👽 random shits
👽 Nonbinary idiot
👽 not gonna lie I'm in love with Justin H. Min
👽 Excuse-my-fucking-english
👽 or not I don't really care enough
👽 Lots of spoilers from lots of things. You have been warned.
👽 Brb, going on a manhunt after the writers of Squid Game.
the comedy gold gag where someone is asked for something extremely specific, and goes like "god damn it why would I- Do I look like the kind of a guy who would just have 48 ferret harnesses laying around?" and then everyone blankly stares at them because now that you mentioned it, yes, indeed they do. As a matter of fact, that is the most perfect description of this man, one that nobody could have come up with, but which is exact enough for anyone to pick him out of a crowd. The more exact, the better.
And after this pause they'll just give up and groan "ugh, fine. I'll go get the harnesses."
AU where everything is fine and the only thing Marco and Jean have to deal with is the power going out. (Also a bonus pic on the reason behind the power outage)
I think the Hunger Games series sits in a similar literary position to The Lord of the Rings, as a piece of literature (by a Catholic author) that sparked a whole new subgenre and then gets blamed for flaws that exist in the copycat books and aren’t actually part of the original.
Like, despite what parodies might say, Katniss is nowhere near the stereotypical “unqualified teenager chosen to lead a rebellion for no good reason”. The entire point is that she’s not leading the rebellion. She’s a traumatized teenager who has emotional reactions to the horrors in her society, and is constantly being reined in by more experienced adults who have to tell her, “No, this is not how you fight the government, you are going to get people killed.” She’s not the upstart teenager showing the brainless adults what to do–she’s a teenager being manipulated by smarter and more experienced adults. She has no power in the rebellion except as a useful piece of propaganda, and the entire trilogy is her straining against that role. It’s much more realistic and far more nuanced than anyone who dismisses it as “stereotypical YA dystopian” gives it credit for.
And the misconceptions don’t end there. The Hunger Games has no “stereotypical YA love triangle”–yes, there are two potential love interests, but the romance is so not the point. There’s a war going on! Katniss has more important things to worry about than boys! The romance was never about her choosing between two hot boys–it’s about choosing between two diametrically opposed worldviews. Will she choose anger and war, or compassion and peace? Of course a trilogy filled with the horrors of war ends with her marriage to the peace-loving Peeta. Unlike some of the YA dystopian copycats, the romance here is part of the message, not just something to pacify readers who expect “hot love triangles” in their YA.
The worldbuilding in the Hunger Games trilogy is simplistic and not realistic, but unlike some of her imitators, Collins does this because she has something to say, not because she’s cobbling together a grim and gritty dystopia that’s “similar to the Hunger Games”. The worldbuilding has an allegorical function, kept simple so we can see beyond it to what Collins is really saying–and it’s nothing so comforting as “we need to fight the evil people who are ruining society”. The Capitol’s not just the powerful, greedy bad guys–the Capitol is us, First World America, living in luxury while we ignore the problems of the rest of the world, and thinking of other nations largely in terms of what resources we can get from them. This simplistic world is a sparsely set stage that lets us explore the larger themes about exploitation and war and the horrors people will commit for the sake of their bread and circuses, meant to make us think deeper about what separates a hero from a villain.
There’s a reason these books became a literary phenomenon. There’s a reason that dozens upon dozens of authors attempted to imitate them. But these imitators can’t capture that same genius, largely because they’re trying to imitate the trappings of another book, and failing to capture the larger and more meaningful message underneath. Make a copy of a copy of a copy, and you’ll wind up with something far removed from the original masterpiece. But we shouldn’t make the mistake of blaming those flaws on the original work.
Today on "Another JeanMarco Soulmate AU absolutely no one asked for" I present to you -
Soulmate AU in which you stop seeing colors when your soulmate dies, the only exception being your soulmate. Now cue to Jean who just found Marco's, his best friend's, body. And you know, there's the shock of finding out Marco's dead. The pain and confusion and guilt. But there's also the revelation, because despite everything he can still see Marco like nothing took place at all- yes, half of his face is missing and his body is straight up lifeless, but Jean can still make out the color of his eye ; see that light shade of brown perfectly, remember all the times he has found himself looking at them while listening to Marco talk. He can still make out the colors of his uniform, see the same shade of black his hair has always had, practically see. Despite being dead, Marco was the only piece of color left in his life.
And there's denial for a moment because there's no way Marco was his soulmate. But that goes away fast, getting replaced by guilt. By the fact that he hasn't been there to save him, that Marco has to die all alone without anyone being there for him.
And that was worse than the simple fact that he could no longer see colors ; because Marco was there when Jean needed him, but he failed to do the same. And not only he lost his best friend that day, but his other half too.
Jean: Marco taught me to think before I act. Jean: ...So if I smack the shit out of you, rest assured that I thought about it and am confident in my decision.