion, but since my page is primarily writing requests I can only assume it’s a request lol.

I’m not entirely sure what Huang Hua’s special power exactly is to be honest. Some people say it’s the ability to read souls, or sort of read minds, or emotions, things along those lines. I have a general idea that she can read someone’s inner heart, energy/aura, and true intentions, which sort of combines many of those ideas as well as your ideas in the request, so I’ll be writing with that in mind. I hope you don’t mind! It won’t really have much of a difference on how I write this as the general idea (how it’s used) is the same.

~ Under the cut ~

Huang Hua’s observations as Lance falls in love with Guardienne:

Huang Hua, of course, observed Lance during his years of change at the guard. He certainly did become someone different; wiser, more resilient, more composed. She knew him once before his years of being Ashkore, but if asked, she would say that she would like this new Lance better. His actions have humbled him and made him wiser, and he has a more realistic perspective on life now. She’s not pleased with what he’s done in the past, but she realizes that sometimes someone can be their own worst enemy, and if they rise above that and don’t give in to living their life in self-pity, they can become even greater than they once were and provide greater things than they once could have. It seems like this was one of those cases, so instead of holding his past against him, Huang Hua lets him thrive in his new era and provide what he can for the guard.

However, there was one thing that always bothered Huang Hua about Lance: it was nothing but work with him.

Even prior to being Ashkore, Lance spent very little time to himself. He would take care of himself, of course, but aside from the occasional friends or acquaintances, or the occasional one night stands (I don’t think it’s confirmed that Lance had a lot of one night stands, but looking at Valk’s history we can say it’s probably true), he didn’t really spend much time to himself.

This still holds true in this new era, but Huang Hua understands his reasoning better. Even so, everyone needs a bit of a break sometimes; a time to wind down and de-stress. She’s mentioned this once or twice to him when he seems to be carrying the weight of the guard on his back, and he says he’ll keep it in mind... but never really does anything different.

This changes when Guardienne emerges from the crystal.

Immediately, Huang Hua picks up that Lance is high strung and stressed - although he hides it very well (after all, a soldier shouldn’t be easily visibly stressed out right?) - at her presence... but there’s something else, too. Something... deeper. Admiration? Respect? ... Fear?

And even deeper than that seems to be some other sort of distress... Longing?

This genuinely shocks Huang Hua.

Lance, the destroyer of Eldarya, is scared of Guardienne? Sure she saved the world and put up a good fight, but physically she’s completely out of shape now! A great warrior like him has nothing to fear now!

Except, she’s aware that Lance knows the art of warfare much better than her, and he knows personal things about himself that she doesn’t know, even despite her abilities, so perhaps there’s something she’s overlooking or can’t see.

As leader of the guard - with the ability to learn about some of the most private areas of someone’s life by simply wishing to know - she’s basically promised herself to not use her ability unless necessary.

But Lance being terrified of Guardienne is a valid call for her to use this ability to monitor him, right?

Huang Hua has roughly mastered the art of balancing work and her personal life, so she carries on day to day life with little issues relating to this. She knows how to not let this effect the guard, and knows how to hide it so well that nobody would know that anything is going on, so she allows herself to indulge in the sudden mystery that is Lance and his emotions.

And then she realizes just how deeply Lance feels emotions, and just how influential they can be, and it nearly takes her breath away.

All of the emotions flooding through him at once; the regret, shame, sorrow, anger, and even fear, all have a special place in him. They’re always so consistent, and so overwhelming. For a while, Huang Hua wonders if it’s these emotions that drive him in general.

Yes, this is not the first time she's looked into his inner being to know him better - after all, looking into him is how she knew it was safe to release him back into the guard to train new recruits - but this is the first time since then that she's bothered to truly observe him again, and she's shocked by what is revealed. Huang Hua did not know that Lance still carried the burden of his past actions so heavily upon his heart.

But every once in a while, when Lance and Guardienne aren’t feuding with each other, Huang Hua sees the dark cloud of those horrific emotions clear away, and something... wonderful happens.

Lance holds a tender spot in his heart for Guardienne.

Beyond all of that fear, and anger, and sorrow for everything that’s happened to him and because of him - including what Guardienne went through - is a soft spot for the woman he hurt most.

Huang Hua nearly gets whiplash from the sudden realization.

And then she gets curious, perhaps more curious than she should have been.

How long has that been going on for? Did he feel this way before the final war? Is this another reason why he kidnapped her and ran to Memoria? ... Would he have even have been able to feel this way back then?

Huang Hua has never been more interested in someone else’s relationship drama.

She takes to observing his actions over time, trying to decipher what he does for what reasons, and then finds that when he’s not doing things out of responsibility, he tries to make things a bit easier for Guardienne. He keeps his distance, sure, but if there’s anything subtle that he can do behind the scenes to help her, he typically does so.

On occasion - when Guardienne isn’t paying attention to him - he’ll observe her as Huang Hua observes him. She can’t read his thoughts, but she can at least guess what’s going through his mind by the emotions that flood through him, and a common emotion she’s picked up on is cautious hope. 

Hope for what? That Guardienne will manage to fix a future mistake he fears making on accident? That she’ll someday forgive him, or move past looking at him and always seeing his past actions? That perhaps someday they can actually be close with each other?

As much as Huang Hua understands why Guardienne is so persistent on being cautious about Lance, she can’t help but hope that one day soon she may relax around him and trust him, perhaps even grow closer than just co-workers or friends.

After all, the savior of Eldarya and destroyer of Eldarya in love? That’s a story of impossible odds, tragic stories, and bending the world’s rules that people write legends and stories about! But it’s also a symbol of hope and faith; that if Eldarya’s savior can one day look past the actions of Eldarya’s destroyer and fall in love with him, then who’s to say that anything is in vain? Who’s to say that moving forward alongside one’s past enemy - despite their past wars - is a fate hopeless and filled with inevitable hurt? Their story could be passed down through legends, and teach important stories to future generations. Among that, she would be a good influence on him! She knows how to relax and spend time with friends, and knows how to stand up and fight and hope for the best even in the darkest times. If the sky were to fall in their future, and their loyalty lie with each other, Guardienne’s hope and faith could be the sole driving force for Lance to perform wonderful miracles. He has the strength, stubbornness, and resources to do so, he just needs the faith.

And then Huang Hua realizes he does have hope and faith... but it’s invested in her.

Guardienne - just like for everyone else - is a representation of hope, but in different ways for Lance than with everyone else. He’s aware of the possibility that she may never be able to see past his former actions but he still works hard regardless, and not to impress her or make anything up, but because he knows that that’s what she would want from him, even if she has her doubts about him.

The Phoenix begins to see a side of the Dragon that she’s never seen before, and she doesn’t know if she approves or disapproves.

Lance begins to work even harder in Guardienne’s presence, and this concerns Huang Hua for a while. He works himself hard enough, how is it possible that he can still give more? Doesn’t he ever get stressed? Will this somehow kill him from overworking? And yet, as she continues to observe him, he still manages himself just fine, and now he’s even more driven to protect Eldarya. 

These observations carry on for a long time, and as time continues on, Lance manages to sort out his emotions a bit more, identifying exactly how he feels about Guardienne and learning exactly what pleases her. He does his best to provide what he can for Guardienne, in all aspects of life. However, Huang Hua notices that Lance continues to keep a distance from the Aengel.

This makes her wonder; why is he being so cautious with her? Surely they’ve calmed down to each other by now?

But a small look at how Guardienne is feeling makes her realize why Lance is still keeping away from her; she’s still scared of him, and Lance can sense this.

The Phoenix gains a deeper sense of respect for Lance.

He loves Guardienne, and craves to be closer to her, but notices subtle gestures that she may not even know she does that tell him she still can’t fully accept being around him. Despite his want to be closer, he respects her need for space, and Huang Hua has a feeling that he would keep doing that for the rest of his life if that’s what Guardienne needed. However, even while knowing that she can’t stand to be around him, he still works hard with her in mind.

His loyalty to a woman who can barely stand him nearly makes Huang Hua swoon. This is not a common thing with people, others rarely have this deep of a sense of loyalty to one person - especially someone they hurt who keeps pushing them away; they usually just split up in time - but Lance is firm in his loyalty and persistence for Guardienne.

And then Huang Hua starts to catch him displaying subtle physical signs of his interest. Perhaps he’s decided it’s time to push the boundary? Was he really willing to take the risk of upsetting her?

His eyes will linger on her, no matter where they are, only looking away when he feels as though he’s at risk of being caught. He’ll try and stay physically close to Guardienne when he can, standing close to her side, and on occasion when he leads her somewhere he’ll touch her gently, even if for a moment. He’ll place his hand on her back or shoulder for a few heartbeats, guiding her in the direction they need to head in, and he’ll take her arm softly when he pulls her aside from somewhere to talk to her. Guardienne’s reaction really depends on her mood. If she’s irritated or is feeling threatened, Huang Hua observed, she’ll pull away from him, possibly even snapping back with a blatant statement of “don’t touch me!”. Lance remains calm and collected, but Huang Hua is aware of the jolt of pain that thunders through him when she rejects him, as that same jolt ripples through her as she observes his emotions. However, he never holds it against her, and almost seems to be expecting this sometimes.

On the other hand, every once in a while when Guardienne is having a good moment where she seems to be more trusting of Lance, she’ll allow him to touch her for longer, and Huang Hua could swear she could pick up some sort of... longing, or perhaps disappointment, from her when he pulls away.

And during these times, there’s something that happens between them when they touch. A tension seems to crackle in the air, so thick that Huang Hua is sure that they can see it, and is shocked that no one else can see it. But how could they? No one else has her powers.

This tension is what sparks Huang Hua to become truly invested in their possible relationship. Most of the time Lance and Guardienne don’t seem to know what to make of their relationship, but Huang Hua knows there’s something there that can’t be ignored. Sometimes she finds herself thinking to Guardienne “Oh, kiss him you fool!” when Lance is being particularly tender with her, laying all his tragic emotions bare in front of her as they talk about a harsh topic for him, or when he tells her that he’s glad she talks about important things with him every once in a while, even if it is hard for him. Guardienne didn’t seem to realize that this wasn’t a common thing with Lance; he wouldn’t lie about his emotions, but he was very evasive with talking about his past. To get him to talk openly about his past and have him openly admit his regrets was a rare sight - not because he didn’t like to admit his regrets, but because he felt it wasn’t relevant anymore. It was seven years ago, and he had clearly changed since. He regretted his actions, he wished it never turned out this way, he tries to keep it from repeating in the future; what more needed to be said about the subject?

In this time, Huang Hua begins to realize just how deep his emotions for her run.

Lance had a respect for Guardienne, for every part of her, even when she screwed up a bit or caused a bit of chaos, even if he was angry with her. He admired her stubbornness and diligence at defending the guard and Eldarya, and her optimism even in the darkest hours always had a tendency to shake him to his core and snap some sense back into him. Huang Hua began to notice that his emotions on him pursuing her reflected her emotions during dark hours of their story; it wasn’t over until it was over, and as long as there was a possibility that something could change for the better, that possibility should be sought after.

The Phoenix begins to understand why Miiko once had such intense feelings for the Ice Dragon. Even though so many things have happened to him and because of him, he refuses to be held back or muted. He still allows himself to be who he is at heart, and doesn’t care if others like his personality or not. He had confidence in himself, even after the terrible things he’s done. Lance knew very well the extent of his abilities, and was aware that the most important thing about those abilities were how they were used. He had committed atrocities, sure, but he was confident in himself now because he knows he’s not using his strengths for wrong anymore. He has chosen to fight for good, he can see clearly now, and his loyalties lie with the guard, and, overall, with Guardienne.

However, Huang Hua picks up another emotion as she observes Lance over time, and she’s unsure of if it comes from him, or from herself because of what's beginning to be revealed to her about him.

Some sort of hollow loneliness pierces her chest every once in a while as she watches him. He doesn’t have close friends, he doesn’t pursue any other women, and he doesn’t allow himself much time to relax. Lance is a ghost that drifts around the guard, searching for some true place not within the responsibilities, but within the people he protects.

His past makes him hard to relate to, his perception vastly differs from most faeries, and his emotions are a deep well of running water, constantly shifting and redesigning who he is in any given moment, and yet he strives to find his own place within the guard, not as the Leader of Obsidian, but as Lance; the Ice Dragon, the man, the deep ocean of emotions and history who may very well never find a home among a people he can truly call his. Still he remains the same person inside, but always he is adjusting for the outside world, and he had yet to find someone who would risk unraveling his constant adapting to truly know the man underneath.

But everyday he rises to that challenge, brushing off the echoing thought that perhaps he doesn’t belong among these people - that perhaps he may never find peace here at the guard - because he knows he’s best fit for this responsibility. He can protect these faeries better than anyone else could, and his morals lie first with that, and second with his own fantasies.

Even so, Huang Hua doesn’t miss the hollow echo in Lance’s soul as he watches the guard celebrate, or witnesses close friends embrace each other and confide in each other, and she realizes that Lance doesn’t truly feel at peace here, not at all - not among the people who he’s betrayed and become an outcast from. He feels no peace at all among these people, they are not his people... but perhaps, when he looks at her - Guardienne - within her hope he finds peace, and someday, perhaps, he may find peace, a home, within her arms. 

Was it possible that, even as Ashkore, he felt he felt he could find solace within her? Some opening within the dark clouds that overshadowed his existence for him to strive towards?

Did Lance believe that Guardienne made him a better man, even more so than he already is?

By mere chance Huang Hua managed to piece together everything she knew of Lance and his relationship to Guardienne, and she came to realize that there was something between them for a long time. It was deep, and complicated, and was never able to be pursued until now. The Dragon’s emotions for Guardienne ran deeper than any of Eldarya’s oceans, farther than the furthest mapped points, and was purer than even the Aengel’s powers. 

Lance was truly in love with her. Not her powers, not her history, he fell in love with a woman who moved something within him that no one has ever touched before.

The Phoenix almost begins to feel guilty over time.

There was something there for a long time. Did Guardienne know this? Did she need a wake up call in order to realize what was happening before her? Was Huang Hua supposed to intervene and help get their relationship going?

If only she knew...

I shouldn’t interfere with this, Lance would feel violated and Guardienne wouldn’t trust me ever again...

But isn’t it a shame to let them possibly waste their life away not telling each other how they feel, or giving this a chance?

Stress eventually invades Huang Hua throughout her days, even when she's not around Lance and Guardienne. The Dragon and the Aengel, in time, grow ever closer, ever more comfortable with each other, and may even be expressing signs of interest for each other! But no one is doing anything about it!

But no one can see the deep roots of their feelings like Huang Hua can, and she's nearly certain that Lance and Guardienne will continue to tip toe around each other in a fearful dance of figuring out where they fit into each other's lives, never daring to test deeper waters in fear of hurting the other and sparking off another bout of painful emotions that may haunt them, and the guard, for years.

It's very possible that their relationship could change the guard and Eldarya - positively - forever, so doesn't this give Huang Hua some right to try and push them together? But romantic relationships are so personal, especially ones as special as this. A unique relationship like theirs shouldn't be interfered with, it will bloom in time if given the right opportunity... but what if Huang Hua can create the right opportunity!? But that's still interfering in their relationship!

Without even knowing, the emotional toll of observing and pondering over Lance and Guardienne's relationship does begin to take effect on her, and Huang Hua's own partner, Ewelein, is the first to notice and call it out.

The leader of the guard then needed to decide if she was willing to indulge her partner, someone completely unrelated to the matter, in her almost stalker-like tendencies of observing the simmering relationship between the guard's resident Dragon and Aengel.

Eventually she breaks and admits to the Elf that she's been observing the inner worlds of Lance and Guardienne as of late, and has realized just how much of a mistake and a blessing it's been.

The first thing Ewelein jumps to is the fact that it's an invasion of privacy, something that - of everyone in the guard - the leader especially should not be partaking in. Huang Hua doesn't really fight back on that idea; she knows it was inappropriate, she should have just approached Lance and asked if he was alright.

"But of course he would say that he's alright! Maybe a bit unsettled, but come on, at the end of the day nothing shakes him for long, and to him that translates to he's alright!"

Eventually its clear to Ewelein that regardless of how Huang Hua came to be in this position, she's trapped in it now, and feels very passionately about the possible romance brewing within the guard, to the point where it truly is stressing her in possibly unhealthy ways.

Ewelein does her best to comfort Huang Hua as she spills everything that's been revealed to her, starting from the beginning of when Lance and Guardienne were still fearful of each other, to the most current moments of when they've been relying on each other, talking civilly, and even possibly shyly flirting. The Elf is quiet and attentive all throughout, knowing that - even as she's surprised in many ways as well by the things time has revealed about Lance and Guardienne - her shock and emotions couldn't begin to rival what Huang Hua has been feeling for the past endless days that she's been observing them.

“I can’t believe it! This is love that stories are written about, that changes worlds and changes people. And he’s hiding it so easily!”

"But would it be right of you to intervene? This is their story, not yours."

"I know, but couldn't this be good for the guard, too? And possibly even Eldarya? And as the leader of the guard, shouldn't I try and do what I think could benefit us?"

"You first started observing Lance under the excuse that it was for professional reasons, to make sure that he was alright to remain in power and carry out his responsibilities despite her presence, but we both know you did it for selfish reasons, too. You were curious as to why Lance felt what he did about her, and now you have your answer. However, you kept observing them after that, even going as far as reading into Guardienne's responses to Lance. Is that professional at all? And instead of invading her privacy, don't you think she would have told you the truth of her fearful emotions for Lance if you asked her heart to heart?"

Huang Hua lowered her head and avoided her gaze.

"You've gotten your professional answers and now you've seen into a very private portion of two people's lives. None of this is professional anymore, so you can't act professionally on it. You need to treat this as what it is; intimate, personal, and something that should be respected, not exploited. I know it would make sense to try and get this to help the guard, but really, there is no guarantee of that. What if they got together and then broke up a while after? What would the message be then, especially if it were known that you set them up together? My advice is to stay back and let this develop in time. Sometimes when I'm with a patient there is nothing I can do for them, sometimes leaving the body alone to heal itself is the best thing to do. I think this is a case where that rule should be applied. The best thing you can do is let them figure out their relationship in time. You can support them, but do not influence them."

Huang Hua knows Ewelein is right, and forever appreciates her partner listening to her thoughts. If Lance and Guardienne's relationship were to be true, they needed to figure out what they meant to each other in their own time.

So Huang Hua follows the Elf's advice. She bites her tongue and hides the fact that she’s witnessed almost every moment of him falling in love with Guardienne, vigilantly awaiting the day where Lance decided to emerge from the dark and shake the guard’s history for a second time.

Goodness this took a while to write, but I'm very pleased with the results! I think I got a good idea of Huang Hua's reaction and how her reaction developed in time in response to Lance and Guardienne growing closer, especially since I don't think her reaction would begin and end within one day of realizing what was going on.

Thanks for asking!

Have a request? Ask them here!

But first, please read the rules list for asks!

[teruthecreator]

okay. thoughts on the grad finale

gonna slap it under a readmore bc i’m Sure i’m gonna ramble. 

uh spoiler warning for the finale of taz graduation, as well as spoilers for the season in general.

also, these are my own thoughts of how the season went, what the themes were, etc! if you don’t agree with me, that’s fine! but i don’t wanna have a convo w you in the replies about it i’ll be honest. if you want to share your opinion so badly, make your own post, alright? that good? we cool?

aight. so. finale thoughts.

to make it short: i think the finale was a satisfying end of a very good arc. 

to expand upon that, let me share what i think the themes of graduation were and why the finale satisfies those themes. 

i made a post about this a while back (here it is if you want) but my honest belief was that the theme of graduation was self-reliance: the concept that you don’t allow yourself to be governed by forces that go against your own beliefs. this concept was coined by essayist ralph waldo emerson to talk about how the american people shouldn’t allow the government to create laws that go against the will of the people. now, understandably, this feels very anti-capitalist which is what i think a lot of fans believed was reflected through the season. 

but, in reality, self-reliance has more to do with being active in your government and making sure you’re being represented the way you want to be by your representatives. that’s sort of the vibe emerson was going for in his essay, and i think. in a sense? that translates to graduation. but i took self-reliance in the more metaphorical about breaking away from those things that are controlling you. which, in graduation, was A Lot Of Things. 

the way i saw it, there were two major groups that inflicted order upon the world and the thundermen--conveniently separated as order and chaos (not the deities though, just the concepts). 

the order half of control existed mostly through the school and the HOG. the HOG created the economic reliance on the heroes and villains system, which removed all literal meaning from those terms and turned them into bureaucratic titles. society existed under these very strict checks and balances; heroes and villains supplied money to the kingdom in terms of entertainment, which then boosted that kingdom’s creditability and allowed them to contribute more to nua’s economy, which then led heroes and villains to have a higher demand, thus perpetuating the cycle. it’s important to note that this term does not represent the sort of morality we expect for heroes and villains--hell, even the term “evil” turned into an arbitrary term used to show those heroes and villains who failed the system. this is the more prominent representation of control that the thundermen break away from in achieving their own self-reliance. they don’t see the value in a system that holds no real moral code (fitzroy Especially, but i’ll get into that in a bit), and can’t help the public when there’s actually a serious situation. as we saw with althea in the beginning, the HOG had no way to help the thundermen when they were dealing with the whole Demon Prince situation (as he had already placed some of his own people in there, proving these kind of systems are easily corruptible). so this wasn’t a system meant to Actually create heroes and villains--it was just a way of boosting the economy. 

the chaos half of control existed primarily through grey and Chaos. grey represented how chaos could be controlled, through various means. he planted that tree for the centaurs to fight over because he knew it would constantly create conflict, which he enjoyed. he kept the school under a watchful eye to prevent anyone from stepping out of line with his grand ideas, and used several manipulation tactics to try and get his way (most notably, his own admittance of grooming fitzroy into joining his side, which didn’t work). grey was the perfect example of how chaos does not automatically mean a lack of control. he was very controlling in how he did things because he had an endgoal: find hieronymous and have a war. but he didn’t even realize he was contributing to a greater idea, that being Chaos’s insistence on causing general disarray. as we realize now, Chaos’s plan was both for them and Order, but i’m leaving Order out for a second because they only really rear their head in towards the end. for the most part, audiences were led to assume that Chaos was the Big Bad(TM); they were the one pulling the strings, allowing things to happen to cause general chaos and disarray. them supplying random mortals with their endless power was a way to plant chaos into the world of nua; but it was a chaos they controlled. fitzroy resisting them was not simply a refusal to bend to Chaos, but it was resisting the control put on him through his magic. 

these systems were constricting the thundermen on both sides. when they thought they’d find help in one side, they were disappointed to find that there was nothing anyone could do. the only people who could fix their problems were...them. so they forged a new path, set new ideas, and became self-reliant. that’s what i think is the most important aspect of graduation; not the anti-capitalist implications of turning over the economic and political systems in place, but the idea that if nothing that is supposed to help you is actually helping that you can just...do your own thing! 

and i think that’s what the finale really shows, at the end of the day. that these forms of control were not doing anything helpful, and were in fact ruining the fabric of space-time! that’s where i think Order comes in because Order is really...the ultimate culmination of control. they are aware that Everything being done will benefit their cause. the HOG? well, they make sure everybody’s so incompetent that they can do their work. grey? well, he’ll contribute to the plan without even realizing it. they even manipulated Chaos and enacted their own form of control over Chaos to make sure that they had no reason to believe that this plan couldn’t go wrong. but Order knew. Order always knew there was a chance for error, and that chance was very great. but they didn’t care! so long as they had control of things, they could try a hundred times to get it right. they had no care for mortals, unlike Chaos. 

the thundermen showing Chaos the truth is the final jenga piece that collapses this tower of control. which is why the finale is so great. 

travis does a phenomenal job of incorporating chaos (general chaos) into the battle mechanics. it may be stupid and slightly arbitrary, but having them change forms randomly and having to adapt to those new circumstances really does exemplify the season!!! the thundermen were constantly forced into new situations (being sidekicks/henches, fitzroy becoming a villain, being let in on the heiro dog situation, the unbroken chain trial, joining forces w grey, etc.), and in all of them they simply found a way to adapt and keep working their way. which made the finale generally interesting and also thematically interesting! 

i think my favorite part of the entire fight scene is right at the end, when argo chucks the shark’s tooth necklace at Order. and time stops. and they’re given a choice. 

the fact that they leave it to a coin toss?? oh my god...how fucking FITTING!! like, that’s disorderly. that’s going your own way. it’s new, it’s terrifying, it has DIRE UNKNOWNS ON EITHER SIDE, but it’s what they do! and...it ends up working out! i think it would’ve worked out either way, but the fact that they left it up to chance really shows how they aren’t allowing anything to control their actions. 

AND THEN WE GET TO THE EPILOGUE. MY GOD I LOVE THE EPILOGUE I’M GONNA GO OFF SO MUCH. 

first off, i loved hearing how Nua adapts to losing this very significant form of government/economic contributor and turns to more people-based work. citizens uniting together, fixing things, making amends, THAT’S SELF-RELIANCE BABEY!!! THAT’S THE WHOLE EMERSON SHIT! HAVING A SYSTEM OF GOVERNMENT THAT ACTUALLY HAS THE INTERESTS OF THE PEOPLE AT LARGE!!! YEAHHHHHHHHH THAT’S THE WHOLE SELF-RELIANCE THING!

now, i’ll break it down by characters: 

fitzroy

GOD. LOVE IT. FIRST OFF, absolutely ADORED how his character arc involved him stripping himself of these self-assigned titles because he actually has an identity that is all his own and he doesn’t NEED arbitrary titles to prove his worth because HE HAS IT IN HIMSELF. not to self-plug or anything, but that’s ssoss!fitzroy’s WHOLE SHIT. I’VE ALREADY BEEN ON THIS TRAIN, BITCH, AND TO KNOW I GOT IT SO RIGHT...GOD. FEELS GOOD. 

but also, i just really enjoy how his ending went in general. the fact that he doesn’t really know what he wants to do, so he just...does stuff he likes to do? that’s so good! because, if you remember, fitzroy had a Very set schedule of life events when the campaign started. he was going to get his wiggenstaffs degree, go back knight school, get his knight school degree, and then go to goodcastle. but all of that was based on a very limited understanding of himself. 

fitzroy’s character arc has primarily focused finding himself, specifically in terms of identity. for someone who was bullied for his past, the present formation of himself was Extremely important to fitzroy. he thought that shutting out his past and taking on this grandiose title of knighthood would make him something more than himself. he would no longer be fitzroy; the poor, country kid trying to make it in a big world. he’d be Sir Fitzroy Maplecourt; respected, honored, revered, with a title to prove it. 

he explains to fauxronymous (pre-reveal grey) that the reason he wanted to be a knight was because he wanted to assist in doing good. morally good. fitzroy has Always had a very clear sense of his morality; this comes through when he refuses Chaos on the basis of many people having to die if he agreed. but being a knight also had the added of bonus of a very respectable title that no one would want to look beyond, which fitzroy felt he needed because...i don’t think he Saw anything beyond that. in himself. he wasn’t himself for a very long time, and i don’t know if he ever thought he would be again. he’d wear this new identity, start a new life, and be happier....he hoped. 

then, things changed! and he started to realize that arbitrary titles don’t do shit because plenty of people with Big Important Titles ended up being Awful People! so he started to value himself For Himself; his wit, his humor, his strength, his magical prowess. and, i think, he started to wonder what knighthood was Really about. was it about upholding a moral good? or was it just another bureaucracy filled with people who won’t do shit when things get bad. 

i think this is why him becoming a lawyer is fitting. especially because of the reasoning he gives sylvia nite. now for A LOT OF PEOPLE, i’m sure they hear lawyer and assume some corporate hotshot who doesn’t give a shit about people. but fitzroy is Not applying to be a corporate laywer. he SPECIFICALLY telsl sylvia that he wants to help people who cannot help themselves, and he wants to do good in that way. THAT kind of lawyer is more of the pro-bono, district lawyer. the ones that don’t make crazy amounts of cash, but help those who cannot afford lawyers and represent them when the government is fucking them over. those lawyers don’t rely on title, they rely on principle. 

that’s the perfect representation of fitzroy’s growth. holding his identity within himself, while still trying to do good by those who need it. 

firbolg (aka gary) 

i think the firbolg’s ending is so unique but so...right for him. his character arc has really been focused around finding his family. he had one, in the beginning, in his clan. but that didn’t end up, y’know...working out that much. so he had to go out into the world alone--something that firbolg’s are rarely--and try and navigate these foreign spaces all by himself. 

we see very early on how he latches onto the idea of groups. he likes being considered a part of the thundermen; he very much hoists himself upon the CFO title and wears it proudly. i think, where fitzroy needed to find identity within himself, the firbolg needed to find it within other people. which is completely okay! he’s still an individual, but you can tell he finds comfort in numbers because that’s what he is used to. 

him going back to his clan was, i believe, his finally severance with his identity as “firbolg”. he would never be welcomed back to his clan, and one of the few people in his life who supported him was now dead. but his father was proud of him; his father was happy he seemed to find his own clan, even if it wasn’t with other firbolgs. from that moment on, i think the firbolg begins to try finding himself within the thundermen. within his friends.

so his epilogue is neat! it definitely captures the loneliness he feels on his own, and how he feels lost with himself without others. i think it might seem silly to some that he would become a gary, but i think it’s fitting. the garys were always present in his time at school, and they were always helpful. they didn’t mind how long it took him to talk because the gary’s are stone gargoyles--what the fuck do they care about time? it was a group that the firbolg saw as familiar to him--always willing to help, slow, stony, and attuned to a larger group. 

and i think the way gary takes this idea of unity and family and puts it into financial assistance just...it just ties everything together! we saw how attached he got to the concept of finances, thanks to his very confusing accounting class. so he had all of this new knowledge--this knowledge that represented a separation from firbolgs--and this new clan. and he used it to help other clans and families!! i think the fact that the Garys financial advice works specifically with groups is what makes this so fitting. because gary wants families to feel stable within themselves; he understands how finances can create struggle and divides, and he wants to provide relief. 

giving financial advice to communities so they rely on themselves and not the government (aka inviting them to be controlled once more) is a VERY self-reliant concept. not that i think gary’s goal is to have no social networks to exist, but he wants to give communities the ability to rely on one another and foster that feeling of togetherness. so groups aren’t fighting over things, but are trusting and loving and relying. 

just like gary’s always wanted. and just like what he has with the thundermen.

argo 

argo’s ending is probably the funniest, but also the sweetest. i think that argo’s character arc revolved around finding his place. we see how argo’s early personality and motivations revolved around his past. he very much had a revenge story since the start; he wanted to enact revenge on the commodore for murdering his mother, no matter what it took. which made him very limited!! in terms of the self. he saw himself less for what he was now, and what he was then. and what he couldn’t do then. 

we see how much he finds comfort in being a part of the thundermen, but also how he feels...out of place. i think this is because a part of him is still attached to his past and doesn’t think he can do anything beyond his set plan. the unbroken chain certainly contributes to this, by not only separating him from the trio but also reinforcing his connection to his past through his mother’s involvement in the unbroken chain. 

the commodore also being a part of the unbroken chain is, i think, what causes the shift from past to present within argo. his life’s goal is standing right in front of him--attached to the group his mother once was a part of--with his friends at his side. letting the thundermen in on his history is the start of bridging these two halves of argo. and the fact that the thundermen are so willing to helps makes argo feel more a part of the team and more a part of this reality. 

when he kills the commodore, it isn’t intense. it isn’t overly dramatic (minus the fight prior, which was BADASS), it isn’t crazily staged. it is argo, staring down the commodore who lies prone on the ground. 

he kills himself unceremoniously and completes his life-long mission. 

what becomes of him in the epilogue is the culimination of both past and present. he takes what he knows and loves (the sea, the mariah, sailing) and blends it with what he’s come to love now (his friends, this adventure, and making people happy). there are SO many instances where argo uses performance to his advantage. this man is piloted by clint mcelroy, of COURSE he’s going to have a flair for the dramatic. 

so for him to open up a themed cruiseline, based on the stories of him and his friends? SO FITTING. and it isn’t forcing himself to leave his past behind or to completely ignore his present circumstances. because he’s found a place in the now, in the merging of these two sides. and by merging them, he paints a bright future for himself. a future that is partially known, partially not. partially old, partially new.

but it’s all his. 

after that, i think their final scene is just...sweet. a nice, jovial, joking send-off to a nice season. it proves these people have grown and will continue to grow, even when we no longer see their story. it does exactly what graduation does--shows you a struggle, a triumph, and a glimpse into the future. 

i’ll miss it so much, but there’s nothing more i could’ve asked of this ending. it was exactly what it needed to be; nothing more, nothing less. 

[itsclydebitches]

Hey there! Admittedly I'm a little bit nervous since this is my first ask, but I'll try to not be too rambly.

So, recently the main subreddit, r/RWBY, made a ban on active users of the r/RWBYcritics subreddit. As a result there's been discussion around bad-faith criticism in the latter subreddit. What are your takes on bad-faith criticism?

For me personally, I think a bunch of people are misusing the term "bad-faith" and using it as a way to shut down criticism, but I'm curious to hear your thoughts on it.

Hey there, everyone! We woke up to some drama this morning, huh? And hello to you too, Tortoise! I'm so glad you decided to send in an ask, even if it's following some pretty tumultuous events...

Right, I'd like to start with a story. The story of how I personally don't spend time on Reddit, but I have plenty of friends who will occasionally cross-post something for me to see. Yesterday (or the day before? Idk time is meaningless) a friend told me about a post — which, significantly, I'm now having trouble finding — that covers RWBY's inconsistent writing and the fandom's tendency to try and explain away those missteps. They'd thought I'd be interested because I'd just had a conversation here on tumblr where I made that exact point to someone who, also significantly, vehemently disagreed with me, but in a very civil fashion. Given everything going on, I feel like this side point needs emphasis: we debated, we did so in a sometimes heated, but nevertheless respectful manner, it was clear neither of us was going to sway the other, and the conversation ended. The two "sides" of the community interacted without Armageddon coming about.

But back to the purpose of this tale. I went to take a look at this point and found that it no longer exists. There's just some vague message about it not obeying the subreddit's rules. "What happened?" I asked. "Why'd they take the post down?" "People were getting too heated in the comments," my friend replies. So, given that the comments were still visible, I proceeded to read through them, expecting personal attacks, slurs, harassment, etc. Any number of things that would justify deleting the post itself to put an end to such behavior. Instead, I found a thread of people having a conversation. Was the conversation heated at times? Sure. Did one or two individual posters edge into the realm of petulant, "No. You're wrong and stupid" responses? Yes. Was any of this remotely what I was expecting given the post's removal? NOPE.

"This isn't allowed?" I said. "Well then what is? People were being civil! Or at least as civil as hundreds of strangers ever get when discussing a series they're passionate about online."

Then, this morning, I hear that the entire critic subreddit has been banned.

So to answer your question, Tortoise, I don't actually think that "good faith" criticism exists. Meaning, it's not just that fans are misusing the term "bad faith criticism," but rather that there is no unified, agreed up method of writing criticism that will meet their standards. It's not possible and we know it's not possible because fans have been trying to meet those elusive standards for years:

A fan posts nothing but praise for RWBY until changes make them criticize the show as it is now. Their entire body of work is dismissed as the product of a "hater," despite the overwhelming gap between positive and negative reviews.

A fan posts a review that's a pretty balanced mix between praise and criticism. They're dismissed because it's still too much criticism.

A fan posts a review that's 99% praise with 1% criticism. That's still too much, with fans focusing on the single problem they had with the work and using it as an excuse to dismiss the entire review out of hand.

(As an aside, the argument that critics are "obsessed" with only saying negative things and that the only problem here is that they're "too" negative ignores the argument that... RWBY has a lot of flaws nowadays. Few are willing to acknowledge the possibility that it's not fans insisting on making things up to be mad about/ignoring the good parts of the show, it's the that show is, as of now, legitimately more of a mess than it is a praise-worthy product. If I'd been writing recaps in the Volumes 1-4 days, my work would have been skewed far more towards the positive. The critics' stance is that RWBY has gotten worse, which yes, results a higher volume of critical posts. To say nothing of how criticism takes far longer to explain, likewise resulting in posts focused primarily on that side of the divide. I really enjoyed the image of a crying Jaune reflected in his sword. I did not enjoy that moment's context. Saying that you liked an animation choice is a one sentence thing. Explaining the complexities of Jaune securing emotional moments, the problems with Penny's second death, the hurt many fans experienced watching an assisted suicide, etc. takes a whooole lot longer. Hence, you get massive, multiple posts about these nuanced topics and fewer, smaller posts about the details that are working well.)

A fan talks about a topic that has been metaphorically banned by the fandom as a whole. They have something good to say about Ironwood. They dislike something about Blake/Yang. They enjoyed Adam as a character. They have a problem with Ruby's leadership, etc. There's a whole list of topics nowadays that will result in an automatic dismissal, regardless of the point the fan is trying to make or how well they make it.

A fan talks about the minority representation of RWBY — its black characters, its queer characters, its disabled characters, etc. — and as a result has something to say about the biases and missteps of those writing these characters. This is considered an attack on the writers and, therefore, automatically bad.

A fan talks about how they enjoyed RWBY as it was years ago and is having trouble reconciling the dark, complicated story with the simple, hopeful one we started out with. This is seen as an attack on Monty's vision and an unwillingness to accept that "everything is planned."

A fan does as asked and ensures that their post is meeting all the requirements of "real" criticism. They have an argument to make. They have a point. They provide evidence. They recommend a solution. They keep their tone respectful. They don't attack the creators. They provide disclaimers in every single paragraph about how they do not hate RWBY. It doesn't matter. They're considered too negative.

I have, quite literally, seen every one of the above examples on multiple occasions. I have had many of the above accusations leveled at my own work. When fans say that they're fine with criticism provided it's not "bad faith" criticism, they don't actually have a specific post-type in mind; a checklist of behaviors another fan can emulate and, provided they do that, no hate will come their way. Or, if an individual fan does actually go, "Yeah. That criticism I'm fine with" that response is in no way universal. One person's "They make a good, civil point" is another person's, "Omg stop bashing the show!" Because "bashing" has come to mean everything from curse-laden insults towards everything RWBY has ever done, to posts that just happen to say something other fans don't agree with.

It's a rigged game. There is no way to post criticism about RWBY in an agreed-upon, appropriate manner. This recent ban is proof of that. I think it's incredibly telling that almost immediately after I was going, "Wow. A pretty calm debate about the flaws of RWBY in the main sub. That's great to see," all posters from the criticism subreddit were banned. The main sub literally just had the sort of criticism that they claim to accept — people respectfully posting analysis-based arguments resulting in calm debate — and yet they implemented the ban anyway. I'm not going to pretend that I've never gotten too heated on my own posts, never made snarky comments when I'm frustrated, never used exaggerated reaction GIFs that can come across as insulting... but I'd say on the whole my RWBY work is precisely the sort of "good faith" criticism that other fans are supposedly looking for. I never make an argument I don't think I can back up with evidence. I try to allow for the nuance and differing opinions of complicated topics. I try — even if I don't always succeed — to write in a clear, respectful manner. Yet none of that work has stopped people from telling me I'm a "bitter... raging asshole," a "deranged, delusional psychopath," telling me to set myself on fire, threatening to smash my head in, or just messages to straight up kill myself. If someone like me who legitimately works hard to create fair, defendable criticism and who only ever posts on a personal blog that people can easily block, who never engages in debate until someone else starts it first, never seeks out other fans I disagree with to harass them about what they like... if someone like me is still a "bad faith" critic who "deserves" that kind of hate mail... then what kind of criticism do people want?

Nothing. That's the answer. No criticism whatsoever, of any kind, no matter if it's delivered respectfully, is making a good point, whatever. That's why "RWDE" was created. That's why the critic subreddit was created. The community at large has demanded a complete separation between Praise and Anything That's Not 100% Praise, which has now resulted in this ban. Any other explanations we see are excuses, which becomes glaringly obvious when you look at the mods' supposed reasons for implementing the ban:

"Constant arguments with r/RWBY users" - As opposed to the arguments surrounding things like shipping that never, ever happen?

"Vote manipulation and comment brigades" - The subreddit with 3,000 participants, with around 200 on at a time, is manipulating the votes of a subreddit with 155,000 participants, with over 1,000 on at a time? Those numbers just do not check out. If a positive post is downvoted, or a critical post upvoted, maybe that's because large swaths of the community actually agree/disagree with that assessment, not because the incredibly smaller group is somehow manipulating things.

"Attacking and harassing those they disagree with" — Again, as opposed to those non-critics that never, ever harass people? This is an individual problem, not a community problem. Both critics and non-critics have their sub-groups acting in ways they shouldn't. If anything, the main sub will have more individuals harassing other fans, simply by virtue of being so much larger. As the above examples attest, it's not other critics who have told me to light myself on fire and, just to be clear, the asks I've responded to are a miniscule number compared to the amount I've received. I delete the lion's share for my own sanity and to save my followers from reading the really graphic threats.

"Months-long NSFL spam brigades" — I am, admittedly, not sure what this is referring to. Spamming of NSFW content? If so, that's also an individual problem.

"Homophobic, transphobic, and racist attacks towards our users" — See the above points. Again. If someone is being homophobic, transphobic, or racist, then yes please, ban them. Don't ban an entire community for the actions of a few. It's like walking into a store and banning a customer for causing a scene... but then also banning everyone else who happened to be shopping at the same time. It's guilt by association.

The silver lining to all this? The community as a whole isn't pleased. At least according to the main subreddit comments and a few individual voices like MurderofBirds. Despite the increase (from my perspective anyway) of critical voices post-Volume 8, criticism of RWBY is still very much seen as taboo. As this ban showcases. But it's really reassuring to see so many fans, critics and non-critics alike, going, "This was a mistake." A community is meant to include all aspects of engagement: praise, criticism, and the gray area between. If anything, fans like the mods of the main subreddit should be creating a separate subreddit that is specifically for praise. In the same way that there should have been a tag for RWBY praise, rather than trying to eliminate any and all criticism from the main "RWBY" tag. The majority of fans, even those who claim to hate critics and all they (presumably) stand for, recognize that a blanket ban of all criticism is not the way to go, especially when "criticism" has come to have such a staggeringly broad definition. If you want your RWBY experience to be nothing but sunshine and roses (ha), then cultivate your own internet experience to reflect that. Create your own pockets with rules about how this is the space for praise and if you're not up for praising RWBY right now, don't interact with us in this particular space. Don't try to make the entire community — the main tools used to discuss the show online — conform to your preferences. As established, there is no "good" criticism that everyone in the fandom will accept, which just leaves a fandom with no criticism at all. I'm glad to see I'm far from the only one who, when presented with that extreme, is going, "Nope. No thank you."

[cardsbizarreadventure]

I’ve seen a fad where people describe their original character’s personality with a few canon characters from different series.

What characters do you think you could combine to make Joelle?

☆꧁✬◦°˚°◦. ♠ ♣ ♥ ♦ .◦°˚°◦✬꧂☆ Thank you for the ask Mel! It actually took me a good amount of time to even decide upon who would be most fitting to build Joelle. Since she has some of my own self insert in her , but really which oc doesn't? It was kind of hard to decide xD But I think I've managed to collect the ones that are pretty relatable with my character. So here it goes!

Lucy - Elfen Lied If I have to be honest I've never would of thought upon how similar Joelle and Lucy stories are. I was never intending to have so many similarities with this specific characters until recently I stumbled upon a video that made me remember a bit more about the anime and how it played out. Lucy is a very interesting character , born with a 'sickness' ever since she was little kind of reminded me upon Joelle's origin as a pillar both past and present . Lucy has been bullied , barely knew any kind of friends and because of her 'sickness' everyone was after her because what she can cause with her powers , until she stumbled upon one that really liked her for who she was [Kind of gives me the possible Joseph or Rei vibes but without the romantic kind of intent that was implied in the story because Lucy did fall in love with her best friend.] She was brought into a lab to keep away from the outside world and experimented on , until she broke out and was given a chance for a second life regardless of what she had witnessed and did in her youth.

Ren Tao - Shaman King A few aspects that I can collect from Ren are the anger he has built for humanity that really matches with Joelle's story . Because when she ended up in the XPD facility where they did various of experiments on her and basically played her like a toy she began to pile up a lot of anger upon those people creating an image in her head that they were all the same . But after meeting with someone who opened her eyes to the world , she began to have another look upon things and wanted to try and move on and heal but also find a new purpose in life .

Edward Elric - Fullmetal Alchemist When ever I would look at Ed I could actually see a few aspects of Joelle as well , because of his own determination to fix what he has done in the past and return his brother back to his original body , reminds me of how Joelle wants to protect her new family and find a way to stop evil from prevailing . It also gives a pinch of hint upon how him and his brother were trying to bring back their mother , is a similarity upon how Joelle wanted to bring back her own mother but instead she ended up releasing a curse that later on haunts her , the same way Ed and Alphonse tried to bring their mother back and ended up creating a homunculus being. Sadly I haven't watched brotherhood and I really need to , but I'd assume I'd find even more similarities if I do so~. But I do however see a lot of pieces of Ed in Joelle!

Misaki Ayuzawa - Kaichou wa maid-sama This goes a bit on her emotional side to be honest. Misaki is a perfect representation of Joelle , a strong and very responsible individual and yearns for a piece of romance in her life that will assure her that they will stay with them for who they are . A perfect aspect of her Tsundere side because she is very conflicted and very confused when it comes to these sort of things. I absolutely adore her strong character and how she is able to handle so many responsibilities , reminds me upon her current position in the SpeedWagon foundation , a lot fear her because of how she would act and how her attitude just goes across the room, but a good amount also admire her when they get to know her personally and understand her better upon why she is the way she is , that she has a very gentle side to her.

Chise Hatori - Ancient Magus Bride Another little lost soul that was being sold to the world. Chise has always been one of my most favorite characters once I started the anime , the aspects of her that I see in Joelle are the growth she managed to accomplish with herself , she used to have a normal life a happy family , but eventually that turned around when 'dark beings' (which would hint the cults of Hearteater) began to make their way into their life and make it more dangerous to be around , and even the fact that her own 'blood and family' tried to kill her is the hint of her father that almost killed her. [But in the anime it was the mother that tried to.] She eventually ends up in good hands which help her see the world with different eyes and find who she really is and help her discover her own courage and determination that she wants to do better for herself and others around her .

Shigeo Kageyama - Mob Psycho Little little shy Mob~. He was one of my main inspirations if I have to be honest because a lot matched with the two of them. This comes around her more doubtful and shy side. Mob is a perfect representation of both Joelle's moods , when she is sweet and respectful to a menace and a deadly being if they come near their family. Her relationship with Reigen matches with the one me and my friend Mel have with Joelle and Yorie . Let's not forget about how crazy batshid he went when they took his brother away and he was willing to do everything in his powers to save him... but there was also the fire in his house.. now that is basically the next level of Chapter Death in a sense. But for real there are a lot of aspects behind Mob that I connect with Joelle and how her character is displayed~.

Yuuji Itadori - Jujutsu Kaisen Yuji is the aspect of Joelle that exists kind of rare but it's still there , it's her little goofy side , but the amount of love for her friends and family is also there . His determination and courage to protect his new friends is the same as Joelle trying to protect her own regardless of what kind of burden both of them carry that can cause the destruction of the world, even if the the two of them might appear weak to most they would always throw themselves in danger to protect their loved ones , but later one begin to grow in personality and strength . Maybe I can even connect a tad bit Sukuna and Chapter Death because both are the representation of the final stage when the 'scary' takes over and would basically erase your existence . Yuji and His friends remind me a whole lot of Joelle and her own little crew and how each of them help each other and will always be there no matter what. Basically the hero that wants to save everyone and doesn't really care what happens to them , as long as everyone is safe .

Manjiro Sano and Ken Ryuguji - Tokyo Revengers These two go in pair ~. I see a big portion of aspects of the two in Joelle and each of them kind of represent her 'goofy' and her very serious and respect side. Mikey is a bit more laid back and chill but at the same time very scary , a bit how Joelle is in a sense how she can be so calm on certain occasions until she finally snaps and beats the crap of anyone who doubted her and called her 'small and helpless.' This is the aspect I enjoy the most between the two because they underestimate their opponent and then get their ass handed to them , that's how the two kind of go xD. Draken would be maybe her grown up and mature side in a way and the one that keeps things in line when ever there is justice that needs to be served because no one is allowed to hurt their friends and family. Very loyal and determined and even jump down to apologize for their wrongs to try and correct themselves and possibly help their friends understand the situation a little better , unless there is no way out they always try and reason first before jumping into action.

Nezuko Kamado - Demon Slayer / Kimetsu no Yaiba [New Add] I almost forgot!! Honestly I can't forget to include my favorite little goofball . Another little demon that I can see a lot of personality traits and aspects in Joelle as well. Nezuko and Tanjiro are also a good representation of both Jericho and Joelle in a sense because of how strong their bond is beyond anything . I don't want to spoil anything in my current arcs because I want to keep it a surprise since I have a whole lot of things to decide on . Nezuko displays Joelle's very protective side and very caring one as well the side of value she feels towards her surroundings and regardless of being a little 'different' she still is the same person no matter what happens and will never lose her humanity even after being 'cursed'. And even be a little bit of a hint of her sensitive and cute side too regardless that she doesn't show it too often xD.

Saitama - One Punch Man And last but not least , I put him on the bottom because at the beginning when I was creating Joelle I would always think of Saitama and how she was going to play out of sort of a joke that is really powerful and kind of blunt in a sense . But now she has grown so much and has so much potential , story and personality behind her that you can't even imagine! Saitama was maybe my very first inspiration when I created her because for some odd reason I really like OP shid and I mean literally xD. I don't know why but I just do , but regardless of Joelle being kind of OP orientated , later on when I began to play out her story I started to balance her because I wanted her to seem a bit more real other than I just came here to kick your ass and you're dead now lmfao. She still has some funny little aspects of Saitama behind her that's for sure , but she is completely different now and I am super proud of what a long journey she has gone through and grown so much as a character ^ ^. Thank you so much for sending in dear!!I really enjoyed this ask <333!! - Cards

[zukkacore]

Whitewashing in AtlaLok: the Western & Christian Influence on s2 of LoK

Ok, so i’m not a big brained expert on all things indigenous or even all things asian but I do think bryke's christian & western worldview seeps so far into season 2 of LoK that i think out of every season it’s by far the most unsalvageable out of everything they’ve ever done in the Atlaverse and is a very insidious kind of whitewashing. I know that sounds hefty but here’s what I mean

For the record, I’m a mixed filipino person & while there is religious diversity among filipinos, more than i think ppl realize or that the catholic majority is willing to let on, when we were colonized a large percent of the population was indeed forced to convert to catholicism so that’s my background, & i don’t know everything about taoism or the what the tai chi symbol represents but the way Bryke westernize the concept of Yin and Yang is honestly… kinda bewildering. They get so many details about yin & yang wrong?? & Yes, it’s possible they could’ve been trying to create their own lore that differentiates itself from the traditional depictions of Yin & Yang, but in the end i think it doesn’t matter b/c the lore they invent is a very obviously western interpretation of the concept of “balance”.

The most important and honestly worst change they make is that concepts of “light” and “dark” are completely oversimplified and flattened to represent basically “good” and “evil” (which, the light and dark side are a bit more complex than representing just “peace/order vs. Chaos” like the show might imply but we don’t even have time for that, but is funny how they get the genders wrong. Like. Traditionally, light is usually coded masculine and dark is usually coded feminine, but never mind that, that’s just a tangent). This really simplifies the nuance of the s2 conflict and makes it a lot less interesting, not to mention just—misrepresents a very real religious philosophy?

And for the record, a piece of media going out of its way to do "the show, don’t tell" thing of stating in the text that “oh, light and dark are not the same thing as good vs. evil” without actually displaying that difference through the writing is just lip service, and its poor writing. A lot of pieces of media do this, but i think s2 of LoK is particularly egregious. The point of this philosophy of balance is that you aren’t supposed to moralize about which side is “good” or “bad”, or even really which one is “better” or “worse”. Even if the show states the concepts are not interchangeable, if the media in question continually frames one side (and almost always its “chaos/darkness”) as the “evil” side, then the supposed distinction between “light vs. dark” and “good vs. evil” is made moot. And besides the occasional offhand remark that implies more nuance without actually delivering, Vaatu is basically stock evil incarnate.

This depiction of conflict as “defeating a singular representation of total evil” isn’t solely christian, but it is definitely present in christian beliefs. And I think those kinds of stories can be done well, but in this case, in a world filled entirely of asian, Pacific Islander & inuit poc, to me it feels like a form of subtle whitewashing? B/c you’re taking characters that probably wouldn’t have christian beliefs, and imposing a christian worldview onto them. Not to mention removes what could have been an interesting conflict of any nuance and intrigue… and honestly, sucks, because I do think s2 has the bones of an interesting idea, mostly b/c there are potential themes that could’ve been explored—I know this b/c they were already explored in a movie that exists, and it’s name is Princess Mononoke! It has a lot of the same elements—tension between spirits and humanity, destruction of nature in the face of rapid industrialization, moral ambiguity where there are no easy or fast answers and both sides have sympathetic and understandable points of view. (Unsurprising b/c Miyazaki is Japanese & Japanese culture has a lot of influence from Buddhism, Taoism, Shintoism, etc)

Bryke’s western & christian worldview also totally seeps into the characterization of Unalaq, the antagonist of the season which is a real problem. I’m in the middle of rewatching s2 right now and what struck me is that….. Unalaq comes across kinda ecofash AND fundamentalist which is 1) seems like an odd combination but maybe it really isn’t? 2) i think is a really tacky choice considering that the water tribes take the majority of its inspiration from inuit and polynesian indigenous cultures.

I honestly forgot abt this but Unalaq gives this whole lame speech abt how the SWT & humans as a whole suck b/c of their lack of spiritual connection & it was really eerie to me b/c "humans are morally bankrupt and they must be wiped out/punished for their destruction of the environment" is total ecofash logic bc it blames all of humanity for damage caused by those in power—be they capitalists or whoever. It’s a worldview that blames the poor and powerless for something they have no say in, and has real eugenics undertones bc with every implication of culling, there has to be someone who appoints themself the job of culling—of who is and isn’t worthy of death.

This belief also struck me as......... kinda christian in it's logic as well which is WEIRD b/c once again........ their cultural inspirations are DEFINITELY not christian...... The whole "man is inherently evil and must spend their whole lifetime repenting/must face punishment for it’s wickedness" thing and the way that christianity treats humanity as born with original sin or inherently corrupt—as well as above or separate from nature are really stronger undertones in Unalaqs worldview....... which isn't really an indigenous way or thinking.

I'm generalizing of course but from what I have seen from the indigenous people who speak on this is that (feel free to point out or correct me if i’m mostly generalizing abt Native Americans and not other indigenous cultures & there are some differences here) is that while native tribes are not monolithic and do vary wildly, there are a lot of common threads and that reverence and respect toward nature and your surroundings is an important tenant of indigenous beliefs. (I specifically remember the hosts on All My Relations saying essentially that we humans are a part of nature, we are not separate from it, and humans are not superior to animals—I’m paraphrasing but that is the gist of it)

So, yeah, I think it’s just really distasteful to write an indigenous character who is characterized in a way that’s way more in line with a christian fundamentalist & wants to bring about a ragnarok style apocalypse end of the world when that isn’t really a tenant of our beliefs? (btw, the way the end of the world is framed is also kinda fucked up? If i were being charitable, I could say that maybe s2’s storyline is a corruption of the hindu depiction of the end of the world, but even that sounds mildly insulting for reasons I won’t get into b/c i am Not The Expert On Hinduism. I will say that once again, the framing of the concept is all wrong, the show views the idea of apocalypse through a very western lense)

To wrap this up, I think the depiction of Unalaq could *maybe* work b/c he is the antagonist, so someone who strays from the NWT cultural tradition in a way that makes his view of morality more black and white wouldn’t be a *horrible* idea for the bad guy of the season. Especially because the introduction of capitalism to the A:TLA universe could probably cause a substantial shifts to… idk, everything i guess, b/c capitalism is so corrosive. Like. Sometimes people are just traitors. I do think it would be interesting to portray the way capitalism manifests in a society without white christians. Like… I do think there are a lot of ways secular christianity and capitalism are interlinked. But Unalaq is not portrayed as an outsider, he’s portrayed as hyper-traditionalist in a way that’s vilified? I guess rightly so, he does suck, but it’s just hard to conceptualize how a person like Unalaq comes to exist in the first place. In the end, I don’t really think it makes sense, in a world without white people, I don’t really know where this introduction of black and white christian morality would even come from in the avatar world?

TL;DR, Bryke applying western christian morality & world views to non-white characters in a world where white people have NEVER existed to affect our beliefs is a subtle form of white-washing. It imposes simplified “good vs. evil” world-views & cultural beliefs onto its characters. Any attempt to represent or even just integrate our actual beliefs into the A:tla lore are twisted and misrepresented is a way that is disrespectful and saps out any nuance or intrigue from the story, and alienates the people its supposed to represent from recognizing themselves within the final product. And Finally, on a more superficial story level, these writing choices clashe with the already existing world of ATLA--and is honestly just poor world-building.

[a-little-slice-of-fandom]

Anne's characterization is bad. She's without a doubt the most intelligent and analytical queen. She single handedly manipulated the most important men of England to break up with the most important organization in the world. She'd not be a "chaotic gremlin", she was a master at social rules and managed to not sleep with the king while still keeping him interested for 10 years. She did not became a queen on accident and I hate that her song make it sounds like things just sorta happened to her:)

So this has been in my inbox since yesterday, but then everything with that one annoying anon happened so I wanted to wait to post this.

(Also before people come for me I’m first and foremost an English student. Discussing characters, what makes them likeable, their subtext etc is literally what I do to pass the time. I see this from a dramatic perspective, not a historical one, but as six is a musical it’s important to view both the history and the dramatic elements as equally important)

So firstly I wouldn’t say the character is bad. She’s not historically accurate, she’s probably the least historically accurate out of all the queens...but as a character she’s actually really good. I mean, she’s the the definition of “loveable asshole” and rarely do you see female characters written like that. Mostly they’re just labelled as bitches. Boleyn is spiteful, competitive, silver tongued, unapologetic and aggressive when she wants to be. But she still manages to be a generally likeable character. And she’s never villainised for being the way she is, that’s just her personality. Boleyn could have easily been portrayed as the villain of six...but she isn’t. She’s just a woman. Yes, she’s all the other things I listed, but she’s got her sense of humour, her relatability and her moments where her facade completely breaks. I always love how Vicki did the “what was I meant to do” before shouting “he’s actually going to chop my head of!” Vicki sounds genuinely TERRIFIED at that moment, and it’s such a cool contrast to her very mean-spirited version of the character. And I don’t know, I like that?

But I will address the “chaotic gremlin” Boleyn as well. This idea is a fandom thing that comes from the megasixes, where Millie would often act very chaotically and because a lot of people didn’t have access to the show and were just going off the album and the megasixes, people assumed that’s how Boleyn is in the script. But she’s really not, at least, when you look deeper into the script. In the actual show, while Boleyn can cause chaos but she’s not always defined by this chaotic spirit. Millie Boleyn isn’t actually that chaotic, in fact she’s one of the more balanced Boleyns. I’m not denying that as time has went on, there haven’t been chaotic Boleyn’s, but that’s more due to actresses feeling they have to conform to the fandom expectation in my opinion than the script itself. The most distinct versions of Boleyn are Ashleigh and Christina, from the student and studio casts respectively. Because they weren’t confined to the fandom expectation, they have some of the most interesting versions of the character. Ashleigh especially feels refined and calculating.

Lastly, I’m just going to talk about this idea of manipulation. Because the queens are trying to manipulate the audience. Think about it: this is a competition to see who will be the leading lady of the band and the audience are supposed to decide. So the queens, in theory, have to play to the audience and get them on their side. They have to make the audience like them.

Some queens are really bad at playing to the audience. Seymour garners a lot of goodwill from Heart of Stone and gets the audience on her side...but she forgets to keep the audience on her side. I mean, she’s so insanely petty and she literally gets up in Aragon’s face and screams at one point. Seymour isn’t good at playing to the audience. Parr makes no effort to play to the audience before her own song. She doesn’t want anything to do with the competition, and while her efforts to keep the competition fair may gain her some points with the audience, it isn’t anything groundbreaking. All of parr’s iconic lines come after IDNYL, after the competition has been shattered anyway. Cleves does play to the audience, but in a different way. She’s not going to play misery poker, but rather is laughing along with the audience, hyping herself up and letting everyone have a good time. I mean, she often compliments the audience members and dances with someone. She knows she won’t win the competition (and frankly, she doesn’t want to) but she still will have a good relationship with the audience and make them like her.

At the end of the day, the queens are trying to manipulate the audience to like them. But who is the best queen at manipulating the audience? Who plays to them constantly and is constantly hammering how how relatable they are? Boleyn...and also Howard but for the purpose of this discussion it’s Boleyn.

Boleyn is constantly playing to the audience, manipulating the situation and making them like her. She’s got the catchiest song firstly. She’s one of the most casual queens to the audience “My name is Catherine of Aragon” vs “I’m that Boleyn girl” for example. She pulls Aragon to the forefront of DLUH specifically to make fun of her, taking the wind out of Aragon’s sails and undermining No Way. After Seymour and Howard’s emotional songs? Boleyn instantly swoops in to make jokes at their expenses and get the audience to laugh along with her. She’s always playing to the audience. She never lets it slip from your mind that she’s the most relatable queen, and that you should like her. That’s pretty smart if you ask me!

Also Boleyn is the best at manipulating the other queens as well, and can read the social situation between the other queens the best (along with Cleves but Cleves just feels like she doesn’t want a fist fight on her hands). Boleyn always knows exactly what to say to push someone’s buttons, but also knows when to back off to make sure the audience still root for her (unlike Seymour). She only gets super aggressive after AYWD, when she’s realised that there’s another queen who is equally relatable as her, but more sympathetic. And then she starts to panic.

In regards to don’t lose ur head, it’s actually another tricky discussion because a lot of it can be read as sarcasm or Boleyn making fun of herself. Courtney Bowman is literally the most sarcastic Boleyn out there, to the point where none of her song comes off as serious. “Politics? Not my thing” often comes off as a blatant lie for many of the boleyns, and like I said, we know that she’s great at manipulating the situations in the show so clearly she is good at politics? The thing is, we can’t just take what the characters say in their song as 100 percent true...we need to look at their actions as well. And again, if Boleyn wants to be seen as relatable, she doesn’t just want to go saying about how she was super sneaky and a great social player. That’s counter intuitive! The competition is to make the audience think you had the worst time, and Boleyn understands that! She’s literally manipulating the truth so you like her more!

And lastly, Toby and Lucy have both discussed how they sort of regret what they did with Boleyn, and I’m totally aware that I might be reading way to much into all of this. But I don’t know...I think that, at least as a character (not an accurate representation of the historical Boleyn) Boleyn can be good.

[sammysdewysensitiveeyes]

Hi! I just read your rant about how Duggan uses and sees feminism. His book is nothing of that. To me, it uses fantaisies of white men and makes it believe it's feminist. His feminism is very lazy, it's like he read twitter and hop he put it in his book. Actually, if i have to call it feminism, i would say it's white feminism and nothing else. His book isn't inclusive, it's just about Emma and Kate doing badass stuff. Now, it's easy to say productions, writers and tv shows use the feminism to sell their creations. To me, it's the case for Duggan. It's clear he doesn't understand a bit of what the feminism is. It's not just being badass or using the me too movement. No it's far than that. It's a fight for equality and for men to acknowledge, we the women, are also human being and have the right to be respected and to have the same rights and duties than them.

I'm sorry to say it but duggan is far far of being a feminist. He used Emma in particulary as one of his strong female character fantasy. She is always sexy, she knows everything, she is always strong. To me, his version of Emma is badass and great but something is missing in her. She is just badass. So since he creates his fantasy of strong females characters, it's logic he is dismissing the men of the show. Look at who they are. They are all traits who can make us think the book is inclusive, all suffered from the humans, iceman is gay but he does nothing with them because he sees no interest in them. They are just here to tell us how amazing the strong females characters are. If you want my opinion (which you don't sorry), Duggan is very insecured with the way he writes Emma and Kitty who are very basic. His writing is just here to tell "yo look i understand you, i am a feminist, i can't be sexist see". If he starts to give a proper writing to the others characters, we will start to see that his writing of his fantaisies aren't that great.

But again it's an opinion. It's just to sell his book.

Hey, I very much appreciate your detailed opinion!

I think we're also talking about the difference between Strong Female Character and actual strong female characters. Writers and film-makers have interpreted the desire for strong female characters as "more sexy, badass women" (and of course, they must always be sexy), when what many of us female readers/audience members really want is women who are complex, flawed, interesting, and allowed to be an important part of the narrative, just like male protagonists. It's nice to see strong, badass women - I admit, after the MCU being so male-centered for so long, I really loved seeing Captain Marvel being incredibly powerful in her own movie. But having a woman be a badass isn't the same as having her be an actual good character, and many movies will have the Strong Female Character who kicks ass then winds up playing second fiddle to the male protagonist, for whom she is also, of course, a love interest. A female character doesn't have to be a badass or physically strong to be a strong character, she just needs to be complex and fully realized.

I think Duggan is trying to give us strong female characters by making the women front and center, but he's really giving us Strong Female Characters by making Emma and Kate virtually flawless, which is really a disservice to both of them. Emma in particular is interesting because she is so complex, and capable of both great evil and great good, so watching her strut around being right all the time really flattens her character. (And it's kinda boring - I don't want to watch Sebastian lose to Emma yet again, I've been watching that for most of this series.) And he is also pushing a white, wealthy, model-beautiful woman into the spotlight, and down-playing Storm, the WOC on the team. And if you want to talk representation, the men who are being mostly ignored or used as window dressing in the series are: 2 POC (Bishop and Shinobi), 3 LGBTQ guys (Iceman, Christian and Shinobi). Not to mention Sebastian himself, who basically admitted to being bisexual in Hickman's X-Men, but that is being ignored. Pyro is the only supposedly cis, white, "straight" guy, and even he is arguably being "straight-washed" given that he was originally queer-coded back in the day.

I think the treatment of the guys has underlying layers of toxic masculinity, since they are so rarely allowed to to express complex emotions and are just expected to make witty quips or get angry. (Especially Bishop, Iceman and Pyro.) Not that I necessarily want to see "sad boy Pyro" breaking down in tears, but at least that might feel like serious character development for him. We don't get to see Bobby's grief over Kate's death, just his anger, and his relationship development with Christian is virtually nonexistent. We still haven't dug deep into Shinobi's relationship with Sebastian, and his "I still want to kill my father" is treated like a joke. (Admittedly, it's a funny line, and very in character for Shinobi.) The only guys who get to have "tender" moments are brief guest stars, like Masque, Forge and his human friend, and Jumbo Carnation. Which makes it extra frustrating, because Duggan clearly CAN write good, emotional character moments, but for some reason he can't be bothered to do so for much of the male cast of the book.

Damn, my Marauders critique really has gone far in the direction of "But what about the poor meeeeeen?" Maybe I'd feel differently if the two stars of the book were more obscure female characters, instead of two well-established and iconic X-Women. Like, I don't mind that Kwannon is clearly one of the stars of Hellions, because she is desperately in need of her own development and storylines as a character, and because Wells has managed to balance his writing to give all the cast something to do, rather than just dropping certain characters for months at a time.

[365days365movies]

January 17, 2021: Atomic Blonde (Epilogue)

I genuinely really enjoyed this film! And then...about 2 minutes after it ended...I started to think. And I continued to think. I wrote those two posts, and then took a little bit more time to think.

And then...I came to my final realization.

John Wick REALLY screwed this movie. Because the perception of this movie for most, myself included, was that of a new John Wick, with a female protagonist. A lot of people referred to it as “Jane Wick.” But it’s definitely not John Wick. It’s trying to be a spy movie, especially like James Bond films.

But the problem is...it isn’t either. To be a spy movie, it tries a little too hard with a pretty standard plot. And then, it intercuts that with John Wick-caliber fight sequences, detracting from the spy movie aesthetic. And then, because you do have those fight scenes, but still need to fit in the spy stuff, it creates a distinct disparity in tone and pace throughout the movie.

In other words...let’s get to the Recap. I have some more thoughts. And don’t worry! Many of them are positive. Just...not all of them.

Recap

Cast and Acting

Let’s start, of course, with Charlize Theron. Outside of the action sequences, Theron goes well as Broughton, portraying the tough character traits we see in spy characters like her and James Bond. And with the character she’s given, Theron does wonderfully. James McAvoy, on the other hand, seems like he’s having a HELL of a lot of fun with his role. He’s an underrated actor, honestly, and it’s very cool to see him play this sort-of anarchist punk spy. Sofia Boutella also deserves a shout-out for Delphine, playing her character’s naivete well, as well as remaining likeable. Also, Bill Skarsgård deserves a shout-out! I liked Merkel a lot, even despite his shorter screentime. Goodman, Jones, Marsan all do fine in their roles. The USSR characters...eh. They aren’t really given much spotlight...which is weird, given the fact that this is a Cold War drama, but OK. Basically, we’re going with an 9/10. Great; not the best I’ve ever seen all around, but still great!

Plot and Writing

Yeah...here’s the thing. I might like this movie, but the plot’s kind of a massive mess. Writing’s fine, but the plot is both extremely cliche spy movie, while also being extremely muddled in terms of story. Remember what I said up there about this film trying to be both a spy movie and John Wick, and that not working really well? Yeah, basically that. It attempts to balance the two concepts, but also corrupts what makes those concepts work in the first place. The Bourne Identity is arguably a better version of that combination. It’s too bad, because elements of the plot really take away from the rest of the movie. 

And then...there’s the tacked on ending. Because, yeah, the whole American spy thing? Wasn’t in the original graphic novel. What I genuinely think they should’ve done was end it RIGHT at the interview’s terminus. Or, at least, right as she greets Bremovych as Satchel, as is done in the original novel. And, just to be clear, I thought this BEFORE reading the book. That ending feels...pander-y, for lack of a better term. I realize that we always want our protagonists to be heroic, but how great would it have been if Lorraine actually was kind of a villain? I dunno, I think not adding that extra twist at the end makes the movie stronger and more provocative, in a good way. Sorry, Kurt Johnstad, I know you did a good job on a technical standpoint, but...5/10 here.

Directing and Action

David Leitch, Jonathan Sela, and Sam Hargrave, the director, cinematographer, and stunt coordinator/fight choreographer, respectively. Full points for the action sequences, because MAN, those were some good action sequences! Rough and gritty, but extremely well-choreographed and shot at the same time, the action deserves the praise that it’s gotten. How about the cinematography? Stylistic, and very bold colors make this film very memorable. But...they don’t have much clear tie-in to the theming, and I think there’s some missed opportunity there. And the direction overall is great, even if I don’t think it’s perfect. It is Leitch’s first film as solo director, after all. 8/10!

Production and Art Design

Changed the title of this section! Turns out that I’ve been conflating the two concepts, so let’s include them both from now on, shall we? But OK, what did I think of it? Costume design was iconic...in the case for Charlize Theron, at least. James McAvoy a little bit, too, but it’s clear that Cindy Evans focused more upon Charlize than anyone else in the film, really. Which, for a spy, isn’t the best of ideas. Still, that combined with Zsuzsa Kismarty-Lechner’s art direction for the sets and set pieces (almost all of which are splashed with graffiti, in a very 1980′s flair) do bring you back to the time period in which the film is set. This, of course, is also due to the work of David Scheunmann, the production designer who’s actually from Berlin, and whose experiences were vital into making this film look as good as it does. If you’re not sold on the set design, check out the differences, obvious and subtle, between West and East Germany in the film. While some of it is clear, some of it carries some surprisingly subtle messaging (Stalker and Tetris, for example). So, even if Charlize got most of the costume attention, a lot of credit should be given to this movie. 8/10 for this one!

Music and Editing

Maybe the most well-known aspect of this movie, outside of the dramatic lighting, is the ‘80s soundtrack. Some love it, some criticize it quite a bit for overwhelming the film. And honestly...I think they’re both right? Here’s the thing, the music is great, and some of it is used in unexpectedly creative ways that critics didn’t seem to pick up on. Biggest and best example of this is Nena’s 99 Luftballons. That song if you didn’t know, is inspired by the separation between East and West Berlin. It’s literally a song about the cost of political strife, leading to war between countries over something as trivial as a red balloon. And when do they play it during the movie? When Bremovych is waging interrogating young East Berliners celebrating the culture of the west. It’s surprisingly profound! However...using Flock of Seagulls’ I Ran during a chase scene is...less so. That’s one’s a little on the nose, let’s be honest here. And that basically sums up the music for the movie. It’s all good music, but it’s either used well, or it just isn’t. Also, there actually is music composed for this movie, by Tyler Bates, and it is good...but I had to listen to the soundtrack to remember that it was even in the movie. So, yeah, not fantastic.

OK, how about the editing? The flashback sequence intercuts as part of the movie have been criticized by some for interfering with the pace and tone. And...eh. Wasn’t too much of a problem for me, to be honest. And other than that, it didn’t stand out too much to me. I’m finding that editing is the hardest thing to judge in these movies, but who knows? I think this little project might improve my film judgment skills. Also, those long shots? Not true long shots, as they were edited in post. So, good job to Elísabet Ronaldsdóttir! Overall, though, this category’s getting a 7/10 from me.

That’d be a...68% Really?

I’m legitimately surprised, because I do like this movie! Really, I do! But breaking it up piece by piece...it’s only really OK. My personal preference doesn’t necessarily dictate my score, and vice verse. So, I like this movie...even if it’s not as good as it can be. It’s a distinctive and stylish film with great action, and if you wanna see Charlize Theron be cool and kick ass, then WATCH THIS MOVIE! 

And by the way, I didn’t touch too much upon the fact that this is the rare bisexual protagonist, and this is Tumblr, so I know that that’s something you guys know. And honestly...eh. Fact of the matter is that it’s a part of her character, but...we don’t really get to know the real her throughout the entire movie, so...is it? I’m honestly not sure. But, representation is representation, I get it. Also, fun fact, Delphine actually is in the graphic novel, but as a guy. So, interesting change, that!

OK, I think we’re done with the spy movies for a bit, now. Let’s switch subgenres a day. Let’s inject a little more adventure into this month, and let’s trade fists...with swords. It’s swashbuckler time.

January 18, 2021: The Mask of Zorro

[biwenqing]

Golden Stage Thoughts

Alright-y, I finished this novel and just have to recommend it. It’s actually the first Chinese fan translated novel I’ve finished in full so far, so I think that speaks to how engaging the story is! [English translation]

Things I adored:

The romance - this is really the drive of the story and the author treats it as such. After the two main characters come together, they don’t tend to be a part for long. When they are, there is often a lot of references to their feelings for each other or they try and stay in contact. It’s a relationship that has a strong balance of power. Sometimes one or the other may have more power in the world at large for a time, but it tends to balance out in the end and they always respect each other as they come to understand each other.

The tropes - SO MANY and they are such good ones. If I were to tag it I would use: #friends to enemies to arranged marriage to friends to lovers #mutual pining #battle couple #hurt/comfort #huddling for warmth #met as teens #bickering as flirting #competency kink #there is only one bed #domestic couple #pov alternating #happy ending. They spoil each other, they long for each other when apart, they bicker AND say the sweetest things to each other. When they figure out their feelings, they pretend they still “hate” each other, which leads to some very funny scenes. Some of these are outsider POV moments, which are so fun. There is fluff and there is angst. They get their happy ending! All around I was left so satisfied with the romance and happy with almost every scene they had together.

The story - This is a historical fiction romance, heavy on royal court drama. There is a mix of some mystery in it as well! The plot going along around the romance is pretty engaging and decently written, though there are some plot holes (which the author acknowledged). Nothing groundbreaking but worked well for the piece.

The characters - Fu Shen and Yan Xiaohan are both morally grey and it's neat! In their lines of work they can be rough and cruel. But what this does mean is that they feel like really in-depth and well rounded characters. The different parts of their personalities, the effects of both having been young when shoved into places of power, and how their families shaped them are all shown. Don’t go into the story thinking it will be all fluff because there is war and political backstabbing aplenty, but it makes for interesting characters and the sweet moments sometimes even sweeter. Fu Shen and Yan Xiaohan feel like completely original and well written characters which is what I look for in a story, especially a romance, to be sure!

The writing/translation - The writing itself was just rather well done and I give a lot of kudos to the translator. Fan translation is a hard labor of love, and the quality of lines and descriptions are fantastic!

Representation - The story starts after Fu Shen suffers a grave injury that leaves his legs disabled. He remains disabled throughout the story (doesn’t magically get better despite my fear they would use the trope). It was really neat to see a disabled love interest/main character, though there are issues (see below). Also of note: the main characters aren’t the only queer couple in the story! Fu Shen’s uncle had a well know relationship with a prince and there is reference to a past emperor who had a great male love (in the historical set up for there being gay marriage). Yan Xiaohan also knows he is gay so there isn’t the cringe-y “straight but with an acceptation” thing going on.

Things that I really didn’t like:

Having a disabled love interest is fantastic! However, I need to note a few things about the writing on that as a whole. There is often a lot of ableist language and assumptions, which while probably historically accurate in a lot of ways, are just... not fun to read to put it mildly. For example, often times able-bodied people are referred to as “normal” in comparison with Fu Shen. In addition, I don’t think the author did any research on how an injury like Fu Shen’s would affect him, how it would heal, and how different mobility assistance would really work... and it shows. Some of the biggest plot holes and confusion for me were around how Fu Shen’s injury and recovery were depicted, which sucks.

Similar to the above, addiction is dealt with to a minor extent and how it is written is not how it works... I found it annoying but not enough to stop reading.

Not enough women :( Also the women who are seen don’t really have any agency of their own and shitty things tend to happen to them.

While there is a legal form of gay marriage, it is for the upper class alone and it’s... complicated. There is a good deal of homophobia in the culture and there is plenty of jokes in the manner of who is the “wife”. However, a good deal of what is seen within the story seems to be Fu Shen and Yan Xiaohan teasing each other (and being annoyed at anyone who makes the jokes). So I took it with a grain of salt but wanted to warn for it.

There is one scene of dubious consent (an aphrodisiac is involved) which is SO completely frustrating because only a few chapter before there was a decent paragraph talking about consent. The translator warns if you want to skip (and I don’t think it would affect the story much if at all).

Translator puts the rating at NC-17, which for me brings to mind Explicit on ao3. I would say it is more Mature, for both the sexual situations (though no “on screen” sex) and for the levels violence shown. The translator lists: “swearing, violence, murder, animal death, fantasy drug usage, alluded-to sex”. I’d add specifically: some scenes of torture, along with what I listed above in regards to ableism, homophobia, sexism, and consent.

In summary: I really enjoyed it, despite the flaws it has. The majority of the story and the romance between the characters is wonderful and compelling and I’d recommend giving it a read!

[ineffablebuddies]

Thoughts on how the Star Trek remakes should approach the characters , in a way that I think would be realistic for 2021 and our current climate:

Romantic relationships:

Sulu/Chekhov - We know they spend a lot of time together on a one to one basis, especially in the films, and they are very endeared to each other. It also wouldn’t change their dynamic or the dynamic on the bridge, and could slip into any future films or shows without change to character. (unlike Spock and Uhura, which I don’t hate, but required adjusting Spock’s character in order to enable a pre-existing relationship.) Like, all you’d need is one throwaway line to make it canon and you could keep the rest exactly the same. And there is obvious value in representing an interracial same sex relationship.

Uhura/Scotty - this would work as a slow burn, because Scotty is a bit of a hopeless romantic whilst he is younger, and is easily misled by his heart and can be a bit overprotective in a very 60s style which is a character flaw integral to his character (and is the plot of a few episodes). Which is why a slow burn is nice for him, because he needs to learn to come from a place of genuine respect and deep affection. And whilst I do like that Uhura stays relatively unattached as one of the few prominent female characters in tos, I do think that as a black woman it is important to allow her to have a romantic relationship due to current representation issues. Which is why I think the slow burn is also nice for her, because you can’t change her character, or make her the object of affection, but showing a deep love and affection developing on the job is nice. We also only start getting the scotty/Uhura romantic dynamic coming in the films when they’re much older. And again I think this is one you can show without having to change anything integral to them. Same with checkov/sulu that it shouldn’t be a plot point, but a character thing that happens without needing to be focused on. Neither of them seek it, but it happens naturally.

Amanda/Sarek - obviously this is already canon, but I think it should be explored in a little more detail. I also think we can do away with the whole “Vulcan is incredibly sexist and treat women as property” thing, which doesn’t actually make sense considering the female Vulcans we do meet, so doesn’t really add to the world building anyway.

Ambiguous Relationships:

Kirk/Spock/Bones - now I know this is controversial, but I don’t think they should necessarily make them canon in the remakes, except possibly at the very end of the shows/last film. To focus on the romantic relationship between Kirk/Spock too early on will potentially reduce the time for Bones to be included as a very necessary part of the main three, and the fact of the matter, the three of them are presented as having a deep bond, not just Kirk/Spock. And there’s a certain level of yearning and unspoken love that really defines their relationships. They should always end up together in some manner, with no other romantic attachments. Part of me would love to make it a ployamarous relationship, but I don’t think it’s likely to happen anytime soon.

I do think however that they should make Spock gay, and I think they should keep the relationship with the Romulan commander but make it a man, because that was actually very well written and acted, but the fact that Spock is able to use that romantic affection to his advantage against a woman is a little sexist considering it’s like the only time we see a female romulan commander, but as a man we wouldn’t have those same issues. And I think that’s the only other relationship we should see Spock have outside of Kirk/bones, because it’s marked by the fact that he can’t act on it the way he would like to, and none of the other relationships in tos really work IMO because it just seems ooc for him. But I think it’s important to allow him to be confirmed as gay considering he is queercoded.

I don’t think it’ll be as easy to confirm a queer identity for Kirk, but I think that for the women he has flings with, he should never be the one to initiate it, but have the same flaw of scotty as being a bit of a hopeless romantic who can be misled by his heart, and again that would give more value to the slow burn he has with Spock. I think you can very much allow him to refer to Spock with love, and I think you can confirm a relationship with Spock at the very end, but I think it should be non-sexual. Vulcan kisses are the way to go, and should allow you to give confirmation of romantic love whilst also having plausible deniability for the people who would riot against it.

I think it’d be fucking amazing if we could cast a trans guy as Kirk. I don’t think you’d get away with saying the character is trans, but having a trans actor and just never mentioning it in show may just be enough to get away with it. Especially if this is a relatively unknown actor who passes completely so casual watchers can’t even get fussed about it (I know this wording has some issues, but I’m thinking more about getting around execs and producers, than on what would be best for rep.)

I’m torn on how far you could get away with including Bones in their relationship. The bones/Spock dynamic is interesting because it is like enemies to lovers, they definitely develop that care for each other, whilst Kirk/bones are old friends. I think Bones shouldn’t have romantic relationships on screen, and should maybe be quite unromantic as a result of his divorce. I don’t think we should ever meet his daughter, though I’m also quite interested in the idea of his ex wife having remarried for a number of years and then having a brief affair with Bones, before breaking it off, but then gives birth to his child but it remains a secret. Because it’s definitely part of his character that he has no attachments to his home, and it makes more sense of his attachment - his love for a daughter that never knew him - if it’s one he can’t do anything about. And would understandably make him more bitter towards his ex, which can make him more unromantic. But I don’t think it needs to be a major plot point.

Like I said, Spock/bones/Kirk should always end up together in some way. And I think it’s in their character to never define why they end up together, but to acknowledge that they can’t live without each other. And I think you could get away with including that as ambiguous to how far their love for each other goes. There’ll be too much backlash to make it completely canon for it, but you could get away with the Good Omens approach. Perhaps you could include Bones in a Vulcan kiss subtly enough to get away with it.

Characters who should be important:

Christine Chapel - she should definitely be in it and made a more significant character, because otherwise Uhura is really the only woman in the show. But it’d be very nice to have a woman who doesn’t need to have a relationship, and there’s no need for her romantic desire for Spock to exist in any remakes. It would also be nice to just make her a doctor from the get-go. Her friendship with Uhura was present in tos, but can now be focused on more, as well as her supportive role to Bones throughout. She wouldn’t be part of the main group, but she should be a big part of their lives.

Doctor m’benga - he was an interesting character, and it’d be nice to have a fixed medical team that work closely together. There’s also a potential for an interesting concept of him being an expert on Vulcans, Bones being an expert on Humans, and thus they’ve both been hired on the ship to work together for the sake of Spock. Also, having another established doctor on board could give an actual explanation for why it’s okay that their only doctor keeps beaming down to dangerous missions and going up to the bridge for no reason lol. Plus there is a lot to be said for casting a dark skinned black man in the role of knowledgable caregiver, especially if they can make him more of a scientist of alien biology too. There may be value if it naturally develops of him having a relationship with chapel, because whilst I like allowing women to exist without relationships, it might be balanced out with the positive representation of an interracial relationship.

Lieutenant Rahda - remember her? She was like In one episode but was great, and she should definitely be introduced as part of the bridge team again. Though her exact culture or religion is not disclosed, she is seen to wear a bindi, and i think it’s always a great time to add more diversity. It makes sense to have more people in the bridge crew too, even if they aren’t part of the main team dynamic. Considering the current political climate, it’d also be a great idea to add another bridge crew team who is visibly a Muslim woman who wears a headscarf, seeing as various countries are still trying to ban that.

Walking Bear - he was only in the TAS for one episode, but again I think he would prove a valuable addition, especially considering star trek’s representation of native people has never been the best, so it’s time they started to make up for that a bit. In most episodes there’s always usually others in the bridge that are helping the main team, and it’d make sense to have a fixed cast of who these people are and flesh them out a bit more.

Saavik - she shouldn’t be in it until much later, at least not as part of the enterprise crew, but there is something very interesting about her character and the dynamic with Spock (which is why I think they should meet later on, because he takes on a role of mentor which is a dynamic shift, and thus should probably happen later. Multiple Vulcans on board is also a dynamic shift that I think should be addressed more.) I do wonder whether it might be nice to move her to being a scientist rather than bridge crew, as that would afford her more interaction with Bones as well, who I think we should get to see interact with other Vulcans more, to establish that he is not xenophobic despite his conflict on Vulcan philosophy with Spock. (Or at least if he does start xenophobic, to start showing his development away from this.) She also should not have a relationship, especially not with Spock oh my god. I think a nice way for her to be introduced would be if she was staffed on a Vulcan only ship that the enterprise for whatever reason has to work alongside, because I think we need to see Spock interact more with other Vulcans and see that Vulcans, despite claims to the contrary, can have the same xenophobic failings as humans. I think her being one who is sympathetic to the enterprise and to Spock is a nice set up to them then meeting later and working together (and also why she might change careers and move away from the Vulcan only ships, as we do get the sense it is unusual for Vulcans to serve on board a starship.) Whilst I do think that a romulan/Vulcan offspring could provide an interesting story, I think she should be fully Vulcan in order to make her acceptance of Spock more poignant.

Kevin Riley - I just think he’s neat. Also maybe we can return to the Tarsus 5 colony story point?!?!?!?

I’d also think it’d be cool to establish some engineers that work beneath Scotty, and a mix of genders of course.

But yeah, I think there’s a lot of ways that any remakes could stay true to the original, whilst still pushing for progressiveness in the same spirit as tos, whilst managing to manoeuvre around execs and producers and negative media. Star Trek should always be progressive for its day, and it’s a new day now, so we need to keep moving onwards.

[nonbinaryhatboxghost]

Okay, today has been a quiet Saturday morning so far, I have some time, and I like lists. So here is my random (personal) ranking of Star Trek series and movies, out of what I’ve seen, which is everything but seasons 5-7 of Voyager, all of Enterprise, and all of Picard. I’m only counting shows with three or more seasons because it’s easier. But let the record show that I love Lower Decks so far and The Animated Series is actually a blast.

SPOILERS THROUGHOUT

Series Ranking

The Original Series - As influential of a show as it is, I constantly forget how much damn fun the original Trek is. There is an almost Community-like variance in tone and genre throughout the show. And I’m a sucker for a future that embraces primary colors. It is the Trek show I revisit the most so far, and it remains my favorite.

Deep Space Nine - This one comes close, though. It starts out as a solid spinoff with very well-defined characters, and then becomes a big, sprawling epic that had my eyes welling up by the end. It feels more like a sequel to The Original Series than The Next Generation did to me. It dealt with subject matter both different and darker than was expected for the time. It had characters at odds with each other. Religion was explored in a way that balanced brutal honesty with genuine respect. War and the various traumas it induces were acknowledged. And it had “Take Me Out to the Holosuite”. I only finished this one recently but I look forward to watching it again.

Discovery - I was rooting for this show to be good even as it went through so much behind-the-scenes drama during its first two seasons. Even with all of that going on, the show became a fascinating watch as you saw it change from its arguably-too-dark beginnings as a prequel, to the almost Doctor Who-like second season with its joyful embracing of classic Trek, and finally to its current iteration that at long last gives us a Trek show that’s not bound by prequel limitations. Michael Burnham is such a great character and getting to see her arc alone makes this one of my favorite Trek stories. The queer/nonbinary representation also warms my heart.

Voyager - I’m just starting the fifth season, but the show has settled into an interesting groove with its characters. And Voyager’s characters are so damn good that they counterbalance a lot of the show’s early problems. It takes a while for Voyager to realize that the Kazon do not work very well as villains. But once the show realizes that, it begins an upward trajectory in quality that reminds me of Deep Space Nine after it began doing Dominion plots. And Seven of Nine’s effect on the crew dynamic lives up to the hype. Any scene between her and Janeway demonstrates such a unique relationship between captain and crewmate that an episode plot can be meh and still worth it for a scene with those two. Also, Janeway is the best captain character. No other Trek show (that I’ve seen so far) comes close to showing us the weight of leadership like Voyager, and Mulgrew constantly brings it.

The Next Generation - This is my first Trek show. It’s the one that my dad watched. There are several standout episodes to me, but I find myself less drawn to revisiting TNG than the other Trek shows because ultimately it took me too long to understand and care about its cast of characters. If you were to ask me to describe any character from any other Trek show, I would be able to. Ask me to describe a TNG character and I would likely fail to give any good adjectives for any character besides Data and Worf. As iconic as the show is, and as great as it became, it doesn’t have the same pull on me as other Trek shows. But it was the template for the spinoffs that followed, and the portrayal of Picard’s trauma post-Borg assimilation earns its reputation as an all-timer for me.

Movie Ranking

VI: The Undiscovered Country - I’m surprised this one isn’t talked about as much as other Trek movies. It’s a very frank depiction of prejudices and learning to deal with them. It has one of the best Kirk/Spock scenes ever. Christopher Plummer as a Klingon. The ORIGINAL cast credits sign-off (yes, Avengers: Endgame borrowed from this). A score that carefully balances menace with eventual hope. A fun whodunit structure. I could go on and on. It’s just so damn great, and so far the only successful send-off to a Trek crew in any of the movies.

II: The Wrath of Khan - It’s a classic for a reason. I’ve probably rewatched this more than any other Trek movie. You got your great villain, your classic crew beginning to deal with their mortality, an all-timer death scene, a kickass early James Horner score. What more could you want?

The Motion Picture - This is an interesting one. When I first watched it as a teen, I hated it. I agreed with every critique of it being thinly plotted and having an excessive runtime. When I revisited it in my 20s, it became a favorite. It’s Star Trek’s exploration of existential dread, and the struggle to find agency and identity within that dread. It has possibly Jerry Goldsmith’s greatest score. It is the best that the Enterprise has ever looked. This movie envelopes you with eerie and epic imagery, culminating in a finale with interesting philosophical ramifications and a well-earned return to optimism from its crew. This one is criminally underrated.

First Contact - This one is just rock solid all around. The best-ever TNG villains, further exploration of Picard’s trauma from Borg assimilation, Alfre Woodard, Alice Krige, fun action, the genesis of the Federation. It has the best balance of darkness and fun out of all of the Trek movies. It also has a character actually say the words “star trek” in a way that never ceases to make me smile. I don’t know if it’s a good line, but it’s funny regardless.

Beyond - Like The Motion Picture, I initially disliked this upon first viewing. I was still in the middle of watching The Original Series and was in the wrong mindset for this mashup of TOS and Fast & Furious. But it’s one of the most underrated Treks because it’s a perfect balance of the more kinetic action found in the 2010s with a very well-done breakdown of the inherent point and value of Star Trek: learning to be better and move beyond fighting the same battles among ourselves.

IV: The Voyage Home - This one is such a satisfying culmination of the crew’s arc starting in The Wrath of Khan that the joy of the 1980s material is almost just a bonus to me. Nimoy does a good job of keeping things light without disregarding stakes. He gets the best portrayal of the crew’s camaraderie in this and The Search for Spock. And Spock’s reaction to the concept of “exact change” always makes me laugh.

III: The Search for Spock - I revisited this one recently and it held up better than I expected. Seeing the weight of Spock’s death on Kirk in the beginning hits hard. Christopher Lloyd as the Klingon villain is casually one of the best Trek movie villains. And seeing the crew uniting over trying to bring back Spock gives us some of the best on-screen moments of this cast.

Star Trek - One of the reasons I love Beyond so much is that it retroactively makes this one better. I was crazy for this movie when it came out. I was in high school, Star Trek in general was something I was only really aware of because of my dad. But this is the thing that got me into Trek. And as mixed of a bag as it now plays to me, ‘09 Star Trek being a gateway for me to general Trek, combined with the perfect casting of the crew, the excellent Giacchino score, and the emotion of the opening sequence, thankfully makes this one still a blast to revisit.

Nemesis - I have only seen this twice, and both of those times without having seen TNG in its entirety. This was also the very first Trek movie I ever saw. Nostalgia is a factor for why this is higher than the others on the list. Curiosity is another, as I was unaware of Tom Hardy when I watched this, and have no idea what my opinion will be on rewatch. But what I always remembered of this movie was its ending, which even to a novice like myself when I first saw it had an impact.

Generations - There are quite a few great scenes that Stewart gets in this movie. Malcolm McDowell is also great in it. But the whole plot feels too forced for me to get actually swept up in it. And as fun as it is to see Shatner and Stewart share the screen... it ultimately has no impact and leads to a strangely lame death for Kirk.

Insurrection - The idea of Enterprise going rogue against the Federation for forcibly relocating a population for a natural resource is such a good concept... which makes the goofiness and half-baked writing of this entry all the more confusing. All the elements are there, but it feels like the tone was forced to be lighter than the material warranted. It’s frustrating because Frakes’ directing chops that he showed off on First Contact are still visible here. But for whatever reason, this one just falls apart.

Into Darkness - This one is low on the list mainly because it represents almost all the negative traits of the modern blockbuster to me. Darkness without depth, franchise callbacks without substance, and no character development/change by the end. Another reason why Beyond works better as a sequel to ‘09 Star Trek than this one is that Into Darkness feels more like it’s trying to make Star Trek a bigger movie franchise rather than develop this iteration of the Enterprise crew. Nothing and no one is changed by the end of this story.

V: The Final Frontier - It is the most difficult Trek movie to sit through, and yet I can’t call it a disaster. For all of its misfirings on the comedy front (dancing Uhura, for instance), the camping material with Kirk, Spock and McCoy is genuinely great. The premise of its villain being on a quest to find God is ultimately a misfire, but it leads to a very engagingly ridiculous climax centered around the question “What does God need with a starship?” There are far too many undeveloped ideas in this one, but that scene is worth seeing this movie for. At least, now that we know it didn’t kill the franchise, as so many apparently feared when this came out.

[5sosbitchfest]

We had an Anon write in with some interpretations of a tarot card reading she did.  I thought I’d share it with y’all as she took a lot of time to write this down.  I know NOTHING about tarot cards.  I cannot vouch for the validity of any of this nor am I saying it’s all a pile of hogwash.  I did enjoy reading this and wondering “what if?”  As I always say, read if you wish but take it “with a grain of salt.”  Thanks so much to the anon for sharing.  

******************************************************

So, this is going to take forever, as a reading can carry a lot of information, and you might want more ‘practical’ details too, about how are done. But I’ll try my best to be both synthetic and precise.

First things first, you can only get a proper reading if you believe and trust the cards to bring you the answers. If you don’t take it seriously it won’t work. What I usually do is to take a moment to empty my head, breathe and then focus on the question I’m asking. While I do so, I shuffle the cards until I sense it’s the good moment to draw the cards.

For both reading the question was “What is going to be the love future of Mystal/Lierra?”. I try to be as neutral and unbiased as possible (which is the hardest part), not wanting or expecting anything in the answer. I draw four cards, that I put in a line (not in a cross like some do), which gives a general answer.

My tarot deck is a very common and cheap one, but I like it, it’s been with me for a long time and I trust it. It has a few particularities. The minor arcana doesn’t have sense, there’s no difference between a card upward and downward. This means the interpretation are wider and sometime more difficult. The major arcana has a sense though.

·   I’ll start with Mystal reading. It was a quite precise and detailed, the reading went rather good no blockage or anything. The four cards (from left to right, and in order of picking) were: Queen of Coins, King of Cups, Queen of Sword and the Fool.

Very interesting from the beginning! All the cards are precise character: female, male, female, male. Two couples. The first couple is on left of the reading and both looking at the left (the eyes of the characters drawn on the picture) – left is associated with what is known, the past. The second couple is on the right of the reading and both looking at the right too –the unknown, the future. I see it the first couple presenting Mystal as is was /is, the past, the history, the built up to where they are now. The second couple is their future.

The past and the future are in opposition. The future won’t be in the same line as the past, there will be changes. In both case we have the two characters, not really matching, which could mean Crystal and Michael didn’t see their relationship in the same light or put the same value in it. And that will still be true, they don’t want to evolve in the same way.

Now for the details, card by card. Queen of Coins. This figure is kind of the “business women”. She is the symbol of material richness. She like abundance and luxury. Her noble status is due to long efforts that she can now enjoy and share. She builds or wants to build something long-lasting, a legacy. She cares deeply for the appearance and her social status. To me it is the perfect representation of Crystal’s path to where she is now.

King of Cups. The loving king, he is compassionate and tolerant, tender and benevolent. He is looking for stable relationship, based on love and respect. He protects the one he cares about. Could totally fit Michael’s description and what he was looking for when he met Crystal.

Queen of Sword. (This kind of made me crackled. This was a specifically love-targeted reading, and there’s barely any card in my deck that has less to do with love than the Queen of Sword.) This lady is methodical and rational, cold and analytical. She makes decisions and doesn’t ask for others’ opinions. She doesn’t play well in teams. She places her job, before any form of sentiment. In complex situations, she’s the one to take distance, she comes independent. She knows well how to speak and to manipulate.

The Fool. The fool is a symbol of liberty. Full of youth and energy, he goes along his own path, kind of merry-go-lucky. In my deck, the fool is also playing a cord instrument (There’s no accident in the cards). In this specific reading, I see it as the realization that something needs to change. He wants something new, life has become boring or heavy, he needs to seek new horizons, new things in general. It could potentially be a splitting, but not necessarily. With the other card, I would say it’s a break, a pause. A moment to create, to do music, maybe to party too?

There is tension. They don’t want the same thing. Crystal sees it, but she has worked hard to get what she has now. She wants to keep it, to secure it, even at the expense of being manipulative, cold, and/or authoritative. Michael wants to try new things, to have fun, to shake things up, but he might not be ready to give up on his hope to have a long and stable relationship with her. So they may have a temporary break. Spend some time on their own. But I have to stress that for now, I don’t see any official, definitive break-up.

·   Lierra’s reading was much blurrier. (Also I was getting a little tired and unfocused… so, yeah.) The cards took a loooong shuffle before they were ready for the reading. This could mean the situation is complex, not very clear. The cards (from left to right, and in order of picking) were: 4 of Cups, 3 of Coins, Page of Coins and 3 of Cups. Very few iconography, not much material, a lot of ‘vague’ / ‘concept’ cards. It was definitely harder for me to get the meaning of it. And no general meaning that flashed at me right away.

So let’s go card by card. 4 of cups. Very related to romance (cool, that the topic), means something very stable, in the sense that it is not changing at all. It could have a positive meaning, but it’s also commonly associated with routine and boredom. And with the other cards, I think it’s this last meaning at work here.

3 of Coins. This card is very much relating to work. I guess, here, it could mean mixing love and work. From the energy of the card, I didn’t see it as relating to the past, but more as taking action to mix and maybe balance these two aspects more. Seeing it right after the previous card, it could potentially be an indication that their relationship started as work (PR), but I’m honestly not convinced it was the sense of this reading (which doesn’t mean that they are not PR).

Page of Coins. It symbolizes youth and a bit of immaturity, Coins are also associated with medium to dark hair and complexion. Someone that may not be able to see the result of their work but is focused. Or doesn’t see the result of their work because they’re not working hard enough, or lack in skill or inspiration. It’s another card that doesn’t really relate to love. It’s more about work, and places material success before love.

It’s not a very popular interpretation, but sometimes, Page can be the “third wheel” and in the case of a couple reading, a third person interfering. Maybe a lover? Maybe someone is cheating. At first I thought it was fetched but it would make sense with the first card (boredom) that one of them is seeking for something different outside of the couple. And it makes sense with the other two cards which literally spells it: “3”. From what I know about Lierra, and the 5sos songs, it wouldn’t seem crazy to think that one of them might be cheating. (It would also make sense if they were PR and would not actually share a romantic bond).

3 of Cups. It’s another card that can potentially mean ‘ménage à trois’, frivolity, partying. But, more usually, it is associated with an agreement and the resolution of a conflict.

As I said, it wasn’t a very clear reading and I had to spend quite a lot of time dwelling on the cards before something came out of it. My general impression is that Lierra may or may not be PR, but at least puts work first, and has fallen in a pit of boredom. One of them (potentially both, but I had more the feeling that it was only one of them) is cheating to escape this heavy routine. Which might have been openly discussed, or will be forgiven. No sign of break up.