#which means community reaction DOES play a role as to which direction the story is going to go

[ritens]

dd2 has me doing mental gymnastics bc I don't really like interacting with canon all that much in ANY setting (nervously looks at wf, the chosen operator thing sucks, dont come at me).

puts this under readmore bc the ramble got too long oops just quickly going over Rau's story to see what canon events even tie in there at all.

It's just unfortunate timing in an unfamiliar place. Rau happened to be in Melve with his family, passing through really. Dragon makes a feast of his heart, he gets treated and dragged to Vernworth with strangers wanting to put him on the throne but he runs off because it's all too fast paced for him.

Disa does what Disa does best which results in Rau being enslaved on the Volcanic island with his memories missing.

He escapes the place, thank you Rook and goodbye Rook. Nobody picks him up from the griffon landing area and he simply wanders off on his own. (rather he wanders off BEFORE the soldiers arrive)

The guy spends a week trekking through the forests until he ends up in Vernworth again where Brant finally gets his hands on the stray Arisen to fill him in on his supposed duty.

Raures summons a mangled pawn at the big riftstone in the city and ends up leaving the thing alone at an inn for days to let him recuperate. During this time Rau runs the infiltration tasks in the palace for Brant.

Once Lane is good enough to walk, they set out for the Nameless Village and never return to Vernworth again. The pawn has his claws in the Arisen and does his best to distract the hero from his charge.

And the rest just doesn't happen for Raures. He sticks to his wandering lifestyle like he did with his parents before the Dragon scorched them and ate his heart.

They visit the Sacred Arbor at some point and travel to Battahl through illegal means. They assist those in need along the way because Rau is a stouthearted, kind man (if a little blind).

Brant is hot on their heels at times, exasperated beyond measure. Lane distracts him too by sending him the wrong way, but keeps Rau in the dark about the matter.

The pawn also murders Ambrosius on the beach as he detects the kind of energy is hidden in the small blue crystals. Better safe than sorry is the excuse he gives himself.

The (severely incomplete) bestowal of spirit was a mistake when it comes to Lane's OG master, Amaury LMAO he literally got all of the worst traits from the prick before the good ones could come in. Lane's learning those on his own now, through life experience. (((Exercises his sliver of free will to be a little bitch)))

After an unmentionable amount of time Raures loses his spark and is forced to retire as a New Arisen is made to pick up his slack and continue the cycle in his stead. He is devastated by the fact as the fog is lifted from his mind and realization finally washes over him.

He then notices that the pawn he adopted is still sticking with him despite his lost status. They have a falling out when Lane comes clean about his past and his motives and the role Rau unknowingly played in them.

Upset, Rau then FINALLY makes way to Vernworth to see if he can aid in any way. And Lane is left at Rau's cabin in the woods to think things through.

---

Raures is very dutybound so his initial reaction to Lane's manipulation, betrayal even, was very negative. But he eventually takes pity on Lane and goes to fetch the pawn before he can answer another Arisen's call and travel beyond the rift for good. Rau imagined himself in Lane's shoes and figured he would've done the same if he were in the such position.

Lane can no longer sense Raures either so their means of communication has got to become more direct too. It's difficult but they'll make it work.

---

Pathfinder is a tricky obstacle though I'm still trying to figure out what to do about that bastard. Rau does probably heed him. And he can very easily tell him that his pawn is corrupt and is getting in the way of his charge but there are many former Arisen who failed... How did they manage??? (or rather not manage)

[alteredphoenix]

I don’t know if this says something about me as a writer or the way Zereth Mortis’s storyline feels so patchworked and condensed, but every time I work on the ZM Fic and its side story I’m always forgetting about Thrall and Baine - and when I do remember I have to tell myself not to forget about them. That’s where I start to think if - and by how much - the expansion got truncated to such a degree that 9.2 had to trim the fat just to go from ZM to the Sepulcher just like that (and I always thought while it was unique that the campaign questline had you go in there, grab Anduin, go back out to make the Crown of Wills, and go back into the rest of the Sepulcher, I also think it’s such a haphazard way of doing so instead of approaching it a different way a’la without Anduin physically being there because Zovaal’s not going to stop dicking around with the Machine of Origination while you’re putzing around in Bastion on a quest to make a new Arbiter).

At least Thrall has some sort of reason to stay in the Shadowlands i.e. Draka, but also because his actions indirectly led to Sylvanas becoming Warchief who therefore kicks off everything between Legion and SL. Baine, on the other hand, doesn’t get that, or at least chooses not to seek out his father and talk to him despite there being indications that something was going to/supposed to happen between them after the Tauren Heritage Armor questline. OTOH you can argue that Baine being in Torghast mentally fucked him up so bad that him sitting in Oribos can be considered a realistic reaction to being tortured...but you don’t get to see that because that never left SL alpha, so that just tells me that despite it not being present for the player to see it at least happens off-screen. So while Baine’s reaction and lack of involvement can be forgiven this also made him into a meme the community latched onto and hyped up once he actually got up...but since he doesn’t go out of his way to find and talk to Cairne, that significantly reduces the meaning of his presence in the Shadowlands. Then again, he’s also Anduin’s friend and tries to beseech him to look to the Light while in Bastion, so even if he’s not being proactive he at least has a minor role in being The Heart.

Since the ZM Fic takes a different approach toward the Broken Crown quest by removing Anduin from the equation altogether and not being retrieved until the endgame a’la the Sepulcher raid itself, that means I would have to give Baine a very good reason to go to Bastion and help make the Crown of Wills. Hence since he’s The Heart of the party, he would have to maintain a passive role but doing it this way means he’s not exactly languishing in Haven and makes him somewhat more proactive to the plot despite being a relatively minor character. Although it’s the same with Thrall, but he has more at stake going on because (a) Sylvanas dragged him to the Maw in the first place to humiliate him and Baine, and (b) that’s two Warchiefs in a row that have sent the Horde on a death spiral that he’s had to witness once personally and the other being told to his face (by Saurfang) and having Loyalist assassins get the jump on them. That’s not to say Baine doesn’t deserve his own part to play in SL; after all, he was imprisoned by Sylvanas in the Underhold and almost got to watch Thunder Bluff burn, so by technicality he should have done more to earn the spot of being in the Shadowlands...but while you can argue from an out-of-universe perspective as to why he didn’t (and I’m not going to say ‘he wasn’t allowed to’ because that’s being accusatory to the devs and I don’t have information nor evidence to prove that ‘he wasn’t allowed to’ is true), from an in-game POV Torghast screw with him so badly he couldn’t do more than beyond the bare minimum.

Looking at this post, I do see how SL is so cut and strung together, and I do see good parts in it despite it being so flawed (and, IMO, one of the weaker expacs, next to TBC and WoD). I don’t know if it’s because of the ongoing lawsuits that jettisoned whatever plans the devs might’ve had for SL (e.g. the possibility of a Drust raid and a 9.3 patch) or the result of the community reaction online (which I noticed that whenever reactions do happen, they’re loud, loud enough to the point of inducing several Author’s Saving Throws to curb the heat, which...I’m learning I am not very fond of,  at all, having to tailor a story based off backlash and outrage, which also explains why I don’t stick with popular fanon). As I’ve said, I don’t like making conspiracy theories around things that might have/could have happened but never made it live because it didn’t fit the game’s narrative tone or direction. I would prefer to criticize rather than commit to shit-slinging.

But despite the flaws I do see an upside to writing a fic set in an expac that’s heavily maligned, and while it doesn’t retcon from Legion onwards like most Fix-It Fics prefer the ZM Fic still plays somewhat loosely with 9.2′s approach while still maintaining most of its canonicity. So even if Thrall and Baine (and hell, much less Anduin, he’s barely in this fic to begin with) aren’t at Main Character/Important Supporting Character status that Sylvanas and Jaina do in this fic, I can give them small roles that will at least carry them long enough to make it to the end (and into Dragonflight, although I’m not expecting Thrall to do anything of the sort afterwards, and I wouldn’t be too surprised if Baine isn’t involved with the Wrathion and the black dragons the same way Jaina will be for Kalecgos and the blues and Tyrande with the greens; DF is the story for the dragons, after all).

[brachiosaurus-on]

Brachio, friend! Hello! How are you?

I know you are reading the High Republic books, and I have to wonder, has any of it given you the impression the Jedi of that time have a significantly different experience from the Jedi of the late Republic? I hear a lot of people implying that lately, but I don't quite buy it, and so I figured I would consult you.

Mon, friend! Hello! I'm well, thanks! How are you? I hope you don’t mind that I turned this answer into a bit of a rambling meta.

So, the short answer is no. Their experiences are a little bit different due to the circumstances outside of the Order being different, but I wouldn’t say that their experiences are significantly different until the Clone Wars start. The philosophy and culture within the Order is the same, and I can easily see the characters trading places or recognizing each other as Jedi. The biggest difference is the fashion.

I think that this perception may come from big differences in how they are presented.

The scope of the story is different. High Republic gives us a broad scope through several points of view; the Prequel Trilogy gives us a narrow scope through only a few points of view. The Prequel Trilogy only includes what’s relevant to either the fall of the Republic or Anakin’s fall (which eventually become intertwined themselves), and has a small cast of characters. High Republic has many concurrent and overlapping plots and subplots with twice as many main characters. The scope and focus of the stories are very, very different. You may have heard that High Republic suffers from having too many characters, which is valid, but the upside is that we get a very full picture of what’s going on around the galaxy.

The audience’s perspective is different. High Republic is told from the perspectives of Jedi who love the Order and enjoy the lifestyle. The Prequel Trilogy is told largely from the point of view of Anakin, who does not find the lifestyle fulfilling.

The structure of the story is different. The prequels are very plot driven and most of the story happens during important events; we see limited exposition, resolution, and downtime between major events. High Republic spends a lot of time in characters’ heads before, between, during, and after important events. There’s a much fuller picture of what these characters are going through and how they’re reacting to it.

The explanations of Jedi philosophy and internal workings of the Order are different. High Republic is very direct about explaining Jedi philosophy and internal workings, taking time to elaborate for the audience. The films primarily use Yoda to explain Jedi philosophy; Yoda does not elaborate and is intentionally indirect to encourage the audience to think for themselves. The films show some internal workings but are rarely explicit.

It’s also worth mentioning that the trilogies show us more ideal Jedi because they’re establishing & introducing the audience to what the Jedi actually are and using narrative foils for Anakin’s story. Because High Republic doesn’t have this burden, they have more freedom to write more relatable characters (slutty Elzar rights) with more common flaws.

Scope

In High Republic, the story is about the Jedi working with the Republic, all of the Republic. We spend time with everyone, and I mean everyone: not just the main characters, but the side characters, and the background characters too; the worldbuilding is very detailed. We see plenty of Jedi with differing skillsets, opinions, experiences, and the story gives the audience breathing room to get to know them. They have many moments that are irrelevant to the plot, but tell us more about the characters themselves. We bounce between several Jedi Masters, who each play a different role in the Order, several knights who each have a different experience, and several padawans who are at different stages in their training. We have a broad view of the Order. We also get into the heads of the Chancellor, the Nihil, different politicians, diplomats, civilians, scientists, business people, reporters, an event coordinator, I could go on; aside from the Nihil, characters outside the Order are working with the Jedi and operating in good faith. We also know that the heroes are in a game that they can win, we know that both the Order and the Republic survive this era.

The Prequel Trilogy gave us the same huge galaxy and world building, but we saw most of it in the background. It’s extremely focused on the plot and Anakin’s character; if it’s not relevant to the fall of the Republic or Anakin’s fall, it’s not included. Even some things that were very relevant to the fall of the Republic were cut in favor of things more relevant to Anakin. Because it’s mostly about him and we don’t get the perspectives of other Jedi very often, we have a narrow view of the Order. We only spend time with Obi-Wan, Qui-Gon, Mace, and Yoda even though there are plenty of diverse Jedi in the background that we never meet. We see diversity within the Order, we know other Jedi are doing other things in other places, but we don’t interact with them until Order 66, when they become relevant to the story. We rarely meet other characters outside of their interactions with the main characters. The outside perspectives we see are Sith Lords, Padmé, other politicians, the Naboo, the Kaminoans, bounty hunters, crime lords, and a few civilians. Most of the characters outside the Order are working against the Jedi or operating in bad faith. We also know that the heroes are playing an unwinnable game, the Order and the Republic will not survive this story.

Perspective

In High Republic the audience is spending a lot of time with the Order and mostly seeing things from the Order’s point of view; we bounce between several different Jedi who all find the lifestyle fulfilling in different ways and the story is about all of them. The primary viewpoint characters have a broad, positive, perspective of the Order. When we’re reading from Elzar’s point of view we see his satisfaction when he uses the Force, how much he cares about others, how much he gets wrapped up in his own issues; when we’re reading from Stellan’s point of view, we see how much he loves teaching, how much he relaxes when he gets a chance to teach, how much he loves Elzar, how much he cares about the Order, how he wants to help; with Bell, we see how much he loves his master, we see him grieving, we see him reach these milestones where he figures out what it means to be a Jedi and how it frees him from his pain. The main characters actively participate in the Order’s community. Even when the characters are frustrated or upset with the Order or other Jedi, we know that they still love them because we’re in their heads and we get the characters’ full train of thought.

In the Late Republic, the story is told mostly from Anakin’s point of view. We see his frustration with the Order, his longing to be with Padmé, his desire for more power, his love overshadowed by his attachment. We see Anakin’s respect for the Order clouded by his disillusion (spurred on by a Sith Lord) and we don’t see him look outside his own perspective. We see him finding the lifestyle unfulfilling and not committing to it. The primary viewpoint character has a narrow, negative perspective of the Order. Another big thing is that Anakin is a Jedi who didn’t grow up in the Order and doesn’t have that inherent trust in the community, so we the audience don’t have complete trust in the Order. We see more of Anakin’s point of view than we do of Obi-Wan and Yoda who do reflect a positive experience. In the films, we’re in the room with the characters, not in their heads. We have to deduce what they’re thinking and how they’re feeling; we do not have the characters’ full train of thought.

Structure

The High Republic books have much more spread out pacing. There’s more exposition and we’re already familiar with the characters before they’re thrown through the narrative and then we spend more time with them afterwards. We get their reactions to major events and we see them struggle through recovery. The Jedi in High Republic have time to catch their breath, they are not moving from crisis to crisis the way the Order is in the Late Republic, and we are shown the time in between crises.

The prequel trilogy jumps right into the plot. We’re introduced to the characters briefly and we get to know them as they move through the plot. We don’t see much aftermath of major events, and we don’t see the process they go through to recover. They move from crisis to crisis and we do not see the time in between.

Here’s a summary of the different structures: High Republic shows us Reath, Bell, and Stellan all grieve in different ways and come to terms with their grief, but the prequel trilogy shows us neither Obi-Wan nor Anakin coming to terms with their grief over similar losses.

Explanation

The High Republic authors explain the philosophy of the Jedi more explicitly within their stories; they’re very direct. They also elaborate on what they’re saying for the benefit of the audience. I speculate that they do this to clear up some misunderstandings...

In the films, George Lucas prioritized concision and used Yoda to inform the audience; Yoda speaks in riddles to encourage the audience to think about what he’s saying. He speaks indirectly and without elaboration. 

If you don’t have a background knowledge of Buddhism (or at least mindfulness), it’s not terribly difficult to misinterpret the prequel trilogy because there’s so little explanation. It’s also a little difficult to balance that within a film and there’s more room to do it in the novels.

Internal Differences within the Order

The most significant internal difference is the fashion: High Republic Jedi have fancy formal robes in addition to their day to day robes. My personal headcanon for why this is different is that as time went on and the golden age faded, the Jedi became busier, and didn’t have as much time for the fashion anymore (which is tragic, I love the concept art for their fancy robes) and by the time of the prequels we see it only in the Temple Guards, or the Order decided to dress less extravagantly to show greater humility.

We get descriptions of different career paths within the Order. This is probably where it seems most different from the Jedi in the Late Republic, but I don’t see any incompatibility. There’s nothing in the prequel trilogy or TCW to contradict the existence of these career paths, and in fact I’d say there’s evidence to support their existence. I’ll write a separate post about these because it’ll make more sense with examples and this is already quite long.

There are some other things that are different, but based on external factors. There’s one line about how Jedi don’t get killed in the field often, masters aren’t killed leaving a padawan behind, that it’s just not something that happens. I think it’s supposed to tell us about the time period, but then it happens at least 3 times, so I personally take it with a grain of salt. There’s one bit about how lightsaber dueling is primarily exercise because no one else carries a lightsaber and no Jedi would ever fight another (apparently Anakin missed that memo) but this is consistent with the culture shown in the prequel trilogy when they’re blindsided by Dooku’s betrayal.

[petitfanboy]

Comprehensive and in-depth analysis of Asuka and Shinji relationship in 3.0+1.0, implications for the ending and why many youtube Eva analysis videos titles I believe are wrong. (Spoilers ahead)

Preface

It seems it was yesterday when I wrote an extended essay regarding the essential and critical relationship of Asuka and Shinji in Evangelion for the last time. However, seven years have passed. 

My idea here is to write, in general lines, about the relationship of Asuka and Shinji in the last movie and the ending and its implications in a more detailed way. I will use different analyses I have read so far besides mine, and you will find the links to all of them in the text. 

I have tried to maintain an analysis that followed the narrative plot and what I believe is closer to what the director wants to express. However, as Anno himself has said multiple times, his work may inspire different feelings in different people, so I understand where the differences might come from and, in no way, this is intended as a confrontation to other opinions and theories. 

Please, let me start with an introduction.

Introduction

While a lot has changed for me in these years, my view of A/S relationship in the whole Eva universe, including their dynamics, meaning, and canonical aspects have not changed. 

Long story short, A/S represent core aspects of the message Evangelion wants to transmit: The Hedgehog's dilemma, the fear of connecting and rejection while having a strong desire to be loved and understood, and finally, the pursuit of happiness. Asuka and Shinji are opposites on their outside and equals on their inside. A perfect match for exploring those issues.

RoE makes clear their similarities

Asuka and Shinji similarities

Evangelion arrives at a fulfilling conclusion at the end, showing us how it is possible to overcome the abovementioned problems. To depict that, it always involves resolving the different issues Asuka and Shinji have between them, becoming closer, opening to one another and, probably and eventually, staying together.

Evangelion portrays that resolution using scenes showing the exact moment of the change in A/S dynamics, the moment when both pursued real connection starts. What happens after that change is unknown, but the intention is clear: once they begin to make an effort, they have the chance to be happy together.

Before the release of 3.0+1.0, different spoilers and youtube video’s titles ruined my life, as I suppose that happened to some of you. It had such a significant impact on me that it is hard to define with words. Not because I was an angry asushin fanboy as some might classify me, but because, had it been confirmed, it would have meant that the message that Evangelion has been constructing since its first airing was shattered to pieces. I could not accept it.

At that specific moment, the Eva Extra Ex manga came and saved me.

Eva Extra Ex Manga Translated

I cannot highlight enough how important this manga was and still, it is. For me, it represented a call from Anno himself, saying: Do not worry, Evangelion is going to keep being Evangelion. I still recall the endless discussions on the internet when 3.0 came out about the effect of the time-skip, in what lousy state the relationship between Shinji and Asuka was (or if it was even inexistent!) and how Evangelion was going to transmit another message in the end. For me, there were always precise moments in 3.0 that pointed against those conclusions. But with Eva Extra, everything changed. It tied aspects of 2.0 and 3.0 very nicely and allowed us to discover more regarding Asuka's feelings and motivations.

With the first interaction in the manga between Asuka and Mari, we see that Asuka still has (deep) feelings for Shinji.  As the story progresses, we see how Asuka reacts to Mari's teasing and how unconvinced Mari is of all the bravado that she displays. A/S relationship, alongside their communication and hedgehog's dilemma related problems, still existed in the present timeline of the events of 3.0 and 3.0+1.0.

God's in his heaven all right with the world.

Chapter 1: The houses of healing

Instead of speaking of every Shinji/Asuka interaction scene, I will try to make this analysis lighter by talking about how it progresses across the film and focusing only on key scenes.

The film's first part explains how Shinji achieves healing after understanding how people around him are friendly, which is a big difference from EoE. In EoE, it was impossible. Shinji was left hurt and without any option to heal. He ultimately achieved healing through his experiences in instrumentality, leading to the ending and the hope/love message we all know in One More Final: I need you.

This process, this healing, happens in a precise location. That is the reason for the chapter's title. I took the liberty of naming this first chapter as the eighth chapter of Tolkien's book The Return of the King. But, what place is it?

Initially, Shinji is taken to Toji's house. While that place suits Rei, who will understand the basic meaning of life and being human, Shinji makes no progress there. Interestingly, Kensuke sees how Shinji is not making any progress and suggests he should go with him to his house. Why? It is driven by his new parental role, reminiscent of Kaji. He thinks why Shinji is in such a state and understand his needs at that moment. Besides, with or without knowing it, he reunites Shinji and Asuka under the same roof and the same parental figure.

I cannot say that he willingly wanted to reunite Shinji with Asuka, although I am sure he thought it was a direct consequence of carrying Shinji with him, so he was happy with that idea. As we know from 2.0 and the original series, their friends are the ones who notice Asuka and Shinji bond, so it would not be strange that Kensuke wanted to reunite both of them.

With or without Kensuke's will, bringing Shinji to Kensuke's house mirrors Misato's apartment, but with a male figure as the leader (i.e. A Kaji instead of Misato). It is a comeback to better times. Kensuke takes the parental figure for both Shinji and Asuka, as Misato did when Asuka moved in 2.0 for both children. This time, Asuka is the one who is already living there (previously it was Shinji), and Shinji is the one who arrives later.  In 3.0+1.0 Misato cannot fulfil her maternal role anymore, as explained later in the film (and redeemed at the end).

Let me linger on this parallel. In 2.0, when Asuka arrives at Misato's house and introduces Asuka to Shinji, we have the romantic comedy scene of the shower a few minutes later. The scene makes us understand that they feel some attraction to each other, albeit in a very early stage (and introduces PenPen to Asuka). Time forward, this first interaction is repeated in Kensuke's house. When Shinji arrives, he finds Asuka naked after having a shower. This time, no reaction is seen from either part explicitly. Neither Shinji nor Asuka blushed or overreacted, but Asuka clearly states her disappointment, which shows us her desire that Shinji reacted, that Shinji expressed attraction towards her. A significant line that adds up to all the previous evidence about Asuka's persistent feelings for Shinji. What about Shinji? There is a minor detail. When he sees Asuka naked, he stares at her with a glare that is just a mix of emotions. Although it is difficult to tell what he is thinking, Asuka is directly opposite him, and he can see both the DSS choker and her body. However, he only notices the choker when she wraps herself with a towel. Draw your conclusions.

From that point onwards, we get a few scenes representing the problem Asuka and Shinji have communicating and how alike they are. When Shinji throws up for the first time, Asuka explains to Kensuke why Shinji behaves like that and shuts himself off. However, she is doing the same, playing with her console. Asuka's video game is Shinji's SDAT.  Asuka hates the behaviour of Shinji because she sees her flaws in him.

Despite all the façade, she tries to communicate and help Shinji repeatedly in the coming scenes, checking on him on several occasions. Whenever she does that, the movie clearly shows us that she has abandoned her Shinji-like behaviour, showing us the console turned off.

Asuka and her videogame

The climax of their conflict is the force-feeding scene. But before analysing that scene, let me tell you a few more details.

I believe that the mirroring of Misato's apartment is portrayed through other details. For example, the name KenKen might have been chosen in honour of the missing companion from Misato's apartment: PenPen.

Furthermore, while some people might find odd the tendency of Asuka to be naked, this is driven by her disgust with her own body, which is shown in the Eva Extra manga. Finally, to enforce the idea that the relationship between Kensuke and Asuka is different from the one that she and Shinji have, it is essential to notice how Kensuke calls them. He calls them by their surnames, Shikiname and Ikari, placing distance between them.

Let's return to the force-feeding scene. In that scene, Asuka wants to help him, which is why she feeds him, and at the same time, she explains her frustration regarding the lack of reaction and understanding on his part. The conflict between them is portrayed similarly to the Eva 03 incident in 2.0

Visual comparison 1

Visual comparison 2

She is trying to understand him, and she tells him rather precisely why she thinks he is in such a state. She only wants him to reciprocate that understanding, and she wants him to think and explain why she punched him after seeing each other after 14 years. I must highlight the punch's importance. It summarises their communication problems, their conflict. Eva clarifies it in 3.0 using the same parallelisms as other communication problems, like Gendo and Shinji.

However, we know how she feels. The Eva extra manga gives us that insight. She has feelings for Shinji but hates his inaction due to his internal struggles. The hedgehog's spikes have been replaced by a punch. If they can talk about the punch, they will start communicating.

From an external view, Shinji reacts to being force-fed in a way that probably is not what Asuka wanted. Shinji leaves the house, followed secretly by Asuka, in another display of how Asuka feels internally.  It is another parallelism with Misato's apartment, again with a reversal of roles between Shinji and Asuka.

Parallelism

However, we will learn in future events that Shinji started to think about what Asuka told him at that moment, so he listened to her.From this point onwards, Shinji will deal with his thoughts and come to an understanding with himself. It is not achieved alone, but with the help of Rei and, although not directly, Asuka. She is the one who directs Rei to the place where Shinji is and continues checking on him to see that everything is going fine. She is there.

Asuka cares

When Shinji grows up and maturates, we have the first bidirectional communication attempt between Asuka and Shinji. While she asks Shinji if he feels better, he responds with only sounds. Yet, this is the first time they have tried to talk about their respective problems and emotions calmly. We will see this pattern repeat itself several times in the movie: Shinji grows a bit, and then Asuka opens herself another bit. It is very interesting to see Asuka's glare. Asuka is drawn with that glare whenever she is looking at Shinji in a positive/concerning him way. We will return to that later. Besides, she speaks to him without looking at her console.

All this healing process ends in a sentence that is easily overlooked. The night Kensuke is discussing with Asuka the plans to return to the Wunder, Shinji comes home and says, "I am home". It is the reflection of Shinji's complete healing. Thanks to his growth, he has found a new place where he belongs once more. It let us understand why he will consider that this place is important for Asuka too. Both have suffered the same parental love deprivation, lacking a place where they truly belong. Finding a place that they can call home is part of their way to happiness and usually happens before both connect.

The film also let us see how Shinji heals, comparing it with the healing of one of the village's dogs

Now, Shinji is ready to go with Asuka to the Wunder and start a transformative journey for himself and those around him. But first, let me post a few more details, some of which I had not noticed until doing some research on the internet:

Visual comparisons that highlight the similar role of Kensuke as Kaji (Parental role)

2. Asuka's scarf to hide her DSS choker.

3. The possible futon share between Asuka and Shinji, showing how she cares about him.

Chapter 2: A trip in the Wunder

The most relevant scene for their relationship in the Wunder is Asuka's confession. However, there are a couple of interesting interactions before that. The first one is the display of Asuka's jealousy of Sakura when she sees her interaction with Shinji, saying, "Are you his wife?"

The second one happens when Asuka meets Mari. While loaded with fanservice, this interaction is not trivial. Mari's teasing is an essential element in the Rebuild series, even more knowing how important the character of Mari will become at the end. She seems to be aware of Asuka's real feelings, and we know from the Eva extra manga that she tries to push Shinji and Asuka together, which I will come back to later. Asuka replies to Mari's teasing that Shinji "does not need a lover, he needs a mother". This sentence is a double edge sword. First, it shows Asuka's interest in Shinji as a romantic partner, given her deception, and actually, Asuka is saying this sentence while she is playing the videogame, so probably she is hiding her feelings, shutting herself oof the world as Shinji used to do. Second, it shows the problems they face: Communication and maturity. Maturity, because Asuka feels that Shinji has not changed as she has had, and communication, because as we will soon know, Asuka also wants that figure in her life. However, it is not true that Shinji has not grown up. It is just that they have not tried to communicate again, and thus, she does not know about Shinji's recent developments

Everything will change when Asuka faces the reality of possible death. Before the "final battle", she decides to reach out for Shinji. After Mari introduces herself to Shinji in an awkward way that will be important in the ending, Asuka repeats her question. In reality, she asks if he has thought about her, how she feels and everything she has gone through. To Asuka's surprise, Shinji answers the question, blaming his inaction. Taking this as a partial sign of maturity and growth, Asuka starts opening herself, although not wholly, a sign that Shinji's answer might not have been entirely correct. Besides, her body language is similar to the previous lift scenes in Evangelion, where we know she hid her real emotions.

She will equal what to tell Shinji to Shinji's growth. Therefore, she explains to him how she liked him 14 years ago, but not how she feels now. Furthermore, she leaves before Shinji can reply to her statement, leaving Shinji staring back at her through the glass. So, it is Mari again who makes us understand that this has been a sign of communication that goes in the right direction. She congratulates Shinji and stimulates him to continue like this. Again, Mari is trying to solve Asuka and Shinji's problems. Mari says goodbye in Chinese to Shinji (perhaps, a way to tell us that the spell of goodbye works, as they meet again later) and goes to do the same with Asuka, asking her if she feels better. Mari is trying to make Asuka see that opening herself to Shinji will bring happiness to her too.

Nevertheless, we must not forget that the short confession happened because Asuka thought this might have been the end. In a sense, it almost was.

Chapter 3: I need you

This chapter starts after Shinji and Gendo have resolved their issues. As I explained before, the need of resolving their parental matters will be critical to both Shinji and Asuka. The same happened in EoE. Asuka gets to know her mother in her battle against the mass-produced Eva, and Shinji learns about his father's plans and mother during instrumentality. After those experiences and their other interactions through instrumentality, they arrive at the I need you scene where they open to each other.

Gendo gets off the train, and the control of instrumentality is handed over to Kaworu. While Gendo was willing to sacrifice everything for his sake, the growth of Shinji reaches its maximum at this point. Shinji decides to take the reversal role of his father. Even if he is heartbroken or it is a hard and not a pleasant experience, he wants to help Asuka and those who were nice to him. This is the transformative journey that Shinji accomplishes in RoE that marks a completely different path from NGE+EoE.

I worded the sentence highlighting Asuka because those are the literal words of Shinji, naming Asuka as an individual and using the Japanese word "minna" for the rest, which could be the rest of his friends or even the rest of humanity. Shinji has learnt that he must give without seeking anything in return. He must stop thinking about himself only. He is going to help their friends without any positive repercussions on himself. As he later will explain, he plans to rewrite the world with the new spear given by Misato to get rid of the Evas and what they represent, stopping the cycle of suffering that comes with them, and let their friends live a happy life.

Symbolism of the spear

Interestingly, he does not explain this to Asuka and only mentions it to Rei, with some hesitation, which is what prompts him to tell her that Mari would come for him eventually. That behaviour is because for getting rid of the Eva and rewriting the world, he needs to impale himself with the spear inside Eva 01. While we do not know for sure the effects on Shinji, the way it is portrayed resembles a willing sacrifice, a person opening himself to that terrible outcome for a better benefit for their friends. Besides, we must not forget that the sync rate of Shinji with his Eva was infinite at that time, so probably the expected outcome would be the death of the pilot and he knew about that.

This situation is what gives us an essential context for understanding Shinji's actions. As Asuka earlier, he also thought that he might not return. But let’s see what happens with Asuka and Shinji.

The first to be saved is Asuka. As some sort of guardian for Asuka (and Shinji, and even Asuka/Shinji relationship), Mari reminds Shinji before he leaves her entry plug in the anti-universe that he has to find her. And he does.

There are many iconic and meaningful landscapes in Evangelion. Still, none of them has the symbolism, meaning, emotional associations and beauty as the beach where Shinji and Asuka laid at the EoE has. Although it is not the same beach and there are different details, the scene's meaning is clear. It was the scenario of One More Final: I need you. Thus, the location evokes that meaning, where Shinji and Asuka connected and expressed their emotions and feelings in EoE. To increase and highlight that intention, the first shot we have of the landscape is a full white moon, a remnant from the N3I. The moon has always been a poetic figure for love, and it brightens the sand creating the white beach. It is the perfect scenario to share an intimate moment.

Then, a saved, Eva curse-free Asuka awakes. The first sentence references the fact that the curse of Eva is lifted, and she can sleep. As some people detail, the plugsuit is a combination of different ones. This phenomenon will repeatedly happen in the anti-universe. Long story short, as I do not want to enter the terrain of the time loops and different universes, I believe that the idea behind that symbolism is that Evangelion is a multiverse. The anti-universe might somehow connect them, and we can see them. However, the characters remain the same from the universe where they come from. Only those annotated in the book of life remember those other universes or RoE time-loops (which seem to affect only the RoE universe and seem not to be confirmed in the other universes), and probably, as Shinji is in charge of the flow of events, the bleeding in his memories is what drives those changes.

The fact that Asuka wears a plugsuit that is a combination of previous ones, does not mean that she is Soryu or several Asukas at the same time. She is Shikinami, and it is the first time that she is on that beach. Her background and memories are from the RoE timeline, as she does not express, as Shinji will do later, any perception of that phenomenon. The same goes for their location. While they are on a similar beach, it is not the same where Soryu and Shinji found themselves in EoE. It is probably the bleeding of details between universes that wraps the metanarrative message that gives importance to the scenery (that beach is where they connected and accepted each other both in EoE and in this movie, and the place will always symbolise that)

Even those aware of other timelines (Kaworu and Shinji at that point) can only remember that they met before or have a déjà vu feeling. They do not have a complete insight into what happened. I think that this bleeding of details gives an important message: All the universes of Evangelion exist. Soryu and Shinji's story from NGE and EOE has happened, albeit in another universe, part of a larger multiverse. In a sense, it is saying that NGE+EoE is as canon as RoE, something essential to maintain coherency. The difference is that they happen in different physical planes of space and time.

Let's return to the fact that a grown Asuka is on the beach. The camera plays, repeating the same shots as in EoE, linking both scenes thematically again. Moreover, the visual links expands to other couples in Eva.

Here, Shinji sits next to Asuka, with his arms around his legs and a completely different gaze, making clear Shinji is happy to see her. The events follow this path:

Asuka sees Shinji next to her and calls him "Baka Shinji" in a not mean way. A way that shows us that despite calling him "Baka Shinji" time and time again, that did not mean that she truly hated him.

Shinji verbalises his happiness to see her again and says thanks to her for letting him know her feelings previously.

Shinji reciprocates the same feelings, using the past tense. Why? Well, at least this time is more straightforward than explaining why he choked her.  Shinji has several reasons for this: First, it directly answers what Asuka told him earlier. And second, he wants to save and return her to the Eva free world, and thus, knowing that he might not return, hides his current feelings.

Asuka is surprised that her feelings are reciprocated. She blushes and turns to her left, hiding her real feelings at that moment to Shinji. In the next shot, we see a happy, blushed Asuka smiling.

The reaction of Asuka and all the previous evidence from the movie and the manga make it evident that she still has feelings for him. With his body language, Shinji is also transmitting to us that he is hiding his true feelings. Besides, a past tense confession for Shinji makes no sense at all. Shinji has been sleeping those 14 years. For him, those moments where "he liked" Asuka are only a few weeks or months ago from this moment on the beach.  We will get the last evidence that Shinji still has feelings for Asuka, thanks to Kaworu. He, who is aware of all the timelines and universes, asks Shinji if he will feel lonely letting Asuka go. Shinji, with the same body language and a sad face, says no. We must link Shinji's behaviour to the fact I explained earlier. Shinji wanted to sacrifice himself for the happiness of Asuka and everybody.

This links with another idea. The scene is fast-paced. Once Shinji confesses his feelings, he says goodbye to Asuka and the Kensuke sentence. While this might be a reminiscence of Asuka's behaviour in the Wunder, allowing him to avoid any reply, that would have made things more difficult. However, his words are carefully chosen. We know from Rei's experiences in the village that "goodbye, is a spell of magic to see each other again. Despite his plans, Shinji's wish is to see her again

The meaning of goodbye

Then we have the Kensuke sentence. I wanted to talk about this in a simple way. Asuka needed the same parental role as Shinji, and through her experiences in instrumentality, she finds that she has that part of herself fulfilled by Kensuke. However, things get complicated if we start to notice some details. The fact that Kensuke calls Asuka "Asuka" instead of Shikinami and that the doll with Kensuke inside of it appears in the Rei scene has raised concerns that the Kensuke who appears in Asuka's instrumentality scenes is in fact Shinji, helping Asuka to find her place in a future world without him. In more detail:

All Asuka's scenes in instrumentality revolve around Shinji, nothing from Kensuke. It seems that Shinji wants to revert that and makes her conscious that she can find a place to belong and the parental role she needs, especially taking into consideration that he was about to die.

Instrumentality scenes comparison

She verbalises that she has no place to belong yet (despite living with Kensuke for some time), so Shinji wants to clarify that point for her.

It answers why Kensuke calls her Asuka and not Shikinami and why the doll appears again in Rei's scenes on the stage. Furthermore, it connects Asuka's memories with the beach scene, as it is after Kensuke says, "Asuka is Asuka" that she wakes up next to Shinji.

The original source of the theory for me was this video

In the end, from Asuka's instrumentality to the end of the beach scene, Shinji wants her to understand that she has a place to belong alongside the parental figure that she needs and that she is also loved by him, although he is going to let her go for her benefit. A true act of selflessness given his feelings. That is heart-warming and an actual act of love on his part.

Then, something happens amid the fast-paced scenes. The camera shows Asuka with an open mouth, sleeping(?) and Mari next to her. Wait. When did Mari come in? Why? I am not sure of the answers to these questions. It shows that Mari is more than we thought and has more knowledge about the anti-universe and what is happening. We do not know if this scene happens just after Shinji’s words or something has happened in the middle, as Asuka's expression seems not to match the last we see from her. Is there a deleted scene in the middle? Mari says her goodbye to Asuka. Mari has been a bridge between Shinji and Asuka and a close friend to her. In some sense, and continuing the parallelisms between Shinji and Asuka, she has been her Kaworu

Interestingly, Mari only appears to say bye to Asuka and not Rei or Kaworu. At the same time, Shinji only says sayonara to Asuka, the only character that does not have a handshake and a shutter closed. While there is no definitive answer to this fact, I believe it is crucial regarding the ending, as it will establish a continuity between the goodbyes and future gatherings, all directed by Mari, and that is why she appears probably (and she might be the one ejecting Asuka’s entry plug)

After Mari's take care, Asuka wakes up in the entry plug and is ejected by Unit 13. It is important to note that Asuka leaves without any kind of voluntary movement. She awakes in different locations and is the Eva 13 who ejects her. We do not know Asuka’s opinion about this at any time, or how she feels about being saved leaving Shinji behind.

Chapter 4: The sacrifice is stopped

After Kaworu and Rei's scenes, which I am not going to talk about, Shinji decides to carry out the Neon Genesis. We get to the moment where he is ready to sacrifice himself, in some sort of redemption of humanity's sins for creating the Evas and all the suffering that accompanied them. But then, Yui appears.

She stops the spear, protecting Shinji, and takes him out of the Eva 01. Yui’s wish is that he can live in that Neon Genesis world where the Evangelions do not exist, where people, and Shinji, can be happy. This moment changes everything. The plot twist will allow Shinji and Evangelion to have a happy and hopeful ending, thanks to Yui's (+/- Mari) plan.

The sacrifice of Shinji's parents for the sake of their child redeems them from the emotional deprivation Shinji has endured all his life. Shinji, mimicking the last instrumentality scene in EoE, returns to the anti-universe, now alone.

Chapter 5: Mari to the rescue

Shinji waits patiently on a blue water beach. Slowly, he starts to fade away in the anti-universe, as there are no others to relate with. This concept was explored both in EoE and at the end of the TV series. Then, Mari comes with her Evangelion to rescue him and take him back to the real world, now the Eva-free world, as promised to Misato. This is very important, as it highlights that Shinji is not going to a parallel universe. He is returning to the same world where his friends are (Asuka for sure, Kaworu will meet him again too, and Rei, honestly, it is not so obvious where she decides to go in her scenes, but probably too)

Mari's last Evangelion is important too. Contrary to Kaworu and Rei, I believe it is how Mari and Shinji returned to the ordinary world (probably with its entry plug, like Asuka). We might never know that. Then, the next scene is the opposite scene from Asuka in the entry plug, but with Shinji. Now we see an adult Shinji in a train station.

There are different questions to answer to understand what is happening in the ending. However, I think that the film's conclusion is the same regardless of the answer to those questions.The questions are:

Is the train scene set in the AU or in the real world?

Are Mari and Shinji the people we see coming out from the station?

Did Asuka arrive at Kensuke’s house or is she present there if that is the real world?

I tried to sum up the different theories in simple pictures.

 My personal opinion just after watching the movie was that the first scenario was the most likely. However, after seeing different analyses, I am not 100% convinced and I cannot give my support to other theoriesyet. 

The sources for the other theories are these

And the fact that the pilots might be illusions come from here 

As you can see, regardless of the answer to the questions from above, they always end up meeting again. While this is not explicitly shown in the movie, I strongly believe it is the reason why Mari appears at the end scene. Mari is the beacon light that will guide him in this new world, and there is a lot of visual comparisons that prove this fact, comparing Mari to Misato, and knowing the role of Mari in Gendo and Yui’s life. Furthermore, a lot of people consider that the fact that Asuka is alone in the platform is a sign that she is there to be reunited with Shinji, as she has no partner and seems to be playing with something like her old videogame. All of this is enough evidence to stop thinking about this ending as “Shinji choosing Mari to live a happier life” or “to let go the past”.

Comparison

The role of Mari in Yui/Gendo life. A hint in her possible role with Asuka/Shinji

Mari and Shinji, Mari and Gendo, the same fate.

I am sure that Mari will reunite Asuka and Shinji. She has been a bridge between them since 3.0, and the Eva Extra manga gives more insight into that respect. Besides, she did the same with Yui and Gendo, and there are a lot of comparisons between Yui/Gendo and Asuka/Shinji in a visual way throughout the series.You will find Asuka glancing at Shinji with the same face and eyes expression as Yui did. 

We have talked about this before. 

While it would be interesting to know exactly how Shinji arrives there, the narrative conclusion that they will meet again, independently of what has happened to the world, will not change. This resonates with the title of the movie "thrice upon a time", as evidenced here. 

There have been multiple Evangelion universes, both with and without Evas (EoE ends with a world without Evas, as the manga does) and in all of them, all of them, Asuka and Shinji meet again. And this is really important, as now they can communicate and have the chance of growing together and be happy.

Conclusion

Asuka and Shinji are two sides of the same coin, with different defence strategies in the context of the hedgehog's dilemma. Despite their mutual attraction, they are incapable of communicating and reaching each other. In EoE, it took almost the end of the world and humanity to understand that it is thanks to not living with the fear of pain and rejection that we can understand and accept others, ultimately overcoming the hedgehog's dilemma. This is expressed by the caress of Asuka to Shinji in EoE. This loving gesture shows us that the characters start understanding each other and have the chance to be happy together. EoE ending is a message of love and hope.

A/S relationship will represent this conflict wherever they are portrayed, in a cycle of desire/attraction, which leads to conflict and a resolution with understanding and love once they learn to accept each other and start communicating. In EoE is quite visual and displays both of them together at the very end. The manga is less explicit and more hinted at, but the scene at the train depicts how they connect in that new world where they will understand each other.

Thrice upon a time is not an exception to this rule. The last scene of EoE and the manga that involves Asuka and Shinji is the moment they connect, communicate, and change the way they treat each other. In 3.0+1.0 their final scene together is the beach scene, where they confess their mutual feelings in what is a never seen before sincerity and openness between them. Then, a world without Eva is created (in EoE this is exemplified by the crucified Eva and in the manga is more similar to the movie) and we know that Mari will guide Shinji to a safe return to that Eva free world and a gathering with Asuka and his friends. Despite not appearing on screen, all the narrative of the movie, and the whole of Evangelion, makes us understand that they will understand each other more and more and will be more honest towards their feelings, giving them the chance of being happy. As a consequence of that, the leitmotif of Evangelion is repeated once more.

The message of 3.0+1.0 is not about letting go of the past because you have grown up or let it go to move forward. The message is that it is thanks to going through those good and bad experiences that life gifts us, accepting the chance of suffering pain, that we can mature and learn. This learning will make us understand ourselves and those who surround us more, making us love ourselves and others, having, ultimately, the chance of being happy, loved and finding a place to belong to.

And it is in the middle of this struggle, that the love story of Asuka and Shinji shines, reminding us that humans can connect and be happy. 

If they can overcome their problems, so will us.

Everybody finds love in the end.

One More Conclusion: Where is Anno's wife?

What a ride! I think I have written about almost all of Shinji and Asuka's interactions, perhaps leaving just a few ones at the beginning of the movie, and without the mention of Anno as Shinji or his wife as Mari in all the essay! While extremely popular, the theory that Mari represents his wife has many flaws and I still do not understand where it is based. From the character being designed without the supervision of Hideaki Anno to the direct denial from his wife, including that the theory does not match the narrative plot. While self-insertions and story developments related to personal experiences are not rare in storytelling, we cannot explain everything in Evangelion by metanalysis. While Anno's struggles with depression have shaped NGE+EoE, the development and growth of the characters in their own arcs are what matter when analysing them. Shinji might be inspired by his awful experience at that time, but as we said earlier, Asuke is shaped like Shinji, albeit with different behaviour. Therefore, we should accept that both of them are depictions of Anno and not only the masculine figure.

In the end, it is Shinji who rejects instrumentality, returns to the real world and is caressed by Asuka in EoE. The characters do that, not Anno. The same happens in this last scene. While the location of the train station and city is totally related to the director, what is going to happen to the characters in the context of the plot is an important thing to consider when analysing them.

From NGE+EoE to this last movie Shinji grows and understands the path to be happy always.  This is not exclusive of the RoE saga because Anno has overcome his problems. Therefore, conclusions such as "now Anno is happier, so he wants Shinji to be happy" are not supported. What changed in RoE is that the growth of Shinji happens prior to the last impact and instrumentality, instead of growing after those experiences. This allows the portrayal of a lighter version of Shinji in those dramatic moments, resembling more a traditional hero who saves his friends, instead of letting them down and then coming to an understanding all together (because everyone shares a slice of the guilt cake) in instrumentality.

I believe that it would be more fruitful if we took into consideration his wife's work in the way that this tweet states, rather than engage ourselves in discussions about meta self-insertions.

I hope my words have helped those who felt like me after the release of the movie.

Thank you very much for all your time reading this.

[offtorivendell]

The Significance of Elain and a Cup of Tea 🍵

Do not screenshot this post.

Disclaimer: these are my own interpretations, and obviously not canon - though I do think that the text supports Elain and Azriel ending up together. I'm sure I'm not the first to see this connection, but I had fun writing it, so... here you go.

It's another long one, sorry. Again, maybe go and make yourself a cuppa first.

In stories that involve Seers, they often read tea leaves, using the patterns they leave at the bottom of a tea cup to predict the future.

Elain, a Seer Made by the Cauldron, seems to have an interesting relationship with tea - it symbolises her/her life, and her reactions to her surroundings while she's written with a cup of tea appear to predict her own future.

The tea predicted Elain being Made

Elain lifted her teacup. “Whatever the reason, Feyre, we are happy to see you. Alive. We thought you were—” I pulled my hood back before she could go on. Elain’s teacup rattled in its saucer as she noticed my ears. My longer, slender hands—the face that was undeniably Fae. “I was dead,” I said roughly. “I was dead, and then I was reborn—remade.” Elain set her shivering teacup onto the low-lying table between us. Amber liquid splashed over the side, pooling in the saucer.

- Feyre, ACOMAF, chapter 23

When Feyre, together with Rhys, Azriel and Cassian, visited her family's estate in the human lands, Elain (and Nesta) discovered that Feyre had been Made into a high fae after she died at Amarantha's hands. They are grateful that she's alive - they'd understandably thought otherwise, but rattled by her transformation.

More water than seemed possible dumped out in a cascade. Black, smoke-coated water. And Elain, as if she’d been thrown by a wave, washed onto the stones facedown.

Alive, she had to be alive, had to have wanted to live— Elain sucked in a breath...

Elain’s ears were now pointed beneath her sodden hair.

Elain was still shivering on the wet stones...

From however Elain had been Made… Nesta was different.

- Feyre, ACOMAF, chapter 65

Later on in ACOMAF, after it is revealed that Elain and Nesta were kidnapped by the King of Hybern, Elain is lifted into the Cauldron by the Hybern soldiers, then washed over the edge a Made being, left shivering on the stone floor; in her relief that Elain was alive, Feyre noticed her newly pointed ears - a direct call back to Elain's reaction to seeing Feyre for the first time since she was Made. Feyre was shocked, this time around, and Elain was shivering on the stone ground, as opposed to her tea cup on the low-lying table.

The tea predicted Elain's failed engagement to Graysen

Nesta looked to Elain, still silent and wide-eyed. The tea she’d prepared—the finest, most exotic tea money could buy—sat undisturbed on the table. Elain thumbed the iron ring on her finger. “It is your choice,” Nesta said with unusual gentleness. For her, Nesta would go to Prythian. Elain swallowed, a doe caught in a snare. “I—I can’t. I …”

- Feyre, ACOMAF, chapter 57

Elain, raised to be a fine lady, the prettiest (most exotic) of the Archeron sisters, will eventually lose the life for which she was "prepared," and is left "undisturbed on the table," i.e. Graysen, represented here by the iron engagement ring that he gave to Elain, refused to marry her after she was Made against her will. The ring is also important in that Elain spends a lot of her time in ACOWAR touching it, while she mourned what she lost with Graysen.

Her too-thin shoulders seemed to curve inward. “No one ever does. No one ever looked—not really.” A bramble of words. Her voice strained to a whisper. “He did. He saw me. He will not now.”

- Lucien, ACOWAR, chapter 24

Here Elain predicted, heartbreakingly, that Graysen would refuse to See her again - that her being Made fae would prevent him from not just loving her, but identifying with her. There are a couple of great analyses out there that discuss whether and why Elain truly loved Graysen, but what we cannot deny is that they shared a goal, and that goal gave her purpose.

All of that aside, I think we can all agree - his loss!

The tea predicted that there was nothing wrong with Elain

Nesta, sharp-eyed in the corner, had kept quiet. After a long minute, Madja asked us to join her in fetching Elain a cup of tea—with a pointed glance to the door. We both took the invitation and left our sister in her sunlit room.

“What do you mean, nothing is wrong with her?” Nesta hissed under her breath as the ancient female braced a hand on the stair railing to help herself down. I kept beside the healer, a hand in easy reach of her elbow, should she need it.

“What I mean,” Madja said at last, sizing up Nesta, then me, “is that I can find nothing wrong with her. Her body is fine—too thin and in need of more food and fresh air, but nothing amiss. And as for her mind … I cannot enter it.”

- Feyre, ACOWAR, chapter 28

Madja, the Night Court's chief healer, informed Feyre and Nesta that there is nothing she can find wrong with Elain, other than a lack of food, which she is still refusing at this time. Nesta's words, to me, symbolised the concern that the IC and Lucien have for Elain - they're not 100% sure that she came out of the Cauldron with a sound mind - but Madja reiterated her point: there is nothing medically wrong with Elain, and she cannot enter her mind.

Is it because Madja is not a daemati, or something else entirely?

The tea appears to predict a failed relationship - and potentially a false bond - with Lucien

She’d [Jesminda] seen him not as a High Lord’s seventh son, but as a male. Had loved him without question, without hesitation. She had chosen him. Elain had been… thrown at him. He glanced toward the tea service spread on a low-lying table nearby.

Forced his hands to be steady while he poured himself a cup of tea and sat in the chair opposite Nesta’s vacated one.

For a long moment, Elain’s face did not shift, but those eyes seemed to focus a bit more. “Lucien,” she said at last, and he clenched his teacup to keep from shuddering at the sound of his name on her mouth.

But Elain blinked slowly. “You were in Hybern.” “Yes.” It was all he could say. “You betrayed us.”

She did not love him, want him, need him. Another male’s bride. A mortal man’s wife. Or she would have been.

- Lucien, ACOWAR, chapter 24

The only time we've had Lucien’s POV (so far) in this series is significant, in that he almost immediately compared Elain to Jesminda, his late first love, and he mused that, while Jesminda had chosen him, had loved him without hesitation, Elain had been thrown at him - very romantic - and she certainly goes on to hesitate in any interactions she has with him. It follows, then, that Elain might not choose Lucien.

Additionally, Lucien forcing his hands to remain steady while pouring the tea, then clenching the tea cup (read: dealing with Elain), could be read as symbolic of the bond between them restricting them both. Lucien then went on to call Elain "another male's bride," which is (potentially, of course) Very Important.

Who might that other male be? We have our suspicions. 🦇

When discussing Elain's health, Madja said the following:

The ancient healer jerked her chin toward Lucien. “See what he can do. If anyone can sense if something is amiss, it’s a mate.” “How.” The word was barely more than a barked command. I braced myself to warn Nesta to be polite, but Madja said to my sister, as if she were a small child, “The mating bond. It is a bridge between souls.”

- Feyre, ACOWAR, chapter 28

The beginning of chapter 29 in ACOWAR had Feyre experiencing "the most uncomfortable thirty minutes" that she could recall; Elain and Lucien were having tea, so that he could attempt to sense if "anything was amiss" - as Madja had instructed.

Lucien and Elain sat in stilted silence by the dim fireplace, an untouched tea service between them. I didn’t dare ask if he was trying to get into her head, or if he was feeling a bond similar to that black adamant bridge between Rhys’s mind and my own. If a normal mating bond felt wholly different.

A teacup rattled and rasped against a saucer, and Mor and I glanced over. Elain had picked up the teacup, and now sipped from it without so much as looking toward him. In the dining room across the hall, I knew Nesta was craning her neck to look.

*

The sound [Amren in the other room] seemed to startle Elain, who swiftly set down her teacup. She rose to her feet, and Lucien shot to his. “I’m sorry,” he blurted. “What—what was that?” Mor put a hand on my knee to keep me from rising, too. “It—it was a tug. On the bond.”

Elain sidled toward Nesta, who seemed to be at a near-simmer. “It felt… strange,” Elain breathed. “Like you pulled on a thread tied to a rib.”

“There’s a bond—it’s a real thread,” he said, more to himself than us.

- Feyre, ACOWAR, chapter 29

The words that signify what is between Lucien and Elain here seem quite telling - stilted, dim, untouched - a call back to the "undisturbed" tea service that Elain laid out for their meeting with the queens, which foreshadowed the end of her relationship with Graysen.

The stilted silence and dim fireplace suggest that there is no communication down their "bond," and that they lack the fire of other truly mated couples. More specifically, they could be referring to Feyre/Rhys (bond communication) and Nesta/Cassian (fire between them). Will touch play an important role in Elain's eventual romance?

Elain sipped her tea - read: will live her life - without looking to Lucien at all, while Nesta, Feyre and Mor all watched her/them. Feyre took a moment to wonder if a "normal mating bond" felt different to what she shares with Rhys, not knowing that what Elain and Lucien have may not be normal at all.

Not long after this, Lucien attemped to reach Elain down the "thread" (singular) of their bond and startled her; Elain quickly stood up, then shared that her bond felt strange - almost as if she was answering Feyre's thought. A "normal" mating bond should not feel "strange." What is wrong with the bond between Lucien and Elain? He was unable to sense anything, as Madja said a true mate would, and a little later on, Azriel figured out that Elain was a Seer.

I found my sister in the kitchen, watching the kettle scream. “He’s not staying for tea,” I said. No sign of Nuala or Cerridwen. Elain simply removed the kettle from the heat.

I knew I wasn’t truly angry with her, not angry with anyone but myself, but I said, “You couldn’t say a single word to him? A pleasant greeting?”

Elain only stared at the steaming kettle as she set it on the stone counter.

“He brought you a present.”

Those doe-brown eyes turned toward me. Sharper than I’d ever seen them. “And that entitles him to my time, my affections?”

“No.” I blinked. “But he is a good male.” Despite our harsh words. Despite this Band of Exiles bullshit. “He cares for you.”

“He doesn’t know me.”

“You don’t give him the chance to even try to do so.”

Her mouth tightened, the only sign of anger in her graceful countenance. “I don’t want a mate. I don’t want a male.” She wanted a human man.

- Feyre, ACOFAS, chapter 18

I felt like this passage is partly prediction, and partly a way for SJM to let us into Elain's head; for Elain to speak her truths. A couple of lines did stand out to me, though:

I read Elain "watching the kettle scream" as synonymous with what must have been going on in her head at the time. Scream is an odd choice of word, as most would describe a kettle as whistling. As an aside, there is an interesting parallel that exists with Azriel, in his bonus chapter of ACOSF, where being with Elain makes the noise in his head quiet down.

Elain staring at the steaming kettle seemed to indicate that she might be evaluating her life - could the steam be a metaphor for the mist she will have to See through to find the fourth Dread Trove item? Lucien "not staying for tea" (read: Elain's life) sounded like confirmation (to me, of course) that they will not pursue a romantic relationship together.

Elain’s declaration that Lucien doesn't know her, and that he cannot buy her time or affection with gifts is *chef's kiss* good, though please don't read this as anti Lucien - it's more anti Feyre's poor choice of words.

I have discussed '"I don't want a mate. I don’t want a male.” She wanted a human man.' here, in depth, but a quick summary is that I think Elain wants someone to See all of her, including her humanity, and that her humanity will probably be helpful with her future love interest.

The tea appears to predict Elain's eventual relationship with Azriel, and maybe even a mating bond

She looked away [from Lucien]—toward the windows. “I can hear your heart,” she said quietly. He wasn’t sure how to respond, so he said nothing, and drained his tea, even as it burned his mouth. “When I sleep,” she murmured, “I can hear your heart beating through the stone.” She angled her head, as if the city view held some answer. “Can you hear mine?” He wasn’t sure if she truly meant to address him, but he said, “No, lady. I cannot.” Her too-thin shoulders seemed to curve inward. “No one ever does. No one ever looked—not really.” A bramble of words. Her voice strained to a whisper. “He did. He saw me. He will not now.”

- Lucien, ACOWAR, chapter 24

Firstly, and so significantly, Elain looked away from Lucien, and towards the windows, instead. We know that, earlier in that scene, Elain was talking to Feyre about being able to see the sea from where she sat, but I think that when Elain is mentioned as being around tea, her words tend to take on a deeper meaning - I interpreted this as Elain removing herself from the conversation she'd been having with Lucien. The next words out of her mouth, then - that "In my sleep, I hear your heart beating through the stone," appear to be spoken not to Lucien, but someone else.

Who do we know who always seems to be looking out windows to the garden, in search of Elain? Who could potentially be flying over Velaris, to or from the House of Wind? It looks like our flower grower might have started the trend!

Who sleeps at the House of Wind, where Elain and Nesta also stay? Aside from Lucien as a guest, there are two longterm residents. One of them is mated to Nesta, while the other one displays some strikingly familiar behaviour towards the middle Archeron sister.

Secondly, the tea burnt Lucien's mouth, then he thought to himself that there's a good chance Elain might not have been addressing him, may have intended to say that to someone else.

Lucien himself told us what was happening, which brings us to:

Elain sat silently at one of the wrought-iron tables, a cup of tea before her. Azriel was sprawled on the chaise longue across the gray stones, sunning his wings and reading what looked to be a stack of reports—likely information on the Autumn Court that he planned to present to Rhys once he’d sorted through it all. Already dressed for the Hewn City—the brutal, beautiful armor so at odds with the lovely garden. And my sister sitting within it. “Why not make them mates?” I mused. “Why Lucien?” “I’d keep that question from Lucien.”

- Feyre and Rhys, ACOWAR, chapter 24

In direct contrast to the tea that Elain and Lucien shared - stilted silence, dim fireplace, untouched tea service (i.e. their bond) - Elain and Azriel sit comfortably - we can assume, due to the lack of negative adjectives - in the sun, a cup of tea (read, once more: her life) "before her." The wrought iron table could potentially be symbolic; that Elain will be hammered into shape by the events of her life, ultimately becoming strong.

Elain is, however, "silent," which may have been indicating that she will spend some time not voicing her own wishes/being passive in her life - we have seen this throughout ACOWAR and ACOFAS, until ACOSF, where she finally started to speak up. It might also mean something else, which I mention further down.

Azriel is even sunning his wings. If you haven't seen it, this is how birds sun their wings - and they look hilariously comfy as they do.

Image source. Can someone please draw the Rhys/Cass/Az version of this?!). 😅

The pose makes them vulnerable; we know exactly how sensitive and possessive Illyrians are about their wings, and how private Azriel is in general, but he trusted Elain enough to expose himself (figuratively - and also, sort of literally) right from the start, just as Elain trusted his reactions at the first "family dinner," back in ACOMAF.

I discussed the relevance of how Elain, the sun, lays bare Azriel's shadows in this post, but the mutual trust and comfort here is, in my opinion, more evidence that Elain and Az share some sort of bond, be that mate or other, that makes him feel innately secure around her. Outside the Night Court, Rhys only ever showed his wings to Feyre, and while Azriel's wings can't be summoned at will like Rhys' can, the same principle stands - protect at all costs, so the parallel is there.

I also think Az may have been showing off his wings - just a wee bit. This is when Feyre uttered her iconic - and maybe prophetic - line, "Why not make them mates?" Feyre, who had thought from the start that Elain and Azriel would make a handsome pair. This is yet another parallel to a canonically mated pair, as we saw Cassian (not so) subtly showing off his wings to Nesta in chapter 29 of ACOWAR.

Oh, and Azriel knew Feyre was watching. So did Cassian. Perhaps they didn't care?

I know Elain x Azriel is not the most popular ship for either of them, but the evidence, to me, has been here all along - not just for a chosen relationship, but also a potential bond. Of course, this shouldn't stop people from shipping who they want. 🖤

The tea predicts that Feyre will become too overprotective of Elain

Rhys smiled at me over his shoulder. Enjoy your tea, you overbearing chaperone.

- Feyre, ACOWAR, chapter 29

" You think I stifle her?"

- Feyre (in response to Rhys), ACOSF, Feyre's bonus chapter

No matter who you ship, the one thing that almost everyone can agree on is that ACOSF demonstrated that Elain is frustrated with being coddled, protected, and not seen; she wants to grow, to come into her own and to have her help be both welcomed and valued.

Unresolved/potential predictions

The following are just bits of text that jumped out at me, that could hint at future events (or could end up being nothing, of course).

Elain thumbed the iron ring on her finger. “It is your choice,” Nesta said with unusual gentleness.

- Feyre, ACOMAF, chapter 57

A hint that Elain's story will be revolve around her making her own choices, both in terms of her love interest and role within the Night Court.

"And as for her mind… I cannot enter it.”

- Feyre, ACOWAR, chapter 28

Elain apparently has an impenetrable mind - will this be important when she deals with Koschei, the queens and other future enemies? Is she an anti-daemati?

But Elain blinked slowly. “You were in Hybern.” “Yes.” It was all he could say. “You betrayed us.”

- Lucien, ACOWAR, chapter 24

Future foreshadowing?! I really, really hope not.

Slow blinkers tend to have quick reflexes, let's hope that this is suggesting Elain will be quick on her feet.

Elain sat silently at one of the wrought-iron tables, a cup of tea before her. Azriel was sprawled on the chaise longue across the gray stones, sunning his wings and reading what looked to be a stack of reports...

- Feyre, ACOWAR, chapter 24

Will Elain become involved with Azriel's spy service, or work with him in some capacity? Spies must be able to stay silent, to keep secrets - and we know from ACOSF that Elain is adept at secret keeping.

[ectonurites]

idk how to quote tags on mobile where is the conner kent essay i NEED it

ALRIGHT OKAY! here’s 5k+ words plus panels & screenshots of me comparing and contrasting the two drastically different versions of Superboy (comics vs young justice cartoon) and going over what makes them such distinctly separate characters. someday i’ll refine this a bit more its kinda just a word dump that’s been living in my brain that i wanted to actually articulate after i read through Reign of the Supermen but here we go:

--

Pretty frequently I see the question “Why is Superboy so different in the Young Justice cartoon?” float around in DC circles. I think there are two main approaches to answering this:

Why did the writers of the cartoon decide to create a very different version of Superboy?

What factors make this Superboy so different from the comic version?

For the first approach the answer is relatively straight-forward, from the start Young Justice as a cartoon was never meant to be a direct adaptation of the comics. They just used the title and a few elements so they could create their own approach to the DC universe with a focus on younger heroes. For example, Artemis Crock in their show is also COMPLETELY different from her comic counterpart, Zatanna is aged way down to be a member of the teen team, and Kaldur’ahm was created for this show (and integrated into the comics as Jackson Hyde). They were always trying to do different things than the main comics universe, so them making a different version of Conner also makes sense. Their approach to him is also very clearly influenced more by how he appeared in the Teen Titans comic run that was still coming out as Young Justice started airing (his design, and some other elements we’ll discuss along the way), as opposed to his original version from the 90′s/the Young Justice comic.

So the basic “why” is that from the start they wanted to create something unique to their universe, which they definitely did accomplish.

The much more interesting subject to dive into, though, is looking at the differences in Superboy’s story that contribute to him becoming such a different person. 

The drastic changes made to the following factors are what I view as the main source of his differences in personality/outlook/characterization:

The conditions and history of the world at the time he is introduced

The circumstances around him being introduced/leaving Cadmus

The reaction Clark has to him and how their relationship starts

The people he first interacted with & became close to, and how he interacts with the world

The timing of him finding out about his connection to Luthor

The State of the Worlds

In the comics, Superboy is first introduced in Adventures of Superman #500 by iconically saying “Don’t ever call me Superboy!” 

during a 1993 event called “Reign of the Supermen”, a follow up to the 1992 event “The Death of Superman”. Based on the title of the 1992 event, I think you can, uh, guess what one major difference in the setting here was vs. the state of the world at the time he was introduced in the cartoon. Obviously Clark didn’t stay dead forever, but Superboy first comes onto the scene as a young clone of Superman who insists he is the new Superman (one of the four characters trying to do so during the event). This is in the main DC universe in the early 90’s, which means that heroes in general, including teen heroes, aren’t a new thing! Not only has the Justice League been around for a while but so has the Teen Titans. Once Clark is alive again, Superboy goes off on his own to establish himself as an individual teen hero. 

So how is that different in the cartoon?

In the cartoon, Superboy is first introduced in the pilot episodes “Independence Day” and “Fireworks” 

on the 4th of July in (what most people consider to be) 2010. This was supposed to be the day that Robin (Dick Grayson), Speedy (Roy Harper), Kid Flash (Wally West), and Aqualad (Kaldur’ahm) would get to see the true Justice League HQ at the Hall of Justice, which... doesn’t go exactly as planned. 

In this world, superheroes are a newer thing, this is something that the creators have talked about before. At this point, while there is an established Justice League, there are no known teams of teen superheroes. Just the fact that as of season one Dick Grayson is still Robin is a pretty good indicator that this world is early in it’s time with a Batman. Now, the sidekicks aren’t a secret, as they appear very publicly in this first episode, but they are almost always seen acting with their mentors at this point. Again, there is no Teen Titans in this setting, and there never has been. 

So when they do form the first teen hero team? It is kept covert-ops. They do not publicize that they act as a superhero team, and the members who weren’t already publicly known heroes (mainly Miss Martian and Superboy) end up being pretty… unknown to a lot of the world outside the hero/villain community! Again their existence is not strictly kept a secret, but they keep the fact that there’s a team of minors who are heroes going on independent missions VERY under the radar on purpose. Thus, those who aren’t going around doing super public hero activities just don’t have nearly as much of a presence.

So to summarize:

In the comics, Superboy is immediately put in a spotlight (he befriends a reporter and is all over tv and literally trademarks the name Superman) becoming known to the world and establishes himself as a solo acting hero YEARS before joining any teams.

In the cartoon, Superboy is kept relatively out of the spotlight, immediately becomes part of a covert-ops team and doesn’t act solo very often. The well known teen heroes in this setting are sidekicks working under a mentor, and Superboy does not actually act as a sidekick.

What does this mean for Superboy?

Superboy in the comics gets to, right away, act on his own and get a taste of what being Superman is like. In the cartoon, he’s brought into the world at a time where there already is a Superman. I think back to this bit from the therapy episode, where he says:

“See, from the moment I first opened my eyes in that Cadmus pod, there’s been one thing I’ve wanted, and feared. To know what it is to be Superman.”

Comics Superboy started out getting to do that! He immediately got a shot at filling that role, and he then makes the choice to relinquish it back to the original once he’s alive again. He (begrudgingly at first) understood that it wasn’t yet his time to be Superman, and knows he’ll someday fill those shoes for real- but in the meantime being Superboy is gonna be his own thing and he’ll embrace it and make it work.

Cartoon Superboy is left in a shadow, not ever truly knowing what it’s like to fill those shoes (except in a doomsday scenario training exercise gone awry that he then just feels intense guilt over). This leaves him a lot more frustrated and lost, and I think is a major contributor to how angry this version of Superboy is compared to his much more ‘chill go with the flow’ attitude in the comics.

Cadmus

In the comics, in that same issue he’s introduced, we find out that Superboy broke out of his cloning tube prematurely and left Cadmus with the assistance of the second Newsboy Legion, who also gave him his first leather jacket, before the programming that would allow Cadmus to control him was implemented.

He quickly gets up to speed with the situation, that Clark is dead. So he comes on the scene starting to save people and saying he is Superman, or at least the clone of the original one. A major thing that does influence his character here is the fact that… this is the 90’s. He is designed around the idea of what is ‘cool’ back in 1993. (look, even his original character design sheets call him cool)

So right off the bat he’s got a stereotypical ‘cool teen guy in that era’ personality, which is often played for comedy to add a little lightness to some of the dark things happening during this event. 

Anyways, he has left Cadmus, he’s acting on his own, and he starts realizing that his powers aren’t exactly the same as Superman’s over the course of the Reign of the Supermen story.

After the main conflict is settled and Clark is fully alive and acting as Superman again, the two of them end up going back to Cadmus to find out what the exact deal is with him. I’ll go into this more in a later point, but they find out he’s not exactly a clone of Superman (or Lex- him being actually involved as a DNA donor is a retcon that happened a decade later). They agree to let someone from Cadmus (Dubbilex- the grey guy with the horns in this pic) leave Metropolis with him, as he sets out on a press tour to establish himself as Superboy now that he relinquished the trademark on the Superman name back to Clark. 

Let’s pause and look at how this is different in the cartoon.

In the cartoon, when the trio of Robin, Kid Flash, and Aqualad decide to prove themselves to their mentors they run off on their own to attend to a fire at Project Cadmus when the Justice League got called off to do something else. Upon arriving, they accidentally uncover some weird things about Cadmus, like the crazy amount of sublevels, the creatures roaming around, and the fact that it’s not on the main power grids. They eventually find Superboy, still in his cloning tube. They break him out, but then get captured themselves.

When they are then put into tubes by Cadmus personnel, they manage to convince Superboy to help free them by promising him things like getting to meet Superman, and see the moon. The group of four now working together manages to escape from the building and it topples down, where they are then greeted by the Justice League who are Not Happy.

Superman flies away shortly after, and the group of kids explain to their remaining mentors that sure, they disobeyed orders, but they accomplished something good here, and they are going to keep doing it, whether the League likes it or not. The compromise is the formation of The Team, to be covert-ops while the Justice League acts publicly, and the boys are joined by Miss Martian.

So to summarize:

In the comics, Superboy leaves Cadmus pretty independently (with some assistance) to go act on his own as a hero immediately. He returns to Cadmus later for more information, and they reveal truths to him about his existence. After he knows his truth, he goes off to continue establishing himself as a solo hero but lets Cadmus still supervise what he’s doing through Dubbilex.

In the cartoon, Superboy is rescued from Cadmus by Robin, Kid Flash, and Aqualad, without knowing pretty much anything about himself besides the fact that he is a clone of Superman, and is immediately put on the covert ops team. 

What it means for Superboy:

Comic Superboy goes to act on his own, even after he admits he’s not the real Superman anymore. Yes he’s not 100% alone in terms of ‘he’s got people (Rex, Roxy, Dubbilex, Tana) around him’, but as a hero he’s a solo act and ends up taking residence in Hawaii. In the cartoon, by joining a team right away, he’s taking on a very different style of being a hero, especially because the team itself is covert-ops. Rather than regularly saving the day all on his own much like Superman, which can help comic Superboy feel like he’s still living up to the name more, cartoon Superboy is working under the radar in a group setting, while still wanting to desperately fill those Superman shoes. 

He is overconfident in his abilities and wants to be the hero he was created to be, so him being put into this very different type of superhero situation is another major contributor to the frustration/anger. Even later on when comics Superboy is part of forming the Young Justice team, they were never a secret covert-ops team, they were always publicly known. (hell, a reporter is the one who gave them the team name Young Justice because he’d misheard Bart)

Superboy & Superman

In the comics, as we have established, Clark was dead at the time Superboy first came on the hero scene. Clark comes back to life, during a little bit of a lull in the middle of the huge conflict. He immediately accepts that Superboy is one of four who came forward to try to replace him, and one of the only two (Superboy & Steel) who genuinely only had good intentions in doing so. Clark, Steel, Supergirl, Hal Jordan, and Superboy then all work together in the big battle against the Cyborg Superman.

Once things are settled, Clark is curious about him, and where he came from and his origin, so they end up going to Cadmus together with Guardian and learning more about him, as I previously mentioned. Once it is established that Superboy is in fact a metahuman clone who was created to mimic Superman, but is not actually a clone of him, Superman still accepts him and thinks he’s earned his right to continue using the ’S’ shield and have the name of Superboy. 

They part ways so Superboy can go on his press tour, but in general they have pretty positive interactions where they mutually respect each other! Not too much later in the comics even (I forget exaaactly when this happens but it’s definitely before the 1998 Young justice comic), Superman is the first one to give Superboy a real name, “Kon-El”, something he is so happy about he literally cries.

How is this different in the cartoon? 

When the boys first escaped, and Superboy first meets the Justice League, Clark is standoffish. Other members of the league need to nudge him over to go actually talk to Superboy, and it’s not much of a conversation before he flies off and away, leaving Superboy frustrated and alone.

This… turns into the standard for almost the entire first season. Other characters constantly telling Clark that he needs to reach out and be support for the boy (like in this iconic diner scene with Bruce and Clark), but Clark consistently being too freaked out by the fact that someone made a clone of him without his knowledge to properly accept Conner. While this does over time get better, this being the immediate reaction when Superboy is brand new in the world definitely… has an impact! 

He is rejected by the person he idolizes, and feels neglected and abandoned, and definitely kinda overcompensates with ego to try to make up for it. 

So:

In the comics, Superman and Superboy work together from the start, not falling into a hero/sidekick situation but rather acknowledging each other as individual heroes with respect for one another. They grow to see each other as family much faster, and little tension between them. A crucial difference in situations, though, is that at the time these versions first meet Superboy is not actually a clone of Superman.

In the cartoon, Superman at first avoids Superboy, and does not offer guidance or mentorship or anything the boy needs. It is clear that he wants to work with Superman and be like him, since it was what he was created to do. It takes a lot of time for Clark to accept Conner in this setting, and there is a lot of tension for the first several months Conner exists. (they seem to settle this towards the end of season 1/during the gap between season 2, but it still has it’s impact on who Conner is early in his life)

What does this mean?

I feel like this is another major factor that contributes to Conner being so angry all the time in the cartoon, he feels immediately rejected by the person he’s supposed to be someday, rather than accepted by him. Again, very different from how comics Superboy got a chance to be Superman, and a chance to then work with the real deal as equals. 

Friendships, Relationships and Identity

When Superboy is freed by the second Newsboy Legion, it’s primarily out of a ‘we’re clones who are stuck here, but you need to be out there, you’re what Metropolis needs right now!’ kind of idea. The first person he actually becomes close to is a reporter named Tana Moon.

Tana and Superboy’s relationship is… bad once it actually becomes romantic due to their huge age difference (she’s around 23, he is for all intents and purposes 16), but during the Reign of the Supermen where they’re still just friends for the most part, it’s not as bad. Tana becomes the GBS correspondent who focuses on everything Superboy (at this time still insisting he is the new Superman) is doing as a hero, and they become close friends.

GBS then also brings in Rex Leech (and his daughter Roxy) to be his agent, to promote Superboy and manage things for him. Rex is exploitative as hell, but Roxy does become another really important person to Superboy. These characters along with Dubbilex are his main supporting cast at the start of his solo comic when he’s in Hawaii.

In this whole era, Superboy is pretty much a celebrity. He’s cool, he’s a superhero, and I think it’s very notable he does not have a secret Identity. For a decent chunk of time, he is always just ‘Superboy’ (until, as I mentioned earlier, Clark gives him the name Kon-El. Even so, he doesn’t adopt a regular secret identity [Conner Kent, although he actually used a different one, Carl Grummett, before that!] until he begins living with the Kents in the early 2000s). By the time he joins any teams, Kon is pretty damn confident in who he is as a hero and has a relatively good grasp on who he is in general, if anything he’s a little too confident.

Young Justice was created in the aftermath of World Without Grown Ups when the trio of Superboy, Robin (Tim Drake) and Impulse (Bart Allen) had teamed up. After they saved the day they realized they worked well together and formed their team, utilizing the old Justice League base in Mount Justice. They were eventually joined by more members, especially relevant here is Wonder Girl (Cassie Sandsmark) who Kon later dates for a portion of the Teen Titans run that these four are in after Young Justice ends. 

The four of them become close, and when Kon dies during Infinite Crisis it rips a hole in everything they had established growing up together over the past several years (Cassie joins a cult dedicated to bringing him back, Tim tries to clone a new Kon, Bart got aged up and took on the mantle of the Flash, etc) and Bart’s death that followed similarly shook the remaining Cassie and Tim. This group eventually does get to reunite, with Kon and Bart coming back during Final Crisis, solidifying how even things like death don’t keep them apart for long. It’s hard to look at the comic book versions of these four characters and imagine how they would be without their connections to each other... until you look at the YJ cartoon and see a world where they’re not even all part of the same generation, let alone a friend group.

Now in the cartoon…

The first people Conner primarily interacts with are Dick, Wally, Kaldur, and M’gann, along with the League members who interact with The Team pretty regularly, Red Tornado, Batman, and Black Canary. He’s shown to be friends with the other memebers of the team and get along with them relatively well, but in general he’s not much of a social person. 

Much like in the comics, Superboy is considered very attractive, and immediately upon their meeting, M’gann is interested in him. Very, very interested in him.

At first it definitely does seem more just like an innocent crush, but it’s later revealed to be a little more… concerning than that. As in ‘Megan subtlety influencing Superboy to become her dream boyfriend based on a TV show she likes’ concerning. Like… she literally gives him the name ‘Conner’ after the TV show character that was the boyfriend of the character she bases her human self and entire identity on. The two date and once that becomes a thing, a lot of their plot lines in the following seasons revolve around the ups and downs of their relationship.

In general in this show, Superboy doesn’t really get much of a chance to establish himself on his own terms. Within months of him leaving his cloning pod, he and M’gann start going to high school with secret identities, so he’s already having to hide who he truly is to blend in with other people, before he even knows who he truly is. 

So to compare:

In the comics, Superboy gets to figure out who he is as Superman’s Clone/Superboy very publicly, has multiple love interests and a celebrity status, and over time becomes part of a tight-knit group of friends. He doesn’t use a regular secret identity for the first several years he’s active.

In the cartoon, Superboy has one love interest with a very large impact on him, not nearly as much focus is given to his other friendships, and he immediately adopts a secret identity meaning he needs to hide who he is from the start. 

What it means:

These factors play a big difference in his attitude, particularly highlighting how extroverted his comic version is and how introverted his cartoon version is. Comic Superboy never really needed to hide who he was until years into his career, vs being told to do so early on in his life. When you get used to needing to hide things so early, that can definitely lead to being more private/disconnected from others. Also somewhat related- in the comics, when Kon is given knowledge in his cloning tube, more pop culture got included. He mentions knowing Star Wars without having seen it, and references a ton of TV and Movies, vs the cartoon version of him that seems to have been given a lot of history of the world but not the current fun stuff. It’s the difference between knowing what’s going on in the world and what’s popular, vs only knowing the past and what’s fundamental. Not knowing pop culture like this can also really contribute to feeling alienated and lead to introversion. (I just... I think about how in the comics Kon’s favorite TV show is Wendy The Werewolf Stalker, in the cartoon Conner just... watches white noise static)

Also, having a completely different set of friends with different personalities has a big effect, people are always gonna be influenced by the people they’re close to to some extent. Bumping Conner up to Dick’s generation of heroes instead of Tim’s not only gives him completely different friends, but it also puts him in this position of being one of the ‘Original Team Members’. By this I mean, a member of the first iteration of the only teen team, one of the people that younger heroes coming onto the scene and joining the team in later seasons see as an experienced and older team member to look up to (despite the fact that cartoon Conner is permanently 16- they never fixed that for him like in the comics). That just creates a different dynamic entirely, because in the comics even when the Tim/Kon/Cassie/Bart group are more experienced on their team late in the Teen Titans run, they are still always going to have heroes like Dick Grayson, Donna Troy, Wally West etc as the older generation of ‘original teen heroes’ who came before them.

Also, while I am talking mostly about in-universe reasoning here, I do wanna bring up one slightly more meta reason that might also have contributed to them choosing to go for a more ‘introverted brooding hero’ characterization with him: the fact that their version of Wally already filled the ‘flirty jokey’ archetype original Comics Kon fits into. Having two characters like that in the show from the start would definitely get... overwhelming. And at the time this show was first airing, in the comics, he was relatively devoted to Cassie and not nearly as flirty anymore anyways.

Lex Luthor / Details of Cloning

In the comics, as I have already mentioned and will now actually explain, when Superboy was first introduced he was not the clone of Superman and Lex Luthor as we know him to be today. Kon was a metahuman clone, made with the DNA of Paul Westfield who worked at Cadmus, that they genetically altered to look like Superman, and gave powers based on the energy aura they discovered to exist around Clark’s dead body. This telekinetic field gave Kon the distinct powers he had for his first decade of existence: His Tactile Telekinesis (often referred to by him as TTK)

Lex Luthor was originally not directly involved in his creation, but he was aware that it was going on as is revealed during the Reign of the Supermen arc. Kon’s TTK allowed him to mimic Superman’s flight and strength, but not all of his powers. TTK also gave him powers Superman DOESN’T have, such as his ability to dismantle machinery or mold materials he is touching into different shapes. (The reason this is called Tactile Telekinesis is because there needs to be a tactile element, he needs to be touching the things) 

It is not until 2003, a decade after Superboy was created, that writer Geoff Johns in his Teen Titans run decided to alter Superboy’s origin. He established that Lex Luthor had been the real human DNA donor and that Superman’s Kryptonian DNA was actually used in the cloning process. Around this time, Conner also begins to exhibit more of the typical Kryptonian powers, like Clark did around this age. 

This information is at first only known by Conner and Tim, because the email had actually been sent to Tim directly. The two keep it a secret as Conner was not ready to tell the rest of the team, because he fears the implications it has, and is afraid of becoming evil or being rejected. This revelation about Lex being one of his ‘parents’ DNA-wise coming years into his hero career changes a lot of things for Conner, and makes him begin to question who he is. Unfortunately, Lex does at one point take control of Conner and force him to break Tim’s arm and attack Cassie directly (as well as the rest of the team, but these two specifically are what Conner expresses the most guilt over after the fact). This era of Conner in the comics is where he’s definitely closest to his cartoon counterpart, because he’s very troubled and dealing with a lot of heavy stuff regarding himself as a person. Yet there’s still traces of who he has always been in there. I mean, if you’re only familiar with cartoon Conner, can you really imagine his final words as he’s dying after saving the world being “Isn’t it cool?”

Now, looking at the cartoon…

Conner finds out about his connection to Lex in November, only a few months after having existed outside of a cloning tube. He finds it out on his own, from Lex speaking to him directly, after Conner went back to investigate the remains of Cadmus and ended up having a fight with Match (another clone who is able to pass for Conner’s duplicate who they… their version of Match is another thing they drastically changed from the comic version but as we’ve established that’s something they like to do so I’m not gonna dwell on it).

In the cartoon, Conner’s powerset is, from the start, different from both Superman and comic Superboy. Here he has heightened senses and strength and the ability to leap really far, but he lacks actual flight and some of the other standard Kryptonian powers, and has no TTK. The cartoon explains these gaps in his powers as being due to his half human DNA, and they introduce these patches that are able to suppress his human DNA and give him temporary access to full powers. Lex uses these patches as a way to manipulate him. Much like in the comics, Lex has a code word programmed into Conner that effects him, although it isn’t quite used for the same amount of ‘total mind control’, and he doesn’t get fully brainwashed and turn against the team or anything. Instead, the code word (here “Red Sun” rather than “Aut vincere, aut mori” [Translated as “to conquer or die" / "victory or death”]) just leaves him stuck in a hypnotic trance.

So:

In the comics, Kon finds out after years of believing he was a metahuman clone who was given powers to mimic Superman, that he is actually a clone of Lex Luthor and Superman, which alters his entire perspective on himself! This causes him to become a lot more unsure and anxious about who he is, in stark contrast with how confident he was before. There are still traces of his old self within him, but this is a development in his character that influences him moving forward, making him a bit more serious but still at his core the same person he used to be.

In the cartoon, Conner finds out after months of thinking he was a clone of just Superman, that he has half human DNA and the donor was Lex Luthor. While he always had confidence in his abilities, he was still somewhat lost as a person in knowing who he really was outside of things other people have assigned to him (teammate, boyfriend, superhero, etc), and finding out this information about himself just adds to the uncertainty and frustration.

What it means:

Having this struggle be something Conner has to deal with so early in his existence is one of the most fundamental changes in my opinion. Finding out that Lex Luthor is one of your clone parents is something that will alter your entire perception of yourself and who you are! In the comics, Conner had already been confident in who he was so it shakes his world in a really big way, but in the cartoon he still didn’t know who he really was so it just adds to further confusion. 

I think that even with the more serious characterization Kon starts getting in the 2003 Teen TItans run, his history and past as the fun cool 90′s Metropolis Kid isn’t entirely forgotten, it’s still a part of who he is/was. Sure, maybe he’s sometimes even embarrassed by how he used to be, but it’s not treated as though it didn’t happen. All of his history comes together to create the character and who he is by the time he wears just a T shirt as a costume.

By skipping over the fun era of his life and jumping right into who he was when he started facing these huge changes, it creates such a completely different set of challenges for him and that contributes directly to how he’s characterized. 

Putting it all together

The ultimate point I am trying to reach in all of this is that, beyond just ‘they made a writing choice to make him different’ the environment that Superboy was brought into and the events that took place right when he came into the world greatly influenced the type of character he would become. Every time an adaptation is made of something like comics, there are going to be changes and alterations to fit the world the creators want to make. Sometimes these changes are minor and don’t actually change who a character is (an example for the YJ cartoon’s universe itself: In the tie-in comics [issue 6] it’s established in this universe that the Flying Graysons weren’t just Dick and his parents, but other family members were active parts of it too. One was an uncle also named Richard, who actually survived the fall that killed the rest of his family but was left paralyzed and thus unable to care for him. This uncle already used the nickname ‘Rick’ which is likely why Dick ended up using ‘Dick’ as a name in a modern setting even though it has fallen out of popularity as a nickname because uh, connotations. This is something that is mostly unique to their world and helps to explain some things, but it’s not like tragically losing a few more family members changed their version of Dick and his backstory that drastically. At his core, he still has many similarities to his comic self) but they’re still changes, and that’s okay. Superboy, though, is such an extreme case where they made so many changes that at his core he really does become a completely separate character. Sure he has the name and design, but I was able to write five thousand words about differences here and am struggling to come up with more similarities beyond that.

I think there still could be specks of the original Superboy buried inside cartoon Conner, and that maybe he could have been more like his original version under other circumstances. Looking at these differences and where they come from is, I think, a cool way to begin to understand what elements contribute to who each version of Conner Kent really is. I think it’s clear from how I wrote this that I prefer the comic version, but there are definitely things that are fun to look at and think about with both.

--

if u read all of this UH thanks for listenin to me ramble! sorry if this is incomprehensibe!

[night-unfurls-its-splendour]

Every Emma Woodhouse Ranked and Rated

With all my reviews of all the period-set adaptations now finished, I'm beginning my series in which I rate and rank each interpretation of all the principle characters, starting with our girl Emma!

Now I wanna be clear--I am not rating the actresses that played Emma. I am rating how the character was handled in general in each adaptation. The actresses are a factor, but they're not the sole factor, since the writer and director have as much, if not more, to do with how the character ends up in the finished product. So without futher ado, let's rank...

“Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her….

“The real evils indeed of Emma’s situation were the power of having rather too much of her own way, and a disposition to think a little too well of herself; these were the disadvantages that threatened alloy to her many enjoyments.”

NUMBER 5: 1972

Portrayed by: Doran Godwin

Age at time of filming: 28

Clocking in as the oldest actress to play Austen’s famously TWENTY-ONE year old heroine (at the ripe age of 28), Doran Godwin also snags the coveted position as inhabiting the worst portrayal of the character (in my personal estimation) to date.

Just about everything about this interpretation of Emma Woodhouse is bad, from her seemingly automated recital of her lines to her all-too-intense, wide-eyed, hypnotic stare. The 1972 portrayal of Emma highlights all the character’s worst qualities while also failing to convincingly communicate her good qualities, such as her caring nature. The script is equally to blame for the awfulness of this interpretation, adding unnecessarily cruel and condescending lines, including one where she negs Harriet for being sad after Elton’s marriage, and then forces Harriet to come with her to meet the new Mrs. Elton, when Emma in the book did her best to shield Harriet from exactly that kind of situation.

Godwin couldn’t pass for 21 if her life had depended on it, and the worst part is that the script actually states Emma’s age, so she seems like a bit of a crazy spinster, preying on the naïve Harriet. Whether it’s her intent to bathe in Harriet’s blood to keep herself young, or to bake her into a pie is up for debate.

Rating: 1/5 Half-finished portraits

NUMBER 4: 2020

Portrayed by: Anya Taylor Joy

Age at time of filming: 23

I thought long and hard about this. This movie is a modern period drama phenomenon. It’s gotten so many people into Jane Austen and satisfied long-time Austen fans by giving them an interpretation they never dared hope to see. It’s a gorgeous film.

But I don’t like this interpretation of Emma Woodhouse. Though Anya Taylor Joy is one of the youngest actresses to play Emma (only two years older than the character) she’s played with a careful stiffness that perhaps shows us a glimpse of the Lady Catherine she might turn into without swift intervention. That’s not necessarily a bad thing, and this isn’t a commentary on Anya Taylor Joy either—her appearance or her acting ability—but I just don’t like her as Emma. And she’s not the sole problem, she turns in a solid performance, she’s a good actress, but something about this characterization is just off-color to me. Anya Taylor Joy plays a great mean-girl; but I think that’s one of the reasons why they thought she’d be a good choice for this role, and it’s one of the prime reasons I don’t think she wasright for it. Emma is a deeply flawed character and, of course, the biggest turning point in her story comes as a result of a thoughtlessly mean remark to someone who has only ever shown her deference, hospitality and gratitude.

All that said, Emma is not, at her core, a cruel person. Emma has gone all her life thinking condescending things about Miss Bates but it’s only when Frank comes along and validates her less kind commentaries that she actually starts to voice them in search of validation from a peer.

The problem with this in the context of 2020’s Emma Woodhouse is that Frank hardly gets a look-in in this adaptation. Emma’s relationship with him is severely underdeveloped and the actors don’t have enough chemistry to pull it off in the limited time they’re given. The result is that Emma appears to cross a line just to cross it, and it pushes Emma’s character from thoughtless to out-and-out frigid.

Still better than Doran Godwin, since she's identifiably human.

Rating: 2 1/2 / 5 Half-finished portraits

NUMBER 3: 1996 (MIRAMAX)

Portrayed by: Gwyneth Paltrow

Age at time of filming: 24

Despite the fact that Gwyneth Paltrow was an appalling casing choice for Emma Woodhouse (I will be forever salty that they passed over Joely Richardson), and I know there are some who will think me, at best, crazy (sacrilegious, at worst) for ranking 1996’s interpretation of Emma higher than 2020, I actually feel that solidly in the middle is right where this version of the character belongs.

There’s so much wrong with this Emma: she swings from mature to bizarrely infantile at the drop of a hat, much of her script is genuinely tragic, Gwyneth can’t convincingly portray Emma's social naiveté, her accent is overwhelmingly nasal and impossible to listen to, just for starters.

And yet… I don’t hate her. I don’t like her particularly either, but even though much of the dialogue re-working butchered Austen’s prose, there are a lot of things McGrath seems to have gotten right about Emma’s character. Her relationship with Knightley feels comfortable and playful, and, while Emma of the book probably doesn’t really care for Harriet Smith in the spirit of true bosom friendship, I believe she does care about her and wishes to spare her (further) pain. She shows exasperation with Harriet while still being patient with her, which is very much in the spirit of the book. Her concern for Harriet at the ball feels real, and her contrition at Box Hill following Knightley’s rebuke, while not profound, at least feels like contrition and not self-pity.

Perhaps, given the soft-take that the Miramax version is, it shouldn’t be surprising that the biggest faults in characterization rest on awkward writing and the biggest triumphs highlight Emma’s better side. It’s not a very in-depth take on the character, but it at least, is an adequate one.

Rating: 3/5 Half-finished portraits

NUMBER 2: 1996/97 (ITV)

Portrayed by: Kate Beckinsale

Age at time of filming: 23

Those who’ve read my reviews of each adaptation of Emma might be surprised to see ITV’s portrayal of the title character sitting so high on my list. To be frank, it’s a distant second, and she may have stolen the number two spot only because she’s played by Kate Beckinsale and not Gwyneth Paltrow.

In truth, I see a lot of parallels between 1997’s Emma and 2020’s. Both actresses were 23 (or thereabouts) when they played the role, both have extremely childish moments, and both crumple down and burst into tears that don’t feel entirely genuine after Box Hill.

So why is 1997 on the good side of the number 3 spot and 2020 isn’t? I’m not precisely sure. I think it may be because Andrew Davies (and/or Diarmuid Lawrence) at least understood the scale of Emma Woodhouse’s wealth and status. This Emma feels sufficiently self-important, a bit haughty, sure—but she’s also believably naïve. You feel her isolation, you understand her caring relationship with her father, and she’s not as patently rude to Robert Martin compared to the 2020 version (she at least acknowledges his presence when he meets Emma and Harriet in the lane).

Grudging though this favorable placement may be, I can at least acknowledge that Emma herself is the least of my problems with this version, and even though Beckinsale’s acting is a bit sketchy at certain points, she also has some truly great moments, especially her interaction with Robert Martin at the end of the film. This portrayal is consistent, and Emma’s better qualities aren’t overpowered by her negative ones.

Rating: 4/5 Half-finished portraits

Number 1: 2009

Portrayed by: Romola Garai

Age at time of filming: 26

And in a shocking twist—I’m kidding this is neither shocking nor unexpected to anyone who knows me or has read my blog/reviews of the Emma adaptations. Am I totally biased? Probably. I don’t care, this is a completely subjective list. Here, finally—my first and true love as Emma Woodhouse—is Romola Garai. I suppose it’s also not surprising that the first actress I ever saw in the role would still be my favorite a decade on. I just love everything about this interpretation of the character. She rides the very difficult line of being bright, caring and intelligent, while also being completely naïve and lacking in social savvy (in her own age-group at least), coddled, and painfully sure of her own self-importance.

Even though Garai was 25 or 26 at the time (far too old for the character—almost as old as Doran Godwin) her energy and charisma are enough that she’s able to carry it off convincingly. Everything about this Emma screams youth, and when Emma’s child-like social ignorance is her most prominent characteristic, it feels authentic and natural. Equally authentic are her emotions—her love for her family, her dynamic with Knightley, he exasperation, patience, and concern with Harriet. Most of all though, this Emma seems to experience the most maturation in the last quarter of the story. Box Hill really feels like a turning point—not just a chastened young woman, but a true coming-of-age moment. Emma faces a reckoning here that begins a chain reaction culminating in her realization of her feelings for Knightley, and everything from the writing to Garai’s performance conveys the magnitude of this shift in Emma’s life.

This version of the character seems the most… complete to me. Somehow, between Romola Garai’s vibrancy, Sandy Welch’s screenplay and Jim O’Hanlon’s direction, this interpretation takes an extremely divisive character and helps the viewer understand just why everyone in Highbury loves Emma Woodhouse.

Rating: 5/5 Half-finished portraits

~~~~

If you liked this, check out my rankings of Mr. and Mrs. Weston

[honkster]

Why the Dream SMP’s way of storytelling is IMPOSSIBLE to recreate in any other medium.

This has been in the back of my mind for the longest time. I think I finally got it.

People have talked about this before, and they’ve put forward some good points, and good for them – most of them are correct. It’s the way the ccs interact with each other, it’s how plot is mixed in with banter, that’s all good! I wanna put more out there.

So you know how you open a book to read, you start a new show, you sit down to watch a movie – that’s all produced by some sort of company, someone who made it specifically for you to enjoy. You expect a certain dramatic flair to it, certain cinematic choices, certain ways of writing, certain camera angles, certain reactions to things. That’s just ingrained expectations of things now.

The DSMP? Doesn’t have that.

The low expectations work very much in its favor. It’s a Minecraft role-playing server with a bunch of famous youtubers/streamers, who are all good friends and have great dynamics with each other. So when you expect “just another Minecraft video” but in stream form, or you watch the videos because there are certain people in them, you don’t expect to be dropped into extreme lore and sensitive topics, realistic situations proposed in game form, a combination of serious stuff and just fun times with friends goofing around – and you’re pleasantly surprised.

We, the fandom, are used to it a bit more now. How excellently they manage to make a serious story in such a “ridiculous” medium, how much it affects us all and gets our creative juices flowing. But even the ccs can’t predict some of the things that happen. And that’s fun.

The whole election ending the way it has? That was on us. And it made some of the most angsty content there has been in the DSMP. People still theorize about the arc and make connections to now – that’s pog!

Fundy being adopted by Eret – that sparked the whole “Fundy just wants a dad – let’s get him some love” thing that made FundyWasTaken and other Fundy+someone ships happen. I see a different person paired with Fundy every week, and somehow, I agree with all of them. I really got into Fundy because of that stream where Eret “slept through the adoption” and Fundy confronted his real dad and spent time with his granddad. That little stream gave us more insight into Fundy’s whole character (Nevermind Fundy showing off his acting skills – you go you funky little fox), but also justifies some of his actions now. DryWaters? Wanting to kill Technoblade? Fucked up reasons, but we still love him.

Phil being broken out of house arrest ahead of time – still made a great stream and Phil agreeing with Techno’s want for revenge – that made us all very happy. The SBI!!! The AE! And that’s also a thing!

That even if we do know or have predicted what’s going to happen, begged it out of the ccs basically, it is still incredibly fun to watch. Where some books/shows/movies fall short and reveal too much and end up being “too predictable”, they’re not fun anymore. I read this somewhere before, that sometimes holding back EVERYTHING from the reader, and relying on shock value to make a good story is just bad. Whereas if you progress the story naturally and let the reader make some predictions of their own and then they end up being right – that’s a lot of serotonin right there. It’s the re-readability that makes it slightly better the second time.

The DSMP takes this concept and fucking yeets with it. Letting fans engage in the story, letting them theorize and then be right, even acknowledging the fanart that was made, just engaging with the community that their roleplay created – that makes it so much more fun. I bet that even if the whole script was revealed to the fandom we would still watch every plot stream. Even if we knew vaguely what happens in the stream, we would tune in and enjoy every second of it. Because the ccs are just that good, we love them that much, we love this plot that much.

Oh and the unpredictability helps too. Tommy in exile was the vague concept of a lot of the streams – it’s taken that and ran with it in a lot of different directions. All quite enjoyable.

Having said all of that… The fact that this type of telling a story is impossible to recreate in any other medium is… kinda saddening? It is incredibly unique, and I’d say has things that not a lot of the people that produce mainstream media would even consider. “Just friends hanging out” – how would that make the script progress? “Engagement with the fandom, even considering their wishes for the characters” – but we’re telling a story here!

The only thing I can think of that would come close to the vibe, would be just a bunch of writer friends coming together, thinking up a universe and general plot, and then each deciding to write a few of their own characters in that universe. When one author focuses on their main characters, the side ones can feel left in the dust, or not fleshed out. The DSMP is just “every character can write their own story”, which takes a lot of the strain from the “main writers”. But the general thing of “just friends hanging out” would be taken away from it. We’re being serious here, why would we change the tone so quick?

With all of that in mind… I kinda wanna make some predictions? And I don’t know if they’re correct, but it’s fun to theorize. See?

1. L’manburg will die.

And not just because Techno has 54 withers. The country is cursed – it definitely is. There is little sentimental value that can be felt for a few flimsy stilts built on top of a crater. It might go out in a blaze of glory, with the withers (Is history repeating itself an interesting enough plot point to recycle a whole arc?), but it might just be forgotten. Yeah there have been some angsty headcanons about how “no one cares about L’manburg anymore, save for two people” and it just gets abandoned, but how about it just becoming irrelevant?

This all comes back to Dream, it always does! His want, need for the server to be “one happy family again”, it just means one thing. He wants the server to return to the peaceful anarchy that it was before L’manburg. No rulers, no factions, no nothing.

That’s never going to happen.

Try as he might, Dream cannot affect that change that L’manburg did to the server. The introduction of a faction, one that can exist without the interference of a higher power – why do you think so many factions have sprouted up since? And it’s not even serious factions a lot of the time, it’s just a few friends deciding to build their bases on a plot of land that they claim is a nation now. L’manburg has changed the mindset of these people, now an alliance with somebody is a political move. An alliance doesn’t exist if it doesn’t have a faction, and that faction can remain neutral for only so long.

Basically, L’manburg introduced the factions mod into the server.

And the fact that every faction now has enough relevance to hold weight in a war also means that every nation on the server is doomed to follow the downfall of L’manburg. Eventually, they will get into a fight they can’t win, go up against the wrong people, anger someone they shouldn’t have. All factions will either be destroyed, or lose relevance, until their creators, residents and such just… move on.

(And really you can go into meta and talk about real governments and compare them, but it’s far more simple than that. The server isn’t built for peace, it isn’t meant to be a relaxing place where you can just vibe, it may have been made for a few friends to play Minecraft together, but it has turned into An Author’s Curse. The curse that follows any kind of story being told – the fact that peace is boring. People watched the first streams of the DSMP because they liked the ccs, and that’s valid. But how many more people tuned in to watch the war streams because there was PLOT and there was CHAOS and there WASN’T CALM PEACE ANYMORE – that’s the curse of every writer. That you can write about someone just living their life drama-free, you can make interesting peace with characters or circumstances, but it’s always leading to one inevitable conclusion – war, drama, because people read that. And at this point, it’s just a predictable outcome. No matter how much you say that you are retired, that you’re done with violence (Technoblade), something will happen that will prove to you that you believed in people too much. No matter how “neutral” you may be in the matter, no matter how much you claim that you have no allegiance (Philza), you will be forced to pick one, because out of all the bad things, you pick the least worst one, the most appealing to you, the one that can benefit your want of revenge.

And I can go on, but this is far too deep for one simple reason – The Author’s Curse is so prevalent here because THERE ARE ABSOLUTELY NO STAKES. It’s a video game – you die? You respawn. Something gets destroyed? You can just rebuild. Sure, you’ll want to kill the person who did wrong to you, but whatever they did wrong can just be replaced, remade, recreated. So why not have wars? Why not cause massive amounts of destruction “for the plot”?

It’s literally a playground. How all authors have their little playground with their characters that they meticulously plan out, the DSMP is that playground for all of these people.

And it’s fun! Sure! I like it! I’m just really skeptical whenever someone in character says that they “just want peace”, “are retired”, “swear off violence”, “are building just a little city for themselves”. Because you can do that, nothing wrong. But eventually, no matter how much you distance yourself from all of the chaos happening, all of the wars, you will return.

Because it is just much more fun.

It’s the curse. A cursed cycle.

And everyone is in it.)

2. The prison.

I don’t have anything on the prison because I don’t have anything on the book. Yeah I’ve done a whole post where I overanalyze what it could be, but it doesn’t make it any clearer. Whatever it is, it’s made out to be a huge plot point, something that can only be revealed when the prison is finished.

Cursed. The prison’s reason for being constructed is the book, but the book is only relevant when the prison is finished. We can only wait, and theorize, as we do.

(My only theory is that the book is information about another op on the server. Or at least something related to op or creative mode. Dream only fears one thing on this server, and that’s Technoblade, so if his one fear is the most skilled player on the server, what else could give him existential fear?)

3. The SBI.

Again, I don’t have anything! Yeah the reunion seems to be going smoothly, one member at a time, but there is already conflict in their beliefs among each other. And all that’s happened is a vague “maybe one day we’ll strike”.

Is history repeating itself an interesting enough plot point to recycle a whole arc?

Is L’manburg’s destruction AGAIN really necessary to hammer home the idea that no one likes that place anymore?

I don’t know. Whatever happens, no one’s in the right. No one’s in the wrong either. They’re all not good people and that’s that on that.

4. The Clingy Duo.

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA.

That’s all.

(Okay seriously? All of these arcs are connected. You know what happens when everything seems to be connected to one another?

A giant, dramatic final showdown between the two opposing sides.

Cause it’s just Chaos vs L’manburg. Those are the sides. People that want L’manburg to exist and people that want it gone. There are no other sides, there isn’t someone who’s like “Well maybe it can exist if we do this and this” cause no one wants to put in anymore effort into this cursed country. The only people were the clingy duo and now they’re separated and everyone is just leaving and Tommy is on the Chaos side like at this point he doesn’t care about L’manburg he just cares about Tubbo but he has to convince Tubbo to leave L’manburg but will Tubbo be convinced but will Tommy even consider leaving L’manburg and breaking free from its curse AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA.

Goddamit.)

5. The Egg?

Dunno shit about it. Like the prison – it seems important, but we’re just not being given enough information. Is it a coincidence that the moment Dream commissioned the prison the Egg popped up? Or are the two directly related?

I don’t know. But as long as someone is finding ways to fight the Egg, that’s fantastic. Bad juju indeed.

6. Oh the Butcher Army want to kill Dream!

Hah.

Okay I’ve seen people make the case that the Army is just a bunch of people with trauma repeating the cycle of ab*se that they went through and yes.

Just yes.

And the fact that no one is actually looking at it that way and no one is there to like.. help them or even help them understand that what they are doing is just irrational, even though their reason for doing it and the result they hope to achieve is YES and the only thing that a lot of the people of the server who want peace should try to go for as well, they cannot stand up to Dream on their own. They just can’t, they will get punted into exile. They need allies, and they need powerful ones, people that have also been wronged by Dream and want him gone.

But the cycle continues, and no one knows where it ends.

(Okay but from a writing perspective? Getting rid of Dream is the end goal. It is the be all end all of all conflict, well… most of it, at least most that’s related to the supposed “good side”, or “the side that’s been most victimized”. But from the same perspective, that side is just… no longer. It has proven that is just as bad, if not worse than the final boss. I have to agree that Techno has to pay for his crimes, even though I like him a lot, but Techno did in fact cause insane damage. Yeah L’manburg rebuilt, yeah Wilbur probably caused more – still he isn’t completely free.

But that’s a discussion on morality more than laws.

L’manburg is doomed to die. Dream is doomed to be fought, and probably won against (simply because he has won far too many times already, you know how everyone seems to hate OP characters…). But the Butcher Army is doomed to fail against Dream. So how does that work?

Welp.

Is history repeating itself and interesting enough plot point to recycle a whole arc?

The answer is no.

I’ve repeated that question three times now, and the answer to it is no. No it is not. L’manburg can be destroyed again, and it can be rebuilt again, but the sentimentality that people feel for it will not remain. The cycle of history ends somewhere, and it’s not too far a fetch that it ends here.

So what happens when Technoblade, Philza and Tommy roll up to L’manburg with withers and a destruction wish, only to be met with a bunch of traumatized children with axes and a death wish?

Well, I’ll spare the details, but from a purely writing standpoint…

The two sides team up.

Think about it – The Butcher Army doesn’t care about Technoblade anymore. They’ve seen that Dream is the one pulling the strings, they know that even if they do care about trying to eliminate Technoblade again, they have to get rid of his strongest ally – Dream. But through their anger, they’ve lost their fear. You should fear Dream, he’s a fuckin op. Techno is correct in not wanting to go against him.

But after Tommy? After seeing the Butcher Army at their lowest, screeching about Dream being the villain?

Will Techno finally go past his thinking of “government is evil, always government is source of problem” and realize that Dream has the most evil government in mind for his rule?

I’m still kinda sad that Techno isn’t making the conclusions he should about Dream. But he’s starting to – and really, the SBI-Butcher Army team up is the most logical thing that could happen.

Watch me be completely wrong or miss something and I’ve got ALL of it wrong. I would love that.)

(Also it’s very funny to me that Dream is literally simping for Techno while he’s just here like “Listen bud I would stab you on sight if you didn’t have creative mode”. Dream KNOWS that Techno can and will kill him given the opportunity. Techno knows that that opportunity may never arise.

It’s a weird type of stalemate, to be sure. But goddamn is it interesting.)

Anyway... if you read through all of this... I could bake you a cookie? Thank you! I like to ramble.

[turneverybodyintopuppets]

Hi. The following is my attempt to systematically hash out the “Mr. Infodump” controversy in the TS fandom. It’s primarily for my benefit, but I’m posting it on the off chance it helps someone else who’s just as confused/dismayed as I was. I’m not attempting to argue for blind absolution (”Thomas is an angel who can do no wrong!”) or cancellation (“He’s no better than the likes of J.K. Rowling!”), just to present as intellectually honest an assessment as I can make of what happened and the degree to which the TS team is responsible.

Laconic: Thomas Sanders, a content creator on youtube, posted a skit in which a character calls an aspie-coded character “Mr. Infodump”. Several fans have expressed hurt and anger over the use of a trait associated with neurodivergence as an insult.

My own initial impression: I’m on the autism spectrum myself, and personally, “Mr. Infodump” didn’t register as offensive to me; in fact, as a huge Logan kinnie, I liked that a neurodiverse trait I see in myself was being explicitly linked to my favorite character. That said, there are many in the community who feel deeply hurt and betrayed, and it would be a) irresponsible and b) close-minded to handwave their concerns. Thus:

[Abridged version: Bolded]

Context for use of the word:

Line from Roman: “I was going for regal sophistication [in last commercial pitch], but Mr. Infodump over here [*gestures to Logan*] wasn’t cooperating.” Defensive tone, alluding to the fact that Logan’s commercial pitch included excessive product information that would leave buyers disengaged.

History: Roman regularly invents nicknames for fellow sides and employs them in a manner that can range from fond teasing to a juvenile way of insulting the side he’s presently bickering with.

Names previously directed at Logan include “Calculator watch,” “Egghead,” and “No-Funsen Honeydew… Doo.” They generally play off of Logan’s tendency toward being uptight, stereotypically nerdy, and eager to furnish the group with information in the capacity of a teacher.

In this particular instance, I doubt anyone would say the word’s use was “malicious,” but it wasn’t “affectionate” either. Roman is visibly preoccupied and defensive in the scene, throwing out a nickname offhand.

Power Dynamic: There is no imbalance of power between Logan and Roman that would indicate anything resembling a bully-victim relationship. Logan responds to the word in the same manner he does Roman’s other antics and displays no particularly hurt reaction.

In-Universe Response: No character corrects or condemns Roman’s use of the term. This may, however, be because Logan is the first to respond, armed with his own complaints about the others’ commercials.

Meta-Level Implications: The audience is not encouraged to agree with Roman’s sentiment that infodumping is a negative trait anymore than they are his other commentary on Logan via nicknames like “Egghead,” because Logan’s role in the story consistently proves it wrong; all that infodumping saved an unconscious Roman from his murder-happy brother, for one, and the audience knows it. Given the posturing and defensiveness that accompany Roman’s delivery of the line, it’s clear the creators were communicating that he was in the wrong to say it. That, and Logan will almost certainly reinforce this by verbally decimating someone in the next episode, as per usual.

I think that last point is key. People will accuse others of infodumping in a negative way IRL—I know I’ve been called far worse for failing to mask—and to pretend that such things don’t exist in fiction is misrepresenting reality. Instead, creators can and should include minority characters (race, sexuality, gender, neuroatypicality, etc.) *confronting* discrimination, dealing with it complexly, and showing both the misguided character and the audience how wrong they are. Logan resonates with me—and other aspies, I think—largely because of how he clearly struggles in dealing with the other sides’ occasional criticism of his eccentricities, but he ultimately remains committed to his identity and ideals. If the TS crew continues to write a show that reinforces the fact that his neurodivergent qualities are what make him strong—and god knows there's not much media that does this well—, they’re doing something incredibly important for us.

The issue here, then, wasn’t the show promoting ableism as a message, because its handling of the conversation here doesn’t. Rather, it was the use of a term that many consider inherently ableist as an insult. So:

“Infodump” the word:

I find this fascinating, actually—Science is discovered. Math is discovered**. Language? Language is unequivocally invented. We’ve create these words with combinations of mouth-sounds, and we’ve assigned them meaning.

But the thing is, people have different backgrounds and experiences that define both who they are and the nuances of the meaning they tie to those mouth-sounds

Basic example of varied mental prototypes: I live in the northeast USA, so when I hear the word “bird,” the first thing that pops into my head is a bluejay or robin. If you ask my friend who’s studying in Brazil, though, he’d likely think of a macaw or toucan. 

For me, “spring” = my mom’s pink zinnia garden and “chocolate” = a square of hershey melting against gooey marshmallow. This idea of memories and experience informing word-meaning mapping, of course, extends to a) more nuanced concepts and b) a more subconscious level of understanding. Poetry in particular, I think, tends to play with this to invoke the sensory experiences it does... I could infodump about translated poetry but that’s a whoooollleee other thing and I’m getting off track.

But essentially, an individual’s experience of any given word, to a degree, is subjective. Our dictionary definitions are merely approximations of a collective understanding of that mouthsound-to-meaning mapping, and we have to update those definitions as language evolves (remember when “Google” couldn’t be used as a verb?)

So, what happens if I look up “infodumping”? TVTropes tells me it’s a “type of exposition that’s particularly long and wordy”. UrbanDictionary says its “used to deposit large amounts (usually entire articles) of information in online forums without summarizing or paraphrasing the information.” I reach the resources that explain it in the context of autism and ADHD over halfway down the Google results. The word “infodumping” has quite a few circulating meanings, and the one associated with neurodivergence isn’t as visible as we’d like it to be.

From what I understand, Thomas Sanders and co. merely knew “infodumping” as the practice of talking at length about a subject, like closing a rant with a friendly “aw, sorry for infodumping on ya” and such. This was exactly how Logan opens his commercial, so they stuck it in as a—frankly, kinda feeble—nickname á la the creative genius behind “Mr. Smarty... Pants”. They had no knowledge of the term’s gravity to the autism and ADHD community, because they haven’t been exposed to settings that use that definition.

So, where does that leave us on accountability? If they’re ultimately not producing ableist content, do Thomas Sanders and his team have the responsibility to be aware of how an insult featuring this particular word might be inherently triggering to a community?

Many accounts show that the inclusion of the term caused real emotional harm and as content creators—particularly ones with a relatively young fanbase—the TS team should have taken more precautions. A more diverse staff/writing room may have caught this, given how egregious some fanders found the error. Furthermore, why shouldn’t it fall on neurotypical people in general to “educate themselves” on these issues, as in the cases of other minority groups?

That said, however, can any creative team be reasonably expected to know of any-and-all potentially triggering content? I’ve avoided speaking of Thomas Sanders’ personal character to maintain some impartiality, but a long history of promoting representation and careful content warnings does suggest a genuine commitment to self-correcting. Accepting the well-intentioned criticism of fanders—many of whom are so broken up by this precisely because of the amount of faith they place in the TS team—and taking active steps to change is ultimately the best course of action, and I, for one, will be sticking around to see the results.

[letterboxd]

In Focus: Interstellar.

Inspired by Christopher Nolan’s Interstellar placing high across three notable Letterboxd metrics, Dominic Corry reflects on how the film successfully hung its messaging around the concept of love—and what pandemic responses worldwide could learn from its wholehearted embrace of empathetic science.

“Love isn’t something we invented. It’s observable, it’s powerful. It has to mean something.” —Dr. Amelia Brand (Anne Hathaway)

This story contains spoilers for ‘Interstellar’ (2014).

Although it is insultingly reductionist to both filmmakers, there are many reasons Christopher Nolan is often described as a modern-day Stanley Kubrick. The one most people usually settle on is the notion that both men supposedly make exacting, ambitious films that lack emotion.

It is an incorrect assessment of either director, but it’s beyond amazing that anyone could still accuse Nolan of such a thing after he delivered what is unquestionably his masterwork, the emotional rollercoaster that is 2014’s Interstellar.

In the epic sci-fi adventure drama, Nolan managed to pull off something that many filmmakers have attempted and few have achieved. He told a story of boundless sci-fi scope, and had it be all about love in the end. It sounds cheesy to even write it down, but Nolan did it.

That Interstellar is such an overtly cutting-edge genre film that chooses to center itself so brazenly and unapologetically around love, is frankly awesome.

Love informs Interstellar both metaphorically and literally: the expansive scope of the film effectively represents love’s infinite potential, and love itself ends up being the tangible thread that allows far-flung astronaut Cooper (Matthew McConaughey) to communicate with his Earth-bound daughter Murph (played as an adult by Jessica Chastain) from the tesseract (a three-dimensional rendering of a five-dimensional space) after Cooper enters the black hole towards the end of the film.

Matthew McConaughey as Joseph ‘Coop’ Cooper, Mackenzie Foy as Murph, and Timothée Chalamet as Tom.

In transmitting (via morse code) what the robot TARS has observed from inside the black hole, Cooper provides Murph with the data to solve the gravity problem required to uplift Earth’s population from its depleted home planet. Humanity is saved. Love wins again. Hard sci-fi goes soft. Christopher Nolan’s genius is confirmed, and any notions of emotionlessness are emphatically washed away.

This earnest centering of love in Interstellar is key to the film’s universal appeal, and undoubtedly plays a large role in why it features so prominently in three significant Letterboxd lists determined by pronoun: Interstellar is the only film that appears in all three top tens of “most fans on Letterboxd” when considering members who use the pronoun he/him, she/her and xe/ze. (“Most fans” refers to Letterboxd members who have selected the film as one of the four favorites on their profile.)

To get a bit reductionist myself, sci-fi adventure—in cinema, at least—has traditionally been a masculine-leaning genre, but Interstellar’s placement across these three lists points to it having superseded that traditional leaning, hopefully for the better.

Yet the film reliably still provokes reactions like this delightful tweet:

few movies make me as mad as Interstellar. who the fuck makes 3/4 of an excellent hard sci-fi movie backed up by actual science and then abruptly turns it into soft sci-fi about how the power of love and time traveling bookshelves can save us in the final 1/4? damn you, Nolan

— the thicc husband & father (@lukeisamazing)

February 13, 2021

Although this tweet is somewhat indicative of how many men (and women, for that matter) respond to the film, I think it’s pretty clear the writer actually loves Interstellar wholeheartedly, final quarter and all, but perhaps feels inhibited from expressing that love by the expectations of a gendered society that is becoming increasingly outdated. The “damn you, Nolan” is possibly a concession of sorts—he’s damning how Nolan really made him feel the love at the end. It’s okay, @lukeisamazing, you don’t have to say it out loud.

Conversely, it can be put like this:

“The emotion of Interstellar is three-fold: Nolan’s script, co-written with his brother as with all his best stuff, masters not only notions of black holes, wormholes, quantum data and telemetry, but it also makes a case for love as the one thing—feeling, fact, movement, message—that can mean more and do more than anyone in our current time, on our existing planet, can comprehend.”

The writer of this stirring summation, our own Ella Kemp, is paraphrasing a critical section of the film, when Nolan goes full literal on the concept of love and has Cooper and Dr Amelia Brand (Anne Hathaway) debate its very nature, quoted in part at the top of this story. It comes when the pair are trying to decide which potentially humanity-saving planet to use their dwindling fuel reserves to travel to. Brand is advocating for the planet where a man she loves might be waiting for her, instead of the planet that has ostensibly better circumstances for life.

Brand: “Love is the one thing we’re capable of perceiving that transcends dimensions of time and space. Maybe we should trust that even if we can’t understand it.”

“Love has meaning, yes,” responds Cooper, heretofore the film’s most outwardly love-centric character, exhibiting a stoic longing for his dead wife, while also abandoning his ten-year-old daughter on Earth for a space adventure (albeit one designed to save humanity) than has now inadvertently taken decades. “Social utility. Social bonding. Child rearing.” Ouch.

McConaughey with Anne Hathaway as Dr. Amelia Brand.

Brand: “You love people who have died. Where’s the social utility in that? Maybe it means something more. Something we don’t yet understand. Some evidence, some artefact of a higher dimension that we can’t consciously perceive. I’m drawn across the universe to someone I haven’t seen in a decade who I know is probably dead. Love is the one thing we’re capable of perceiving that transcends dimensions of time and space. Maybe we should trust that even if we can’t understand it yet.” Amen.

Cooper remains unconvinced by Brand’s rationale, but this dispassionate display presages him going on to realize the true (literal) power of love (and his poor, science-only decision-making—thanks Matt Damon) when it provides him the aforementioned channel of communication with Murph in the tesseract. Nolan has a female character make the most eloquent vocal argument for love, but it’s the male character who has to learn it through experience.

So while Interstellar does initially conform to some prevailing cultural ideas about love and how it supposedly relates to gender, it ultimately advocates for a greater appreciation of the concept that moves beyond such binary notions. That is reflected in how important the film is to Letterboxd members who self-identify as he/him, she/her and xe/ze. We all love this movie. Emphasis on love.

Brand’s speech—not to mention the film as a whole—also can’t help but inform the current global situation. Interstellar argues for a greater devotion to both science and love, in harmony; such devotion might have mitigated the devastating effects of the coronavirus pandemic where both concepts were drastically undervalued by many of those in charge of the response.

Jessica Chastain and Casey Affleck as the grown-up Cooper siblings.

Despite the reactions cited above, responses to Interstellar aren’t always split down gender lines. We’re all allowed to feel whatever we like about it, and substantial variety comes across in the many, many reviews for the film.

Zaidius says Interstellar is so good that, “after watching [it], you will want to downgrade all of the ratings you have ever given on Letterboxd.”

On the other hand, Singlewhitefemalien takes issue with Dr. Brand’s aforementioned love-based decision-making in her two-star review: “She wants to fuckin’ go to Planet Whatever to chase after a dude she banged ten years ago because women are guided by their emotions and love is all you need.” A perhaps fair assessment of the role Nolan chose his sole female astronaut to play in the film?

Sam offers food for thought when he writes “First, you love Interstellar; then you understand Interstellar.”

Letterboxd stalwart Lucy boils it down effectively in one of her multiple five-star reviews of the film: “I needed a really good cry.” It’s hard to say whether Vince is agreeing or disagreeing with Lucy in his review: “Fuck you Matthew McConaughey for making me cry.” The catharsis this movie provides for dudes becomes clearer the deeper you venture into our Interstellar reviews (and I ventured deep): “How dare this fucking movie make me cry… twice,” writes John. Let it out, John.

Then there’s Rudi’s take: “I sobbed like an animal while watching this but I’m not exactly sure what animal it was like. Like a pig? Like a whale? I don’t know but I do know that I cried a whole fucking lot.”

Emotionless? With all this crying?

Christopher Nolan inspires more debate than any other filmmaker of the modern age (when we’re not getting unnecessarily riled up about something Marty has said, that is) and while Nolan has the passionate devotion of millions of viewers, I’d argue he still doesn’t quite get his due. Especially when it comes to Interstellar.

By so successfully using love as both a metaphorical vessel and a palpable plot point in a sci-fi adventure film, he built on notable antecedents like James Cameron’s The Abyss and Robert Zemeckis’ Contact, two (great) films with similar aspirations that didn’t stick the landing as well as Interstellar does. In Contact, McConaughey engages in a similar debate about love to the one quoted above, but notably takes the opposing side.

Steven Spielberg (who at one point was going to direct an earlier iteration of Interstellar) did a pretty good job of showing love as the most powerful force in the universe with E.T. the Extra-Terrestrial, but there hasn’t been a huge amount of room for such notions in the genre since then.

Kubrick’s 2001: A Space Odyssey, Interstellar’s most obvious forebear, is often accused of being the director’s most brazenly emotionless film. And while that’s perhaps a bit more understandable than some of the brickbats hurled Nolan’s way, there’s more emotion in the character of Hal 9000 than in many major directors’ entire oeuvre. It’s also, in part due to Hal’s place in the examination of queer consciousness in the sci-fi realm, the film currently in the number one spot on the xe/ze list.

Two films that notably exist in Interstellar’s wake are Denis Villeneuve’s Arrival, which expands upon Interstellar’s creative use of time-bending (and like Contact, features a female protagonist) and James Gray’s Ad Astra, which tackles the perils of traditional masculinity with more directness.

Interstellar doesn’t solve the sci-fi genre’s cumbersome relationship with masculinity and gender, but it makes significant strides in breaking down the existing paradigms, if only from all the GIFs of McConaughey crying it has spawned. Its appeal across the gender spectrum is an interesting and encouraging sign of the universality of its themes. And the power of love.

Fans out of touch with their feelings may complain about the role love plays in the film, but that says more about them than it does the film. Love wins. Also: TARS. How could anyone not love TARS?

TARS and Christopher Nolan.

Related content

Men/Boys Crying: a master list

“I Ugly-Cried Like Matthew McConaughey in Interstellar”: Amanda’s list

“I Liked Interstellar”: Sar’s list of what to watch afterwards

Follow Dominic on Letterboxd

[peantutbutter]

Alfredo Diaz, Neighborhood Watch

Rating: T (language and mild violence)

Summary: Alfredo takes his role as part of the neighborhood watch very seriously. Maybe a little too seriously... (Inspired by the Scotland Yard Let’s Roll)

[AO3]

Everyone tells Alfredo that he takes his position on the neighborhood watch way too seriously.

“You don’t need to drop everything at ten pm because some kid comes knocking asking if you’ve seen their cat,” the man next door grouses, bleary eyed and dressed in his bath robe. But Alfredo already has a flashlight and tin of tuna. The poor girl’s tears has subsided now that she’s found someone to help her.

“He’s not your child, why are you even bothering? If he’s really missing, just let the police take care of it,” the lady across the street says, exhaling cigarette smoke in his face. He bites his tongue and doesn’t tell her that the kid has been known to run away on occasion. He doesn’t tell her about how the parents are going through a messy divorce and the poor guy is caught in the middle. The lady scoffs at him for not responding, but she turns away and heads back inside, and he continues patrolling the block. It takes him a few hours, but he finds the little man and treats him to some Dairy Queen before bringing him home and reminding him he’s loved, cared for, and if he ever needs anything, just call.

Alfredo Diaz cares about his neighborhood because after getting out of the military, it’s all he has.

The people around here like him. He’s helpful, kind, good with their kids, and more importantly, good at keeping their kids out of trouble. Even the teenage ruffians know better than to get up to hijinks when Alfredo’s around. Not because they’re afraid he’ll call the cops on them or anything, but more because they don’t want to disappoint him.

And also because sometimes he bought them beer and would hang out and tell war stories from his time in the military.

He’s a goddamn pillar of the community, he does his best to set an example for as many people as he can. Good role models are hard to come by in Los Santos.

He’s spent the past few hours sitting on the porch of his home, listening to the police scanner. The Fakes had hit a jewelry store a few miles north of the neighborhood. Far enough away that there aren’t any cops crawling the streets, but close enough that there’s the off chance that gang members might come ripping through in their escape.

Not that he knows what he’d do if any of them come gunning past. According to the scanner, the Fakes have mostly dispersed and taken off in different directions. His own bike is in the shop so it’s not like he could chase them down if they came past. And the only quasi-weapon he has on hand is a foam baseball bat he’s been meaning to return after that impromptu kids baseball game a few days ago. Competent as he is in melee combat, he knows the chances of coming out unscathed bringing a children’s toy to a gun fight aren’t good.

Besides, it’s unlikely any of them will come this way.

So, he sits vigil to do the least of what his civic duty asks him to do. Report a sighting should they come this way, and stay out of trouble.

Or at least that’s his initial plan.

But then he sees a figure running down the street on foot. They’re too tall to be a child. All the neighborhood kids should be asleep by now, and most of the teens and adults are probably watching the news, awaiting more information on the Fakes’ most recent heist.

So who the fuck is this?

Alfredo leans over the porch railing, trying to get a better look. They’re doing a good job at dodging the patches of light illuminated by street lamps. It’s hard to make out any defining features, but whoever they are, they’re fuckin’ huge. A massive frame with broad shoulders that seems to be clutching a bag close to their chest. His fingers moving to wrap around the grip of the foam bat. They’re moving like they’ve stolen something, and he frowns. If someone stole something from one of his neighbors, then he’ll be damned if he lets them get away.

He’s Alfredo Diaz of the motherfucking neighborhood watch.

He stands up, bat in hand, and the figure freezes about a block away. They both stand stock still. He’s unsure as to whether or not the person can make out his figure. His porch light is dim, and there are trees and bushes in the way that might block the view. But even if they can’t see him, they’re not taking any chances. The movement of him standing was enough to get them to bolt. They cut in between two houses and starts booking it through the backyards.

“Oh no, you don’t,” Alfredo mutters. He leaps off his porch, breaking into a sprint. It doesn’t take him long to track down his target. While the yards offer more places to hide than the open streets, they also slow the thief down. Play structures, gardens, inflatable pools. There are a number of obstacles in the way. And although the thief is incredibly fit, hopping fences with ease, they’re in no way as familiar with the yards as Alfredo is.

He knows that the Smiths tend to leave their gate door unlocked, so he doesn’t have to leap over the pickets. And that the Robinsons have a tendency of leaving their hose lying about, a constant tripping hazard for anyone who dares trek through their backyard. He also knows that the Yungs and the Sanchezes have a garden tunnel connecting their yards. He uses that to cut the thief off.

He’s breathing heavily when he corners the person in the Yung’s yard. It’s a messy tackle, but he lunges at the person’s waist, and Jesus, they’re fucking solid. “No one escapes the neighborhood watch, bitch!” he yells. He’s not entirely sure what prompted him to say that, but it feels right in the moment. Been a while since he’s felt like a badass.

They fall to the ground in a pile of flailing limbs and pained grunts. It’s a good thing the Yung’s are on vacation right now. With all the commotion they’re making, he’s sure it would have woken them up.

They struggle, a fist making contact with Alfredo’s jaw hard enough he thinks a tooth might have been knocked loose. But he manages to pin the guy — and it is a guy — underneath him. Alfredo’s knee is pressed between the guy’s shoulder blades and he’s managed to pin his hands behind his back using the bat.

Now that he’s up close and personal, he’s got a better look of the guy. Long hair pulled back in a ponytail, leather jacket, black-and-white face paint streaking with sweat, and….fuck. This isn’t some punk thief stealing from his neighbors.

He’s got the Vagabond underneath him.

Were he any less disciplined or not as well trained, he might have let go out of pure shock. But he keeps bearing his weight down on the infamous criminal because if he doesn’t, odds are he won’t make it out of this alive.

The Vagabond struggles beneath him, kicking his legs and trying desperately to buck him off. He spits out threats, snarling like a feral animal. “Get the fuck off me,” and “Let me go and I’ll let you live,” and, eventually, “I’m going to fucking kill you.”

Alfredo’s heart is racing. It’s taking all his strength to keep the other man from breaking free. “Mister Vagabond,” he grunts, resisting a particularly strong wriggle. “On the authority of the neighborhood watch, I am placing you under citizen’s arrest for, uh— theft for sure.”

The Vagabond stills and turns his head. He glares at Alfredo from over his shoulder. “You’ve gotta be fucking kidding me.”

“I…No?” Alfredo responds.

Then the Vagabond smirks, and goes lax, no longer struggling against him. “Well, good luck with that,” he says.

Alfredo doesn’t have time to process just how bad that kind of reaction is when he feels the kiss of metal at the back of his head. He immediately lets go of the bat and brings his hands up.

“Anyone want to explain what the fuck is happening, here?” a feminine voice asks from behind.

He twists around slowly, swallowing thickly. A red-headed woman stands behind him. She doesn’t look angry, which he supposes is a good sign. Irritated, maybe. Definitely vaguely amused. She lifts an eyebrow pointedly at the Vagabond. “Well?”

The Vagabond slips out from beneath Alfredo. He grabs the bag and dusts himself off. “Neighborhood watch,” he says. He flashes a smug smile that sends a message, loud and clear: You’re fucked.

But the gun pressed to his head is lowered and the woman looks at the Vagabond incredulously. “Neighborhood watch?” she repeats, holstering her weapon and dragging a hand down her face. The Vagabond’s grin falters. “You escaped the LSPD but were caught by the neighborhood watch? Are you fucking serious?” The Vagabond opens his mouth to defend himself, but she cuts him off with a wave of her hand. “I don’t want to hear it. The car’s ‘round front. Go.”

Alfredo doesn’t think he’s ever seen anyone act so meek. It’s a strange look on the Vagabond. He watches him sulk his way around the house, and he hears the sound of a car door creaking open and slamming shut. The woman circles around him and sighs. She offers her hand and he hesitantly take it. “What’s you’re name, kid?” she says, pulling him to his feet.

It’s an awful idea to tell her his name. He knows it is. But she commands such a presence that he can’t help but answer.“D-Diaz,” he stammers.

“Diaz,” she repeats back at him. “Good name. You live around here, Diaz?”

He nods.

“You care about this neighborhood and the people living in it?”

He nods again.

“Good,” she says firmly. “Now, here’s what’s going to happen: You’re going to go home and get some rest. Then, tomorrow morning you’re going to make a few calls to some of your neighbors and ask if anyone saw what happened tonight. If they did, assure them that it was nothing to be concerned about. You will make no mentions of what you did or saw tonight to anyone. Not your neighbors, not the police, not even your mother. If you do, we’ll know, and we’ll have to do something about that. You don’t want us to do anything about that, do you?”

“No, ma’am,” he whispers hoarsely.

She looks at him gently and smiles, patting his cheek. “Good man. Now, get out of here.”

He stares at her in stunned silence, amazed that she’s just letting him go. Unless this is some sort of trick? But with a wave of her hand, he turns on his heel and books it out of there. He doesn’t stop until he reaches his front door, and it’s only then he thinks to look behind him to see if he’s been followed. A quick glance tells him he hasn’t. No cars linger conspicuously on the street, and he doesn’t see anyone lurking around.

But he doesn’t take any chances. He locks and bars the doors and double checks to make sure his windows are shut tight. Not that he’s sure a simple lock would be enough to stop the Fakes from getting to him if they really wanted to. But as the adrenaline wears off, exhaustion sets in, and his bed looks incredibly comfortable. Tucking a handgun under his pillow, he drifts into restless sleep.

He’s got a lot to do tomorrow.

* * *

A week later, a knock comes at his door. He answers it and sees the red-headed woman from before. Standing beside her is a tall man. It takes him a moment to recognize the guy without the face paint, but he realizes it’s the Vagabond. His blood runs cold. He fights the urge to slam the door on their faces. He can’t imagine that would go over well.

Instead, he forces a polite smile. “Can I help you?” he asks.

The woman looks to the Vagabond, who appears thoroughly displeased to be here. “My friend, Ryan, owes you an apology.”

The Vagabond — Ryan? — scowls and crosses his arms. “Sorry,” he says, not even bothering to look Alfredo in the eye. The woman elbows him in the ribs. “I’m sorry for threatening to kill you,” he amends.

Alfredo doesn’t buy it, not with the petulant and unapologetic look in his eyes, but he sure as hell isn’t going to reject it. “I…Sure. Whatever, dude. It’s all good.”

The woman pats Ryan on the back. “There. That wasn’t so hard, now was it?” she asks gently. Ryan flushes and grumbles something under his breath, but he nods slightly to appease her. Then she turns to Alfredo and holds out her hand. “I’m Jack, by the way.”

He takes it and gives it a weak shake. “I, uh…Alfredo.” he responds.

“I know,” she says. Because, yeah. Of course she does. She knows where he lives too. Fuck. “Can we come in?”

He freezes. His eyes dart around, quickly taking stock of who’s out and about. A handful of children are playing on the street, and a few people are walking their dogs. As much as he wants to shield innocent civilians from these criminals, he’s also not keen on being alone with them. Witnesses are good. Especially if he’s about to be kidnapped or murdered in broad daylight. “I’d rather you didn’t.”

Jack looks at him gently. “We’re not here to hurt you, Alfredo. This is a conversation you don’t want to have out in public.”

“Give me the highlights,” he says, hoping he sounds braver than he really feels. He was less afraid under enemy fire in the desert than he is now. “What’s this about?”

Her gaze flicks back over to Ryan, who’s shoulders nearly cover his ears in a full body pout. “You took down my friend with nothing but a toy baseball bat,” she says with a clandestine smile. “We have a job offer for you.”

[eponymous-rose]

Talks Machina Highlights - Critical Role C2E86 (Nov. 26, 2019)

And we’re off! Tonight’s guests are the long-awaited Ashley Johnson and Matt Mercer! “Tonight, Ashley’s back, Ashley’s back, and Ashley’s back... we’ll break it all down tonight with my guest, Ashley.”

Announcements: Pretty new dice and pinup calendar now in the store! The recording of the Austin live show (The Adventures of the Darrington Brigade!) will be streaming on Twitch on Friday at 7 PM Pacific, and the VOD will be available on YouTube on Sunday! The fundraising campaign with OSD is still live! There will be no episode of Critical Role this week and no episode of Talks Machina next week because of the holiday.

Even a brief Meat Loaf digression can’t stop us, so it’s time for...

Episode 86: The Cathedral

Stats for this week’s episode: Yasha was under Obann’s control for 59 days. Obann is Yasha’s 14th HDYWTDT. Caleb set the campaign record for most damage dealt in a single turn: 449 damage. Matt rolled his 120th Natural 20 this campaign against Cad’s Blight spell on the caedogeist.

While Ashley was away, there were a few different paths that could’ve dictated how things would’ve gone while she was away: being under Obann’s sway meant she mostly got updates from Matt about what was happening, and Ashley would give her reactions to those experiences (Matt references the Purple Man in Jessica Jones for how twisted her perception was). Ashley: “Matt gave me a breakdown of things that have been happening in our world, Obann and the caedogeist and the Laughing Hand and Yasha. It’s heavy, but I feel like it really was the best way to leave the campaign, it felt a little bit more organic than even the last time, with Pike.” Matt and Ashley both emphasize that there’s a connection between Obann and Yasha pre-campaign.

Matt knew from the beginning that there would be a Tharizdun-based narrative, but he let the tie-ins to this particular story evolve naturally. “I knew there would be an aspect of Tharizdun essentially catfishing a bunch of other cults.”

How aware was Yasha of what she was doing? “I believe she was fully aware, just no control of her body or the things that she was doing.” But having Obann as her only companion for so long was definitely a factor. Matt: “It wasn’t like he took control of you and was like, do my bidding. He was very, trying to talk her up. ‘You’re chosen for a reason, you’re special, you’re one of the harbingers chosen for the angel...’ It’s a very fucked-up relationship.”

Based on who the group spoke to in Zadash, they could’ve had some help from the Gentleman, Dolan, the High Richter... but things happened to throw down in Pumat’s shop. “You know, he’s already been pulled into this fray a bit. I already have the minis painted...” Dani points out that his presence brought some much-needed levity. Until the end of the episode, at least...

Whose reactions are Yasha most worried about? Beau, after the way the fight went. “That was one of the most stressful moments I’ve ever had in a game.” Ashley texted Brian in the middle of the game: “If I’d killed Beau I’d have just killed myself.” Especially after what happened with her wife, and all the lives she’s taken, that would have been the last straw. She’s also aware that there’s tension with Fjord. “I think even before there was some distrust that Fjord had with Yasha a bit. But I think still with everybody, it’s knowing what she’s done at this point, and just playing against them and fighting them. She’ll deal with the weight of that for a while, and just be like, how can I make it up to you?” Ashley does want to find a way to turn it around to make Yasha a little bit happy in there. “I was just like, oh, I’ve made something very sad!”

The dispel wasn’t a sure thing by any means. “I had set it as a fifth-level domination effect for the purposes of dispelling. There was a chance that they were going to succeed and destroy the shackle and continue on to wherever the next one would be, in which case Yasha would carry on with them.” In that case, Ashley could’ve played an ancillary character in the meantime. Even if Obann had been killed, that connection would’ve remained, but his fear at the end of his life was the Chained Oblivion’s punishment awaiting: the removal of his fiendish form.

Cosplay of the Week! Ashley sings a new theme song: “Sew it all together! (deadpan) Take a picture.” This week’s winner was an amazing Vax, WittyWyndi on Twitter!

“I think, of course, being herself again and being in control of all of her actions, I think there is an element of wanting to run because you’re not wanting to deal with the problems, but I think she’s been doing it for so long... I think she’s very afraid to be alone. And that was one of the things that kept coming up in all the games and things Matt was telling me. Man, if I think about the future of this character, and if she comes out of this, what would you feel, being under someone’s influence and then being around your family? I don’t want to be alone, I don’t want to be alone.” Brian: “Isolation is an incubator that turns mistakes into habits.” Ashley: “I feel like I relate to that, because as a hermit and a very introverted person, I feel like my go-to is to run away or say I’m not going to deal with this. So maybe that’s a little therapy in the game, can I sit in this and still be with people who are upset with me? Obviously it’s being in a community and dealing with people, that’s a much better way than to deal with something alone. I’m going to try to tackle that in the game and see. Who knows, she might freak out and just run.”

Ashley, on coming back to the west coast for good: “I feel like I’ve been away at sea.” Brian: “Yeah, NBC.”

Gods are more present in this campaign only because there are much more deity-connected characters. Matt tries to avoid too much divine influence in his campaigns to make sure players still have the majority of the agency and don’t tend to use it as a get-out-of-jail-free card. 

Comcast is installing fiber in my neighborhood and brief service outages may occur. This fun fact brought to you by the little spinning wheel that just interrupted Matt for a minute. Thanks, Comcast.

More gods in a campaign means more complications on Matt’s end. “There are a lot of deities in the Pantheon, and there are lesser idols in the world, entities that aren’t gods per se but that hold elements of some divine power. Playing in that space is fun, but I don’t want to overcrowd it necessarily.”

On getting the kill on Obann: “It was just so exciting to come back to the table, and you love the HDYWTDT moment from Matt, but I think for Yasha there’s a lot of weirdness to it. Just because you kill the thing that has been torturing you doesn’t mean you’re free from that trauma. I don’t think she’s satisfied yet.” But it was super satisfying for Ashley as a player!

There was a part of Matt that wanted Obann to survive a little longer, because there was “more shit he could do.” If he’d managed to get four people into place, it would’ve immediately started the ritual, those four would have been paralyzed and their AC would have been dramatically boosted, and the M9 would have had one round to try to stop it by killing one of the people in the square before everyone involved in the ritual would have been instantly killed. Brian: “You’re a sick and twisted and terrible man and I want to kiss you.”

Fan Art of the Week: an amazing Yasha in the cathedral by Neverdraws on Twitter!

If the party had revealed who Obann was really working for (he was unaware up until the very end), that was potentially a different direction things could have gone. Ashley: “Yasha doesn’t know yet.” Matt: “The only thing Yasha knows about the Angel of Irons is what it did to Obann.”

Ashley asked Matt whether Yasha would know whether the other members of the party were controlled, and Matt had her roll to see what she picked up on. Matt: “It may come out in the game.”

The description of the new breastplate was just to emphasize that Obann had kitted her out to help her be a stronger ally for him. Whether she keeps it is up to her.

Which of the changes in the M9 are going to take the most getting used to? “This feels a little bit like me coming home, where it’s like you’re away for a while, then you’re like, things are so different. I think it’s just adjusting. She’ll see the relationships, the tattoos, Fjord’s-- the accent thing we didn’t get into in game the other night, but Yasha noticed. We’ll see how it plays out in game and how everyone treats Yasha and how everyone responds to that, whether it’s positive reinforcement or negative. I feel like the positive reinforcement’s going to be tougher.”

On people getting emotionally attached to NPCs: “It catches me off-guard sometimes. I’m just excited that people are as invested in them as I am. With that particular Pumat moment, it made me excited that everyone else was as OH GOD NO at the table as I was.”

[sunsetinmyvein]

The Radio Station - Chapter Four - That’s All I Have to Say

8th of October, 2015

  Despite their best attempts to stay in touch, eventually busy schedules got the better of the both of them. They’d texted a bit initially after their night at the bar, but as soon as Matty was on tour, time differences made it difficult to keep up any form of routine. However, she knew that he’d be back in London soon enough. Surely that would be their time to catch up. She reached out to him in January when she knew he was back, hoping for the best, but his schedule was too packed between press for the album, shows and trying to see family and friends that he was obligated to catch up with whenever he was at home. So, she dropped it. And eventually, communication stopped. Her career started escalating at a much quicker pace than what it had before. The two guys who ran the usual morning peak hour shift went on to do their own thing, which left the prime-time slot open for application. She had considered applying, but before she’d even filled out the forms the station asked her directly if she wanted the position. They’d seen how much of a positive reaction she was getting on her show, it would make sense for her to fill that spot. Of course, she took it - it would be insane not to. The pay was much the same as what she was already on, but the chances for bigger and better shows at that hour were endless.

 Matty was also on his own rollercoaster of a career. The 1975 was only getting more and more popular as their debut album began reaching all corners of the planet. What they had expected wasn’t going to go much further than their circle of close friends, was suddenly spreading to places they couldn’t have even dreamed. They toured and interviewed and did meet and greets non-stop to try and keep the hype going. It wasn’t until they started properly discussing a second album release that Matty finally had to stop for a moment and take a (small) breather. He needed the time to work out what he wanted their next step to be. Once the band had the majority of the album planned out, and a few songs properly sorted, they figured it was time to start releasing some material. And in an incredibly convenient turn of events, they found themselves back at home while they were looking for a way to debut their lead track. So, what better way to get their new material out there than to broadcast it live across national radio? Of course, Matty had been pretty quick to suggest where they should do that.

  It had been over two years since he’d last been on her show. Both of them were acutely aware of that as he knocked on the glass door the morning of the interview. She hadn’t been keeping up with the band’s trajectory as much as what she had in the past, mainly for simply not having the time to. Which meant that his new look came as a slight surprise. His hair looked like he’d been letting it grow out much longer than what she’d seen on him previously. He was currently trying to tame this mop of unruly curls by having them tied back in a bun. His jeans had a big enough chunk of denim missing from them that she would’ve thought they’d deserve to be discounted for how much fabric was missing. He was wearing a floral button-up shirt, but she suspected that the buttons clearly didn’t get much use for how few of them he had done up now, his chest tattoo almost on full display. And this seemed to be in contradiction to the obscenely heavy woollen coat that was over the top of it. As he pulled her in for a tight hug, she found herself suddenly overwhelmed by the smell of stale cigarettes and wine. She hesitantly hugged him back, hoping that the scent wouldn’t linger on her own clothes.

“What’s with the shades?” She asked as he moved back, eyeing the sunglasses still perched on the bridge of his nose. It made sense for him to wear them on his way here, but she wasn’t sure if he was aware that he was still wearing them inside the studio.

“Hungover.” He answered with a shrug. She just nodded, supposing that it was a Saturday, it would make sense for him to have been out last night.

  “I can’t believe it’s been over two years!” He said as he plopped himself down across from her, setting an opaque water bottle down on the desk.

“Yeah, I think we’ve both been pretty busy.” She nodded in agreement.

“Told you that you’d get bumped up to a peak hour slot eventually.” He grinned. His smile forced an uncomfortable flutter through her chest, but she couldn’t deny that she was incredibly proud of that accomplishment.

“You did.” She smiled back. “The early mornings have been a rough routine to get into, but it’s been nice having new goals to work towards.” She nodded, thinking back for a second on all the things she’d manage to accomplish in the short time she’d been in her new role. “I’m sure you’ve got many stories of your own.”

He chuckled lightly, “Yeah, a few.” He scratched at the back of his neck as he glanced down at the table. “I’ll save them for the interview.”                                      

 Now that she had a more structured show, she had a bit more of a routine to adhere to with her interviews. Which definitely made things a lot easier. It meant that she didn’t have to wing it as much knowing each interview would have the same intros. “So, you guys played two shows at Alexandra Palace this week-” She started as the intros finished up, before Matty cut her off.

“Yeah, we’ve been in London for the last week or so for those shows.” He confirmed.

“Oh.” She said, suddenly finding a million thoughts running through her head. He’d been in London for a week already and he’d not tried to catch up? She knew he was a busy guy but a week was a long time to be stuck in a part of the country that wasn’t where you actually lived. Trying to ignore the pang of hurt in her chest, she continued, “Are you keeping busy?”

“Just trying to keep writing and recording for the new album, seeing my girlfriend when I can.” He said with a nod. Ah. Girlfriend. Suddenly not trying to get in touch made a lot more sense.

She cleared her throat before continuing, “How’s that going?” Things already felt like they didn’t flow as well as what they had the last time that they saw each other. Too much time had passed to just pick up and act like nothing had happened in that gap. She felt almost like she was back at square one, meeting this man for the first time.

“I’d rather not talk about it.” He shot back. She frowned in response. “I’m sorry, I just… don’t like discussing that stuff in interviews. Relationship problems shouldn’t be hashed out through headlines.” He explained.

  There was a pause as she tried to catch up to the path his brain had decided to take, rather than what she had intended. “I meant the album.” She corrected him.

“Ah, yeah! That’s going well.” He laughed. “We’ve been getting heaps of material recorded while we’ve been up here.”

“When will it be out?”

He hummed thoughtfully as he pushed his sunglasses back up his nose, “In about six months, I reckon. We’re thinking sometime around February.”

“That’s not too far away. I’ve heard the album described as ‘a bunch of eclectic sounds’, do you think that’s an accurate way to define it?” She questioned.

“We didn’t know what to do after the first album. I think that we made a decision that we just wanted to be truly expressive and for it to be in pursuit of the truth. That’s why the album is called I Like It When You Sleep, For You Are So Beautiful, Yet So Unaware Of It, because we were scared about making a new record. And I thought ‘you know what? I’m gonna – it’s just about making decisions. About making bold decisions.’ “ He had a look of conviction as he said this, “The record is kind of comprised of that attitude. It was called that before we’d even written any of it.”

  “That’s a very dramatic album title.” She pointed out.

“Well… we’re very dramatic boys.” He said with a grin.

“It’s definitely going to be a mouthful for anyone asking about it.”

“It was just something I said to a girlfriend of mine, at the time. It kind of laid the foundations for the bold decisions thing. If it’s called that, then there’s no rules as to what it could be. But it’s subjective, it could be perceived as quite sweet, it could be perceived as quite voyeuristic.” He answered with a shrug.

“If people weren’t aware of you guys before, having an album title like that and making bold decisions,” She emphasised the words as she quoted him, “is for sure going to get you on the map.”

He couldn’t help but laugh at that. “Yeah, that does seem to be the direction we’re headed in…” He agreed. “You know, sometimes I think about toning it down, but then I remember who I am and think… nah.” He dwelled on this for a moment, before pulling himself back on track. “The first record, the idea of being judged just wasn’t there, because nobody had heard it or was potentially gonna hear it. The preservation of that idea, and the cultivation of it in the face of this knowing of how many people are gonna hear it – that was the most important thing to the record. Writing from the purest place.”

  “It’s sounding like it will be very different from your last album.”

“Mmhm.”

“And even from what you’re saying, it sounds like this album, much like the last, will be very different within itself. In light of that, would you say the concept of genre is dead?” She asked, leaning back in her seat as she watched him process his answer.

“Yeah.” He eventually said. “They’ve never really mattered. Genres, I mean. Imagine if you woke up one morning right, and you had your record collection, and the concept of genre just didn’t exist. The purity of that experience, of listening to music without those rules, it’s like a blissful idea.” He let out a sigh before shaking his head. “I really don’t care, to be honest with you. It’s so irrelevant to me.”

She figured that was as good a time as any to segue into her next line of questioning, “It’s been a while since we had you in the studio. The last time was right after your debut self-titled album came out. But you have released the track Medicine since then.”

“Yep.”

“I feel it’s a very…” She searched for a second for the right word to describe it, “minimalistic track?”

He nodded slightly before speaking, “We wanted it to sound like Velvet Underground produced by Trevor Horn, you know? That was kind of the vibe.” He made a vague hand gesture at this. “But I wouldn’t say it’s very representative of our next record. It’s kind of a return to the sound of our EPs. It was weird with us, because for a lot of people the first thing they heard was the album. But we released that after a year of releasing EPs, which really embedded us in the musical culture we wanted to be in. We kind of came from the left field and moved slightly to the middle. But a lot of people saw us immediately with Chocolate and Girls and misinterpreted the irony of some of the kind of pop elements of that.”

  “The 1975 have definitely had their fair share of poppy radio hits.” She concurred.

“Yeah, you guys are playing us non-stop.” He chuckled.

“All of that attention on the airwaves has gotten you a few pretty awesome gigs, too. Have you got a favourite festival that you’ve played across the last few summers?” She asked as he took a swig from his water bottle.

“Glastonbury.” He answered instantly, before feeling the need to elaborate. “Uh, Glastonbury’s kind of… It’s Glastonbury. If you’re from the UK it’s kind of the festival.” He said with a pointed look. “And Glastonbury is one of the only festivals where we can walk around, because it’s so enormous. They leave you alone a little bit there. I managed to walk around kind of… freely… But we did like… pfft,” He looked like he was counting in his head for a split second, “three festivals a weekend all summer or something like that. We’ve been everywhere from Finland to Latvia to Singapore.”

“Playing so many shows now, and meeting so many people, are you finding the fans are getting kind of crazy? You guys must nearly be at boyband status in some parts of the world.”

“The shows are very intense. It’s weird because there’s a lot of young… well, you know I don’t mean young,” He scrunched his face up as he corrected himself, “when I say the main core audience is say sixteen to nineteen. But it’s a lot of young kid’s first shows. So, the first twenty-five minutes of the show is just…” He tried to find the right words, before letting out a laugh, “It’s a shit show. Just people getting pulled out, fighting, passing out… There’s so much fainting.” He answered as he began trying to pluck a hair off the microphone that was stuck to it.

  “Well, you guys might be about to cause even more passing out now.” She began, taking a glance at the clock and seeing that it was nearly halfway through their allotted interview time.

“Oh?” He mumbled in confusion.

“Because right now, we are going to give people the first listen of a brand-new track from your upcoming album.” She clarified, mostly for the sake of listeners but it seemed that Matty himself had forgotten the reason he was here.

“Oh! That’s right.”

“You heard right, folks. Coming up right now is going to be the live debut of The 1975’s new track, Love Me. Any final words Matty before it’s out there in the world?” She asked as her finger hovered over the switch to fade their audio out and switch to the music.

He thought for a second. “Nah, not really. Enjoy it, I suppose.”

  She switched off the interview track and pressed play on the new song, instantly seeing the text line overflowing with incoming messages from fans. For a second, she tried to read a few, before eventually minimising the window for now to avoid giving herself a headache. Looking back to the man sitting across from her, she had expected him to have been waiting to say something, or for him to have already been halfway through a story, but he was just staring at his phone, his headset still sitting on his head. Considering how hard it seemed to be to get in touch, she felt it would’ve been nice to have at least, you know, three minutes to try and catch up. This suddenly made the fact that he had been in London for a week without dropping a message make more sense, but it didn’t make it hurt any less. Their breaks between songs had previously been filled with light hearted conversation, and now the silence just felt suffocating. Had he really changed that much in two years to not even wanna talk? She let the song play through, then played a few snippets of interview introduction to segue back into them talking before switching the microphones back on.

  “You just heard The 1975’s new song, Love Me, for the very first time. A special live debut off their new album for all of you lovely listeners. We had a lot of messages coming in from fans telling us their thoughts.” She spoke, before Matty chimed in.

“What did you think?” He asked as he leaned forward in his seat to rest his elbows on the desk.

“I liked it.” She answered truthfully.

“Did you listen to it prior to hearing it now?” He asked in curiosity.

“Yeah, I listened when it was emailed to me this morning, in case I happened to miss it this time around.” She nodded. He just let out a noise of appreciation before leaning back into his seat. “You were right, it’s very different to what you’ve done in the past.”

“We’ve made a record where every song sounds different from the other ones. Back to the concept of genre, we don’t listen to just once genre anymore. We consume whatever sounds good. So, we want to create in that same way that we consume. And we just thought that, er, our choices of songs that we put out had to be based on confidence. Bold decisions, as I said before.” He said with a dismissive wave. “I think this first track is... quite bombastic? George said to me once that ‘if we don’t go with it now, when are we going to go with it?’ And he was right. It’s a bit of a big ballsy song.”

  “That’s a pretty good way to describe it.” She agreed with a nod. “I’ve heard that there are quite a few songs on this album where, lyrically, you’re exploring a few new concepts? Like ego and sexuality. Can you elaborate on that?” She questioned.

“I think if I elaborated on a lot of stuff, it wouldn’t symbolise things in a certain way. You know, if everything was laid open. Like Medicine isn’t a love song about a girl for example,” He said that offhandedly, but suddenly she found herself thinking on what the song is about, if not that. But he continued talking over her thoughts. “but I don’t talk about those things. I like to let the music speak for itself. Erm… well, yeah. I think the idea of a conflicted sexuality is something loads of people go through. The shared experiences that loads of people go through, the shared fears of humanity like love, death. I don’t think there’s any question for anyone who knows my band that I’m slightly odd in a sexual way.” He made a face as he said this before laughing at himself. “I’m not exactly the most manly man in the world. But there’s just… stuff about sexuality and the superficiality of it and what it really means. But I’m still writing parts of it at the moment. It’s a bit of a weird time doing press right now.”

  “You always seem to have a hell of a vocabulary in your lyrics, so I’m sure whatever themes you end up writing about, you’ll end up doing it in some kind of poetic way.” She prompted, but he just continued on his own tangent.

“It’s erm… The whole point of this was…” It looked like he was struggling to find the right words as he adjusted his sunnies. “It goes back to identity, and it goes back to… there’s a lot of stuff on this record, where I’m answering questions from the first album, and I’m making references to the first album. And I’m talking about y’know, being wiser now and more naïve then. And there’s this back and forth between the album that preceded this album and this album that our fans will really, really understand the subtext of.” He said, before figuring he should probably round back to what she had said. “So, I suppose that is kind of poetic, yeah.”

“And you have that knack for imagery and storytelling through you as the main focus of the lyrics that people latch onto.”

“One of the things that I always want people to be aware of, is if I’m talking with a sense of kind of… dissatisfaction about behaviour in my songs? Is that I’m normally talking about me. It doesn’t necessarily mean that I’m saying those things. It’s often my reactions to those things being said.” He explained.

  “A few more light-hearted questions before we round out this interview.” She said as she stretched her arms above her head. Trying to maintain the same sense of chemistry that had existed in their last interview was taking its toll, she was eager for this to be over. “I’ve seen that there’s a petition going around about you guys.” Matty instantly groaned. “Will you ever play Antichrist live?” She asked.

He let out a dry laugh. “I like it lyrically, but it so doesn’t sound like us.” He huffed, before frowning. “We might play it.” He said eventually.

“I’m sure a lot of fans will be excited to hear that it’s not off the table just yet. Next one, in your travels in the last couple of years, have you met any celebrities that you’ve been starstruck by?”

“Not really… There’s been a few, but nobody I’ve been properly starstruck by.” The gears were visibly turning in his head as you could see him running through people in his mind. “I wanna meet Miley Cyrus…” He said under his breath, before looking across the desk to her. “I wanna meet her so much. Why’ve I not met her yet? I’ve met loads of people in that world that I’m not that impressed with.”

“One last question that I saw come up on the text line, if you had a biography written about yourself, what would you title it?”

“FUCKING LEGEND.” He shouted without a second thought. Eventually, once he stopped laughing, he considered the question seriously. “What would I call it..? Probably something to do with my hair. The only thing people care about is my fuckin’ hair.” He resigned as he absentmindedly brought his hand up to said hair.

  “That’s all we’ve got time for, Matty.” She said as she let out a relieved breath.

“Aw, shame.” He pouted.

“I’m sure you’ll be off to your next great adventure in no time.” She assured him, putting on the interview charisma. “But for now, it was lovely to have you on.”

“Always great to be on.” He beamed.

“All the best with recording the new album.”

“I’m sure we’ll be back out here soon.” He said with a nod, but given their track record she had a feeling that he didn’t mean that.

“That was Matthew Healy of The 1975, on the show here this morning to debut their new song Love Me off their upcoming album, I Like It When You Sleep, For You Are So Beautiful, Yet So Unaware Of It.” As she spoke, she watched out of the corner of her eye as Matty began getting up and gathering his things. “We’ll be playing it for you again in the next hour, so keep listening out if you want that replay.” She said as she queued up the next set of tracks and faded her audio out.

  Once she had taken her headset off, Matty came around to her side of the desk. He didn’t seem to dawdle as much this time waiting for her to be free to speak to him, but he also didn’t seem entirely at ease as he tried to casually sit against it. “Come out for a drink with me.” He suggested as he stole a glance at her over the rim of his sunglasses.

The abrupt offer caught her off guard and she had to think for a moment about what to say. “It’s mid-morning?” She asked in confusion. “And I’m at work?”

“After that.” He shrugged casually.

“Don’t you have a girlfriend?” She questioned, suddenly finding herself feeling like she knew less and less about this Matty the more he spoke today.

“What does that have to do with anything?” He asked with a frown.

That was the final straw. He’d done more than enough in the half-hour he’d been here to make her grateful that they hadn’t stayed in touch. “Look, I know you’re an attractive guy and all but that doesn’t mean you can just get away with whatever you want.” She shot back.

He suddenly had a look of surprise on his face as he tried to backpedal, “Hang on, that’s not-“

“And I’m sorry if I gave you the wrong impression before.” She added.

“That isn’t-“

“The interview’s over. I think you should get going.” She said finally, watching as his face fell. She expected him to look angry or defiant, to want to argue the point, but instead he just seemed… disappointed?

“Yeah... Sounds like I should.” He mumbled as he left the studio.

Taglist:  @imagine-that-100 @dot-writes @tooshhhy @robinrunsfiction @approved-by-dentists

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[jackdawyt]

We’ve finally reached the moment my channel was created for, BioWare officially revealed a brand-new behind the scenes trailer that showcased many gameplay prototypes, concept artwork pieces and next-gen footage that each demonstrate Dragon Age 4’s current production stages, building an overall mood of the game’s vision and direction. And it’s just the best thing to come out of this year.  

Saria and myself have already broken down the trailer’s concept art, and gameplay shots in an incredible 45-minute video, that you need to check out if you’re remotely interested in the next Dragon Age game.

However, today I’m delving into every single piece of information that surrounds this new trailer, as we’ve got plenty of news, tweets and tidbits to delve into!  

First up though, before the trailer’s release we had a few related tweets from the team regarding the current production of the game.  

Production Updates:

In late July, Mark Darrah tweeted some updates about Dragon Age 4’s development. He said: “I realize that most of you are here for Dragon Age news and there hasn't been a lot of that lately...

Let me just run down some things I can say:

1. We are working on the next Dragon Age

2. Yes we are working from home

3. Working from home is harder  

4. We are making progress”

Continuing from that, John Epler retweeted Darrah’s post and said: “WFH is hard! But we're figuring it out, a little better every day. I miss lunches with my team, though.”

And, Patrick Weekes tweeted: “An exhausting but productive week, with a bunch of folks across the Narrative team coming together for Writer Voltron to look at some stuff and figure out how to make it better. Harder over Zoom, but worth it nevertheless.”

@stoner_gordon asked Patrick: “Writer Voltron? Maybe I’m slow today but what do you mean by that?”

Patrick Weekes replied: “There are things writers can work on for awhile by ourselves. Followers, or individual quests. But some stuff is owned by multiple writers, so we set aside time for all of us (plus non-writers involved with Narrative) to get together and hash things out. That’s Writer Voltron.

It is mostly a TON of meetings. We go over content and see what works and what doesn’t. It’s also the time where we make big narrative decisions as a team (or make big proposals we then bring to other affected departments).

Examples of stuff we decide at things like this:

- Hey, this big story element doesn’t work

- How should we do romances?

- Hey, this big huge thing is unclear

- Does it feel like we’re all making the same game?

We have a great team. It’s positive. We’re all exhausted by Friday.”

This was a very interesting look at how the writing team are pushing forward during the current world situation, ensuring that each writer can push on with individual work, while tasks that are assigned to many writers are slightly trickier, the team are working it out, while staying as safe as possible. And, I’m always eager to hear how certain things like individual quests, followers and romances are being developed.

Dragon Age Website Update:  

With the new trailer’s release, the Dragon Age website was updated. The trailer itself ended on the notion of visiting DragonAge.com.  

Upon impact to the site, there’s a red lyrium wallpaper with a slogan that says:

The world needs a new hero. Will you answer the call?

“Journey into the world of Thedas in Dragon Age™. Discover new adventures full of striking characters, powerful magic, and rich storytelling. Meet an incredible number of Humans, Elves, Dwarves, and Qunari in a realm where every decision you make echoes across history.”

New protagonist, new adventures, striking characters, powerful magic, rich storytelling, a roster of races with every decision having rippling effects in the world. Each quality that truly define a Dragon Age game. Very exciting to see this!  

Behind The Scenes Trailer:

Onwards to the trailer, we have many of the amazing developers sharing plenty of insights into the next Dragon Age game’s vision and development.

Casey Hudson stated their using next generation technology, which will be Anthem’s codebase and tools of the Frostbite engine, to bring the world and characters of Dragon Age to life. And the team are still in early production, I’ve estimated that they’ve been in production stages for around 15 months, since May 2019.  

Casey Hudson (General Manager): “We’ve been using next generation technology to bring the world and characters of Dragon Age to life. We’re still in early production.”  

Gameplay Designer Melissa Janowicz spoke about creating bosses and how she helps with many of the creature designs, mostly doing the big threats we’ll go up against. This trailer’s concept art certainly paints a picture of many dark, evil monsters to defeat.  

Melissa Janowicz (Gameplay Designer): “We’re very experimental here at BioWare, so we’re always coming up with new stuff.”  

“I actually design bosses; I help with the creature design team as well. So, I do all of the big threats you have to go up against.”  

The Creative Director, and previous Art Director, Matthew Goldman shared that Dragon Age is all about mystery, and hard-boiled detective stories, which is an egg-cellent pun. All wrapped up in a fantasy setting, with an original world.

Matthew Goldman (Creative Director): “The world of Dragon Age has really got it all, it’s got frontier stories, it’s got mystery, it’s got hard-boiled detective stories. And of course, it’s all wrapped up in kind of a fantasy setting.”

“This is an original world, original flora, original wildlife, original architecture, that makes it fun to explore and discover.”

Executive Producer, and proficient teaser, Mark Darrah shared that in the next Dragon Age, we get an opportunity to see new things, new places, and interact with people who lived and grew up in these spaces as well.  

There’s a huge emphasis on characters we haven’t met yet, because of course, the Inquisition declared it would look for new people to deal with Solas. We’re going to Northern Thedas, we should expect brand new characters to fall in love with.  

Mark Darrah (Executive Producer): “In the next Dragon Age, we get an opportunity to see new things, new places, and interact with people who lived and grew up in these spaces as well.”  

Mastermind, and Lead Writer Patrick Weekes shared about the game that currently working on, and how they want to tell a very different story about what happens when you don’t have power, what happens when the people in charge aren’t willing to address the issues.  

This time around, we’re playing as a new hero, with not nearly as enough power like the Inquisitor, but instead someone who most likely comes from humble tidings, at a guess, someone like a spy, Antivan Crow, or Lord of Fortune.  

No matter the role, our main character will have many conflicts with the predominate people in charge, as they aren’t willing to tackle the issues at stake. I can assume many ideas of course, perhaps the Tevinter Magisterium, The Qunari Invasion, or the Dread Wolf’s scheme.  

Whatever powerful force that may ignore the ongoing issues, there’s going to be a lot of conflict from what can assume is going forward thanks to Tevinter Nights. 

Patrick Weekes (Lead Writer): “For the game we’re working on now, we want to tell a story – what happens when you don’t have power, what happens when the people in charge aren’t willing to address the issues.”

Arby’s Enthusiast, and Narrative Director John Epler spoke on the things we can expect in the next instalment, there are going to be stories that focus on the people around you, and the friends and family you make.  

Every Dragon Age game is about the family we create along the way, expecting more of that, lightens my heart!  

John Epler (Narrative Director): “The things you can expect in the next instalment are going to be stories that focus on the people around you, and the friends and family you make.”

“I just love the possibilities that Dragon Age offers us, and I’m excited to explore a lot more of them.”

Associate Producer Jen Cheverie shared that something we’ll be able to look forward to in the next Dragon Age are really close relationships with game characters who really become real for you. I’m so excited to see how relationships and friendships develop in the next game.  

Jen Cheverie (Assoc. Producer): “Something we’ll be able to look forward to in Dragon Age is a really close relationship with game characters who really become real for you.”

Foundation Technical Director, Jon Renish, with an amazing beard, spoke on how BioWare want characters to either be loved or hated, the best examples of that is Solas. Half of the community wants to kill him, half the people want to marry him, then another part want to do both.

The fact that the devs can stir these reactions, proves that BioWare can and will create characters that move, and shape us.  

If they can make you love or hate a character, they’ve successfully made you care for this world, even if hate is that motivator. However, if you felt nothing for a character, then you wouldn’t have these strong reactions, and wouldn’t feel as connected to the world, or that character.  

Jon Renish (Foundation Technical Director): “We want characters to either be loved or hated, one of the best examples of that is Solas. Half of the community wants to kill him, half the people want to marry him, then another part want to do both.”

Lead Creature Animator, Esther Ko confirmed that Dragon Age 4 is being created using motion-matching technology, that will ensure characters will be as realistic as possible, from the way they walk, move and interact.  

We saw a sneak peak of Solas’s facial animations, and we can already see the improvement of graphical fidelity and animation quality.  

Esther Ko (Lead Creature Animator): “BioWare and EA have been one of the forerunners in using motion matching technology, and that makes it way more realistic for when you're looking at the characters, the way the walk and move, and interact in the world.”

Writer Slyvia Feketekuty spoke on how players want suspension of their disbelief, to believe that the bunch of pixels that make up these characters are actually a living, breathing soul.  

Slyvia Feketekuty (Writer): “Players want that suspension of disbelief that this wonderful collection of digital pixels is actually a living breathing soul.”

Gameplay Director Andre Garcia said that choice is a big part of what Dragon Age is as a franchise, the decisions you make can affect change in the world. Reiterating that the next Dragon Age will most certainly surround our choices, with consequences for each.

Andre Garcia (Gameplay Director): “Choice is a big part of what Dragon Age is as a franchise, the decisions you make can affect change in the world.”

Adding more fuel to the fire for choices and consequences, RPG Programmer Katrina Barkwell spoke on decision-making meaning that a party member lives, or a party member dies. Ultimately, choice making means owning your outcome and reactivity to the choices that you do make.

Katrina Barkwell (RPG Programmer): “Decision-making can mean that a party member lives, or a party member dies. And it means owning your outcome and reactivity to the choices that you do make.”

I said in my breakdown, and I’ll say it again here, it was very nice to see a few of the developers that we love and support in this trailer, sharing vital information on the next game. The story about Dragon Age 4’s development is all about the people creating it, and I am so glad that BioWare have an amazing, tremendously talented bunch of people who know what Dragon Age is.

Adding to that, it was so wholesome to see many of the other developers on a zoom call, showing how despite the current world situation, they’re doing all they can to push the development of the next Dragon Age.  

Key Trailer Features:

Moving on, throughout the trailer, we had many key features highlighted.  

The in-engine shots showcase the next-gen improved fidelity and quality of the Frostbite engine. The reveal of Solas’s facial animations indicate more realistic and life-like animations and scenes, just look at his pearly white teeth, and how his face folds.

And the Gameplay shots reveal a character playing as a warrior, with a sword and shield, wearing Grey Warden armour. Most certainly, the character is a champion specialization, indicated by the “Line in the Sand” ability.  

We see them evading, blocking, shield bashing, and preparing to strike. The camera placement is solid, I really like the angle it currently has, I’m hoping it stays like this.  

The spider with hands is incredibly frightening, however, beautifully animated. I just hope it’s not going to grab items like the barrel, and throw them at us, when approaching combat.  

Two brand-new voice actors were revealed: Jee Young Han & Ike Amadi

Jee Young Han previously appeared in Anthem, as the character Sentinel Dax. In Dragon Age 4, conceptually, she’s playing a character called “Bellara”, whom I’d suspect is a dwarf, given that Qunari and Dwarves generally have American voice actors. Not to mention her dialogue line of something being “the good kind of rumble.”

Ike Amadi, also appeared in a previous BioWare title, being Mass Effect 3, as he played Javik! It seems he’s playing a character by the name of Davrin. Who is most certainly a Grey Warden, indicated by his dialogue? Perhaps he’s the Grey Warden in Tevinter Nights’ cover, considering none of the characters on the book’s cover appeared in the actual book?

Concept Art:

Moving on, the majority of the trailer features amazing conceptual artwork that reflects the mood, tone, story threads and narrative beats that the developers would like the final game to take inspiration from.  

Equally, that means the concepts may or may not appear in the finished project, it’s too early to tell. However, that doesn’t mean we shouldn't pass on dissecting and inspecting the art pieces, because we get a sense of BioWare’s vision, scope and direction for Dragon Age 4.  

Adding to this, Patrick Weekes tweeted about how concept art is used to create a mood, not to outrightly confirm things, but for a framework. While some concepts may excite you, like “Harley Qun”, don’t get attached just yet because they may, and will change.  

To quote Weekes: “We can't answer questions right now about who is or isn't a follower or what story choices we're making. Beyond giving away too much too early, we could also give you the wrong impression and leave you disappointed later. Or we might need to change things between now and ship.  

What I can say is that I personally am proud and excited about the game we're making. I hope that came through in the video. I also hope you have fun speculating, even if we can't answer questions right now. You all made a lot of devs' days yesterday. Thanks.”

So, while it’s absolutely fun, and amazing to speculate about what these concepts may relate to, and the direction of the next game, don’t get too attached just in case certain plot threads or characters are cut or changed.  

Needless to say, me and Saria still have plenty of speculation videos coming up following the trailer, because we find enjoyment in speculation, and seeing how far off from the truth we were when the game actually does ship, I think that’s a good mindset to have.

Regarding the trailer as a whole, I think it’s fair to say it was created as a reaction to what was shown at EA Play. A lot of the fanbase, and people in general were upset with what was shown, however, BioWare listened to us, and delivered this behind the scenes trailer, two months after.  

We can tell it was recently filmed too, not to get too stalker-ry, but Patrick Weekes dyed their hair on the 19th, June, which was a day after EA Play.  

If they had done so before, Weekes’ would’ve had their natural hair-colour in the trailer.  

So, even with the current world situation, the developers took the time to film and create this amazing BTS trailer. Speaking on behalf of the entire DA fandom, thank you so much BioWare for giving us a trailer while in very early-production stages. It has been the saving grace of 2020.  

Romance Teases:

In other news, we have a few Weekes Tweets that regard romance in the future.

Patrick Weekes retweeted @nevarran-novice saying: “This is my formal request that BioWare give us at least one emotionally damaging romance for every Dragon Age game. Like, literally scoop my soul out and throw it at the wall with the angst. Please.”  

Patrick replied with: “I mean I like happy romances with fun positive endings, but the customer is always right!”

It really is true; we all love pain and tragedy in this fandom, as we play Lost Elf theme at 1 am, sobbing in the night. I’m not the only one, right?

Patrick Weekes tweeted: “Hi, sorry, stumbled across this while looking for something else. Just wanted to say:

- Disliking a character or ship is totally valid and does not hurt my feelings

- Coming into someone’s space to say that what they like or dislike is wrong is bad, sorry that happened to you.

And in games with romances, I believe that the same-sex romances should offer the same spectrum of sweet-to-spicy that the straight options do. If all our m/m romances feel dirty while our m/f romances range from romantic to raunchy, then we need to do better.

This clearly hints to BioWare making their future romances more tasteful for every type of romance, which is always good, more inclusivity for everyone! In my honest opinion, I don’t need sex scenes to drive romances, while I’m sure I’d love one for a potential Qunari female wife, I don’t need, or desire them for every single character. Sex and romance in moderation; while being tasteful, sounds perfect in my opinion.  

In the concept artwork, we saw a sexy, Qunari female, that many of us have dubbed the nickname “Harley Qun”, while it’s really hard not to get attached, it’s nice to see BioWare making this character idea more of a reality.  

In 2017, a fan asked Weekes about the idea of a strong female Qunari companion. Weekes replied: “definitely a chance. We like doing character types we haven’t down before, and that would be a biggie in hypothetical future game.”

 So, while Harley is still just a concept design, there’s much potential for her in the future. I wonder if Patrick is writing her too, not that I’m basing my news on retweets, but Patrick has been retweeting a lot of her fanart. But that could just be because we’re already obsessed with her.  

Final romance related tweet, because I didn’t know where else to put this one... Patrick Weekes tweeted: “Is "Dick in a Box" formally a Lonely Island song, or is it technically SNL? It's for work.”

So, erm. Yep, there’s that.  

Mark....:

Mark Darrah tweeted: “No release date to share at this time…” Obviously as a joke, for those who don’t know, the next Dragon Age is at least 2-3 years away, according to EA’s 2019 earnings call.  

Next Comic:

As a final, very exciting news update, Nunzio DeFillipis, the amazing Dragon Age comic writer, alongside with his wife, Christian Weir posted on Tumblr about the potential of a new comic mini-series:  

They replied to autopotion asking about the future of the comics, saying:

“We have another miniseries planned - and it would have come out this year if not for the current world situation shutting down the industry.  We don’t want to promise anything, because everything is so up in the air with the entire world right now.  But what we can say is that if and when there is another miniseries, it will wrap up the story we’ve been telling since Knight Errant.  We will then aim to tell more stories, but one thing at a time.”  

“Wish we could say more.  Because we have a LOT to say, we promise.  Hopefully we can talk about things soon.”

As an absolute fan of each of the Dragon Age comics, the fact that most certainly another one is on its way, and it will end the narrative since Knight Errant excites the crap out of me. Originally, it seems we would’ve had two comic launches this year, Blue Wratih to start year, and one following from that, ending 2020.  

I imagine we’ll see this project back on track soon. It sounds as if this one may be a conclusion to the current comic roster, and after that, we may get brand new stories explored in other comics. While that’s quite far off, I adore this team behind the comics, and eagerly await an update to their stories.  

With all that said, that’s a wrap for this most exciting news update, I’m honestly so excited to be creating Dragon Age content at the moment, making videos that I’ve dreamed about creating for so long. Check out my latest breakdown, and if you’re new, why not follow me, you’re in the best place to be informed on all things Dragon Age related. From the lore to speculation and news, I have it all here.  

[neon-slime]

Hello! I wanted to ask about abled actors playing disabled characters. This whole s*a thing got me thinking about What’s Eating Gilbert Grape. At the time when I first watched this film, I held a lot of respect for Leonardo DiCaprio for doing so much intensive research for that role (I’m not sure if I remember correctly, but I believe he spent months with autistic teens and other disabled peoples in preparation for this role). But now that I’ve heard that every disabled character played by an abled actor is very detested among autistics, I wanted to know what people thought of this movie and how people may feel of DiCaprio’s involvement in it (as I now am aware of the fact that it has a negative impact). And thank you so much for teaching me and many other people about this!

Hello! Thank you for reaching out. I'm definitely not an expert on the subject and I can't speak for the entire disabled community, but I'll do my best to give you my thoughts.

First thing I'd like to get out of the way, I haven't seen What's Eating Gilbert Grape so I'll start with that then talk about abled actors playing disabled characters in general. (I did watch a clip from the film just to get a general idea).

The second thing I’d like to address is that not every autistic person considers autism a disability. That fits their experience. I personally consider it as such for myself due to the way it impacts my life, so for the purpose of this ask, I’ll be using ‘disabled’.  

Regarding Leo’s specific participation in the movie What’s Eating Gilbert Grape, I have seen some people talk about how they really enjoyed his performance and others disliked it. It came out over 20 years ago so I can't speak to how people felt about it at the time, or now because I don't know anyone who saw that movie. Below I go into some of the thoughts I have about representation and some of the reactions I’ve seen to abled actors playing disabled characters and I hope you’ll see how it relates to your question regarding Leo’s involvement. 

I’ll start by saying the issue with abled actors playing disabled characters is nuanced, as is most things in this question. Part of the problem is, when you cast abled actors to play disabled characters, you are taking roles away from disabled actors. Disabled actors often struggle to find work due to discrimination. Many disabled actors only get cast in projects where their disability is the main focus of their characters story, which greatly impacts the number of roles they'd be considered for. By giving abled actors roles that a disabled actor would be better suited for, you're continuing to push a whole demographic out of the industry.

This leads into another part of the problem. People will continue to make movies and tv shows about disabled people, but it’s often done without our input. Often these projects have an underlying tone of “How sad for their parents/partner/siblings/friends that their child/spouse/sibling/friend can’t be ‘normal’”, or inspiration porn, “look how they don’t ‘let their disability hold them back.’” A lot of these messages are very ableist and reinforce the idea the disabled people are a burden, or that disabled people shouldn’t ‘let their disability hold them back.’ This narrative is harmful because it puts all the responsibility onto the disabled person while assuring able-bodied people that no accommodations need to be made for disabilities. If I’m super fatigued, no amount of believing in myself will suddenly make me able to clean the house. If your venue doesn’t have a ramp or accessible  washrooms, no amount of “believing in themselves” will help someone who needs mobility aids to get inside. 

Which also means the movies made about us are not made for us, but for an abled audience. Another facet of this problem is they often don’t hire disabled folks to take part at all levels of the film-making process. Stories about disabled people are often not written, directed, produced, or filmed by disabled creators which just feeds ableist narratives of disabled folks. It also causes a problem because the characters often don’t have a personality outside of their disability. 

Another part of the problem is, why hire someone who needs to do months of research to ‘accurately portray' a disabled character when you can hire someone with the lived experience to bring to the role? Part of the argument I’ve seen against hiring disabled actors tends to boil down to the filmmakers not wanting to accommodate for a disabled creators needs. This is also relevant to every part of the creative process. A director, or producer, or writer may do a lot of research, but it doesn’t replace having disabled people with lived experience in every level of the creative process. Disabled people deserve to be able to tell their own stories and they deserve to be paid fairly for it. This is a problem in media (and most industries) for every marginalized group, and the only solution for accurate representation is actually hiring people with lived experience to tell their stories. 

Another thing I wanted to address is the fact that not every disabled person dislikes abled actors playing a disabled character. With the S*a situation, if you go to her twitter, there are autistic folks defending her and who would like to see the movie. No community is a monolith, it is made up of individuals. I don’t say this to let ableist creators off the hook. I only bring it up to emphasize that you will see some disabled folks defending ableist creators and this does not negate the fact that harm is caused. The community at large is being affected and abled people will use the minority of disabled folks that agree with them against the rest of the community. 

So yeah, those are my thoughts on that. I hope they made sense. If anyone has any thoughts on this or Gilbert Grape as a movie and would like to contribute, please do. I have ‘invisible’ conditions so my experience will be different from people who are physically disabled. As I said, its a very nuanced issue, so if I missed something or said something that doesn’t track, please feel free to let me know

[aspoonofsugar]

Hi! How are you doing? Not sure if it's already been asked, but what are your top 10 favourite canon couples?

Hello!

I am doing fine, thank you! How are you doing?

It is alright, nobody has asked this before, so I can answer! That said, I am not really a hardcore shipper, so I am not sure I will come up with 10 pairs :’‘‘). I’ll do my best though! Also I have interpreted the term “canon” very freely.

As usual, here they are in no particular order:

1) Claire Stanfield and Chane Laforet (Baccano!):

I love their dynamic because they are fundamentally two almost opposite individuals who end up together in a surprising way. On one hand Claire thinks that he is the protagonist not only of his own story, but of the whole world. As a matter of fact he believes that the world is nothing more than a dream of his. Ironically, it is because of this selfish delusion that Claire is able to embrace the whole world:

“So what if I'd spare him? In my mind it's the certainty in myself that I possess which allows me to have that kind of mercy or compassion. There's no wavering on that point. It's fixed like the stars. The fact is I'm never gonna be killed! So remember this: mercy and compassion are virtues that only the strong are privileged to possess. And I am strong.”

On the other hand Chane has chosen to be nothing more than her father’s puppet. She is a satellite character in her own life and can’t absolutely think to live as a protagonist. If Claire’s world is too big, Chane’s too little because it has only her and her father in it. What is more, Chane has gone out of her way to make sure that it stays that way. For example, she asked her father to take her voice away and has not learnt alternative ways to communicate (like sign language).

Given this premise, it is interesting that a person so self-centered like Claire puts a person with such a frail sense of self like Chane at the centre of his world. Claire makes Chane, who is not even the lead of her own story, the heroine of his huge world. Claire instead plays a support role in Chane’s story. It is precisely because of this contradiction that their dynamic works. All in all Chane gets to get in contact with the world through Claire. Because of this, she is challenged to grow. This is another interesting difference between them. On one hand Claire is basically like Peter Pan and can’t really grow psychologically. On the other hand Chane is a character who has changed, but who is scared of this change. This is why she tries to actively regress, but she can’t really go back to who she was.

2) Komugi and Meruem (HxH):

I have explained here what I love about them. Their relationship conveys the themes of the chimera ants arc beautifully. I especially like it because it would have been easy to have Meruem grow fond of Komugi because of her kindness and goodness. However, this is not really what happens. The reason why Meruem is so attracted by Komugi is her prowess as a Gungi player. Komugi is not a character who coddles Meruem, but one who challenges him. As a result Meruem’s attraction for her is rooted in respect. Meruem brings out from Komugi her talent and stubborness, while Komugi brings out from him his caring and kind side. Meruem becomes interested in her because of the traits they share and grows to love what makes her different from him.

3) Ash Lynx and Eiji Okumura (Banana Fish):

I like their relationship, but I would have loved for it to be explored even more throughout the story. All in all, they are attracted to each other because they want something the other has. Eiji wants Ash’s initiative and daring personality, while Ash wants Eiji’s freedom and soothing personality. Eiji wants Ash’s ability to fight for himself, while Ash wants Eiji’s talent to heal others instead of hurting them.

Despite this, they are not fully able to grow as they could have because of the violence of the conflict they are in. Eiji makes some steps in the right direction, but the moment a wound incapacitates him he goes back to his more passive behaviour. When it comes to Ash, he is not able to take fligth like he would like because of self-hate. Their ending is tragic, but I wonder if it could have been different. For example, after a meaningful conflict the two of them decide to avoid fighting and to simply enjoy the time they spend together. This is a relatable choice, but a series of things are left unexpressed and because of this they are not really able to overcome their flaws. Maybe, if they had fought a little more and had called each other out more, things could have been different in the end.

4) Claire Nunez and Jim Lake Jr (Tales of Arcadia):

I have talked about them here. They are two very similar people to the point that they have basically the same flaw. They both feel responsible for bad things happening to them and to their friends. This is why they end up trying to fix everything by their own and fail spectacularly. It is nice to see them find help and support by their loved ones. And it is heart-warming that they keep being there for each other.

5) Chidi Anagonye and Eleanor Shellstrop (The Good Place):

Eleanor and Chidi are completely different people and this is why they are perfect to challenge each other. Chidi inspires Eleanor to be more selfless and to open up to others, while Eleanor inspires Chidi to be daring. This is obvious since season 1 and it is a constant throughout the series. Their relationship is a good example of a relationship which is conflictual, but enriching. In order to stay together they (other than escaping hell) must overcome their respective flaws. Eleanor must be vulnerable and let Chidi in her life, while Chidi must be decisive and actively choose Eleanor.

I also like that this is true even in those timelines where they do not develop a romantic relationship. The fact that their relationship is the same, but also slightly differs in each reboot makes it gain a very nice thematic meaning and enriches it. All in all, what Chidi and Eleanor represent for each other is always the same and what changes is the platonic/romantic aspect of the bond.

Finally I like the motif of them leaving messages to their future selves about the other. At the end of season 1, Eleanor writes to herself: “Find Chidi”, while at the end of season 3 Chidi writes  to himself: “Eleanor is the answer”. This is a very cool motif which conveys their respective growth thanks to the other. Eleanor who only trusts herself chooses to trust Chidi’s ability to help her. Chidi who has spent his whole life searching for answers and failing to write them down decides that Eleanor is all he needs to find meaning in his life.

6) Roy Mustang and Riza Hawkeye:

Their relationship is my favourite of the whole series. Their characters are beautifully intertwined to the point that they can barely function without the other. This aspect of their bond is not excessively romanticized, but it is presented as a dreadful consequence of the traumatic past they share. At the end of the day Roy and Riza are too highly idealistic people whose ideals were shattered before they could evolve in something more than childish dreams. Despite this, they were able to put the fragments of those great dreams back together and have chosen to sacrifice their personal happiness to realize them.

All in all, Riza and Roy want redemption for their crimes and they find comfort in each other while they try to obtain it. In order to make things better they are ready to sacrifice their own existences and they have given up on the chance of living normal lives as civilians. However, they still have each other.

Roy gives Riza someone to protect, so that she does not fall apart and remains functional, while Riza restrains Roy’s most negative instincts. They make each other better even if they can’t completely overcome the pain of their past. They can just share it with the other.

Finally I especially like the scene where Roy chooses not to transmute humans even if it means Riza will most likely die. As a matter of fact, despite it all, that act is not framed as a betrayal of Riza, but rather as the only thing he can do not to betray her. I love both relationships where a character fixated on an ideal lets go of it because of people and relationships which make a person realize the importance of an ideal. They are both beautiful when well written. Here we are in front of a bond where both aspects are present. On one hand Roy must let go of his desire of vengeance not to lose Riza. On the other hand Roy must let go of Riza not to betray the ideals they share.

In the end theirs is a very tragic and strict relationship, but also a very warm and human one.

7) Kokomi Teruhashi and Saiki Kusuo (Saiki Q):

They are not properly canon since they are not together by the end. However, I think there is enough in the series to support the ship. Anyway, it is still a ship I enjoy a lot (and it is one of the few I feel strongly for, so I am adding it to the list no matter what).

I love their dynamic because it is hilarious, but it could also be surprisingly deep if the narrative wanted to explore it more. Teruhashi is my favourite character of the series because she is a nice subversion of both the yamato nadeshiko trope and of the alpha bitch one. She presents herself as an incredibly beautiful and yet innocent girl, but she is actually very aware of her looks and of others’ reactions. Despite this, she comes along as likeable mostly because she often genuinelly means well despite her being self-centered. Saiki instead projects the image of an average person, but he is actually the most powerful being of the world. In short, Teruhashi and Saiki are both opposite and the same.

They are the same because they both wear a carefully crafted mask. They are opposite because the masks they were are opposite. On one hand Teruhashi’s mask of the perfect girl attracts attention. On the other hand Saiki’s mask of the average guy is meant to make him invisible.

The difference between their two personas is the reason why Saiki wants to avoid Teruhashi at all costs. He wants to be average, so he can’t stay close to a person who attracts so much attention. At the same time, it is clear that Saiki grows to admire Teruhashi specifically because of her ability to always keep her mask up. He knows how difficult it is to realize such a feat and he recognizes Teruhashi’s dedication. Basically Saiki is the only person who knows the real Teruhashi and appreciates her for who she is and not for who she pretends to be.

In short, the series could have done a lot with them if it had wanted to go deeper in their dynamic. Saiki ends up coming to the spotlight multiple times to help Teruhashi, while Teruhashi breaks up her image of perfect girl when close to Saiki.

Unluckily this is the end of the list :’‘‘) I tried to think of other canon couples I enjoy, but even if there are some, I would not call them proper faves. At the same time, there are some ships I enjoy, but they are not properly canon/confirmed to be romantic, so I am not adding them.

Thank you for the ask!