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merakiui · 2 months

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perverse phantasmagoria: a tentacular theatre for the timid.

yandere!azul ashengrotto x (gender neutral) reader cw: yandere, nsfw, unhealthy behaviors/relationship, somnophilia, mentions of death/murder, obsession note - something short to satisfy the craving for shadow monster azul.

The monster under your bed is a marvelous magician.

Most marvelous indeed—for he can ensorcell with all manner of fantastical tricks! In flickering candlelight, shapes shift in shadow—a rabbit hopping to and fro or a bird taking flight in a flurry of feathers. A ship sinking in a sinister sea or a worm wriggling through soil. Illusions waltz upon your wall in a graceful ballet, a comforting distraction meant to soothe you to sleep when you grow somnolent.

You are the only one to witness the magnificence of this tentacular theatre. It is confined within the cubic space that is your bedroom, a nightly display projected onto the walls and ceiling, just beyond the curtains of your creaky four-poster bed. He entertains until you’re properly heavy-eyed, slipping through the slivers of reality into fruitful slumber.

While cradled in a sea of sheets, buoyed by curious, curling limbs, you dream of devilish pleasures—of treacherous temptations so visceral they would certainly scandalize the sisters at the church.

The monster under your bed never utters a word, but you know he is there.

He is cold and calm like Death, yet merciful and mystical like an angel. He carries with him odors of the ocean, enveloping you in his briny embrace every night. Tentacles loop gently around your body, sliding beneath silken nightwear, and he plays in the same skillful way he manipulates shadow. You’re strung along the highs and lows of bodily bliss, rocked gently by a creature who dwells in the darkness.

The monster under your bed does not possess a true form, but he holds bright shallows in his eyes.

Shapeless and transient, wavering through dozens of features, he mesmerizes with his stunning hues. They blink at you in the darkness, twin beacons set into a towering lighthouse. You reach for him, pushing past pitch-black phantasmagoria, and beg to see his face. He swallows all light sources, so you will never truly know if there is anything more to those beautiful blues.

The monster under your bed does not have a name, so you call him Azul. Much like his eyes when they pin you to the bed, the name sticks.

A terrible tempest rages outside, rattling the windows in their frames, battering the glass like bullets, and howling through the trees in a most fearsome gale. You lie in your bed, wide-awake and disturbed, and gaze at the canopy. Lightning cracks across the sky in a violent arc, brightening your room for a single second. The thunder follows, rumbling in deep, foreboding notes. With a shiver, you pull your duvet up to your chin. Fear is encroaching. You steel yourself, steady your pounding heart, and inhale sharply.

The monster under your bed is gentle.

He has never hurt you and you suspect he never will. But he is vindictive, a dangerous force who lurks in forgotten corridors and corners during the day. Though he remains out of light’s reach, avoiding the sun’s fingers as they spill in from windows with parted curtains, nothing escapes his glance. He is always watching. You can feel it.

The monster under your bed is brilliant pest control.

He rids the manor of rats and insects alike, swabs the ceilings of cobwebs. He feasts on venomous spiders and snakes, blood drained from carcasses small and large. Trespassers wander far enough to find themselves tangled in the tendrils of a beast. Skeletons snap and shatter in his grasp, so startlingly fast and brutal. There isn’t a scream. No tears. He does not grant them the permission to confess last words.

Flesh rots away, stripped clean from the bone. There is no distinction to be made here. Suitors are trespassers. Thieves are trespassers. Trespassers are trespassers, and they will die as such.

The monster under your bed has a sweet tooth, a discovery you’ve only recently determined. You plate pastries and slide them under your bed, and the porcelain china is returned by morning, licked clean of crumbs.

For all of his mysterious qualities, the monster under your bed is your paramour.

“Azul,” you whisper, your voice much louder in disconcerting quiet. “Are you there, Azul?”

Shadows slither up the expanse of your mattress, crawling over wrinkled linens, to meet you in the gloom. The tip of a tentacle nudges your cheek. The monster—your monster—is here.

“A detective came by today…” Blue meets you in the dark, snapped open at once. “To inquire about a select few.”

He blinks, offering silence as his stubborn reply.

“Missing lords and ladies. They say my manor is cursed and that it is these very disappearances that keep the grounds so lush. An immature accusation.” You search the shadows for a response. “You mustn’t send them to their graves, Azul.”

Another tentacle peels the duvet back to find your hand. It fits into your palm, wrapped tight like a bow on a present. Slowly and slyly, more appendages rise from the space beneath your bed to coil around your person. They massage soothing circles into your skin, exploring eagerly and peppering your flesh in frigid kisses. The effect is soporific. You slacken against the sheets, eyes fluttering shut.

“Mmh… Azul, I’m quite serious…” You close your hand around the tentacle. “You mustn’t—oh!” Your legs are yanked apart then, and a thick tentacle presses up between your thighs. You peer into his narrowed eyes. If you could see his mouth, you’re certain it’d be turned down in a petulant pout. “Won’t you listen to me?”

The tentacles curled around your thighs constrict. He teases your special spot, fine-tuning your body to sing the sweetest of songs. Two more attach to your chest like lecherous leeches, tweaking your nipples under soft suckers. You sigh, pent-up emotions unfurling from their ravel. Lightning flashes again, the rain insistent, and so he drapes a tentacle over your eyes.

“There’s no need to do that.” You run your fingers over it, but you don’t pull it off. “I want to see you. I want to hear your voice. Tell me—” you whine in relief when he pushes in, your anatomy accustomed to his size after months of midnight whimsy— “Let me… Oh, won’t you speak to me, Azul? Tell me—promise me you won’t act so callous the next time I welcome visitors.”

“Intruders,” he finally answers. Despite the malice shot through those three syllables, it is a musical intonation. His voice is deep and dulcet, tickling your ears in the best way.

“You’re being rather unfair in your narrow-minded assessment.”

“And you are not narrow-minded enough,” comes his rumbling reply, synced flawlessly with the thunder just outside. “I shall protect you and this property for as long as I continue to exist. That is my priority.”

Your lips part in a retort, but all that comes out is a shuddering sigh.

“Visitors are not villains,” you manage after you’ve found your voice. “P-Please—aah—be kind… You mustn’t hurt them. They’re—haa—only visitors. I promise you I’m safe.”

“Visitors are the same as intruders. They’re unwanted. Unnecessary. Nuisances. Pests.”

Azul rocks the tentacle deeper inside you. Your nails dig into the one in your hand, and you heave a wobbly sort of groan.

“I won’t arg—ooh—won’t argue with you. I only ask that you understand. They are not dangers.”

“They are,” he snaps, pistoning roughly. You cry out when he pierces a specific spot nestled within. “They will take you away from me. Poison your head with foolish ideas. Destroy our home…”

“T-That will never happen. Not if I can help it.”

Another beat of lightning. Thunder follows suit. Gingerly, he lifts the tentacle veiling your visage. Blue blinks back at you.

“Promise.”

His whisper is broken and sad. Strangely, your heart aches.

“Only if you promise to cease your slaughter. It’s not—” A tentacle presses against your mouth, silencing you. When it draws away to give you another chance, you sigh, knowing just what to say. “Thank you…for protecting me, Azul.”

Satisfied with your submission, he smooths his pace out into slow, sensual lovemaking. You ride the waves of mutual merriment alongside him, no longer fearing the raging storm beyond your room. The world shrinks down to fit inside your bedroom, where paradise is found in the sheets, and nothing else matters here. Swathed safely in shadow, wrapped around the monster under your bed, you drift off into sleepy delirium.

He remains, ever-present like a parasite, the sole actor standing on the stage in this thrilling, tentacular theatre.

#yandere twst #yandere twisted wonderland #yandere twst x reader #yandere twisted wonderland x reader #yandere azul ashengrotto #yandere azul x reader #yandere azul #yandere azul ashengrotto x reader #n/sfw #tw: somnophilia

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andsomemaniacgotridofthewheel · 8 months

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David Jenkins was not a Big Name Showrunner before OFMD. In fact, I had never heard of him before. I am not even sure what he did before OFMD, according to IMDB he wrote exactly one other show and it is one I have never even heard of before.

And he somehow got HBO to make his weird little show about gay pirates, and he got Taika Waititi to help with it, and while nobody was expecting anything of it - I mean come on guys, remember when OFMD dropped and everyone only gradually realised what it was - it became The Little Show That Could. With almost no advertising. No marketing. HBO did clearly did not expect this show to be anything, to make any real money or to go beyond one season.

But then it blew up.

Because David Jenkins was so insightful, he was so good, he brought so much fresh wind into a business where we usually can tell how the next three steps of how any show is going to go (and to be fair, a lot of us feared that Izzy's death in season 2 was coming, because all the signs fit), that we put him on a pedestal.

THE FUCKING PEDESTAL.

Yes he is brilliant. He has done stuff with OFMD that you never ever see somewhere else. He has understood that historical accuracy, as well as physics and geography, are merely backdrop for plot and characters. Completely irrelevant if you need them to be, but then suddenly important if you have a bit of story that won't work without. He understood that queer relationships deserve to be told, and when confronted with skeptic fans he learned about queerbaiting.

He took a lot of tropes and put them on their head. He structured his show like fanfic. He put thought into his stories instead of following the beaten track. He single-handedly raised the bar for every showrunner out there.

But it is still only his second show.

If he didn't shine so brightly during OFMD's first season, nobody would have expected so much of him.

And yes. He dropped the ball on Izzy.

I loved Izzy to pieces ever since season 1, I wanted to pin him to a board like a bug and study him and take him apart and put him in a blender and in situations, I loved to hate him and in season 2 I loved to love him. He is such a brilliant, complex character, so well written and so well played by Con O'Neill; the options for character analysis, relationship analysis, various interpretations of everything he has done, are simply limitless. 🤯 That is due to David Jenkins & Con O'Neill.

And David Jenkins, standing in the spotlight of all of our exaggerated expectations, decided it would have the greatest emotional impact if he killed him. He made him a symbol, for the end of The Golden Age of Piracy™, and he killed him.

He was right.

He was not original.

He fell for one of the very tropes he so successfully fought in season 1, and for the most part of season 2.

Procuring an emotional response by having a beloved character, who was just starting to embark on an exciting new journey, die tragically and emotionally, providing motivation for the remaining characters.

It was a cheap move.

It is not a Bury Your Gays. Everyone is queer on this show, you can't call something a Bury Your Gays if that would be true for every character death.

But Izzy was also old, and disabled, and he had survived a suicide attempt (that he was driven into, not chose for himself), and had just had an arc of growth and character development that could have gone on for such a long time after this. He had just learned to trust and be vulnerable and experience (gender)queer joy. God, there were so many places his character could have gone.

I loved Izzy as a character, I didn't relate much to him. But Your Mileage May Vary, and I am so, so sorry for everyone who did. You didn't deserve this.

But David Jenkins? Is still sooo much better than any generic bland showrunner that is going places in Hollywood. You want to boycott anything, boycott the big streaming services that don't have the guts to make their main characters queer, to think that "a bit of both" is inclusive or bold, and who drive out any creatives that object and try to sneak in inclusiveness. They are the enemy. They are systemic discrimination and injustice.

David Jenkins is just starting out. And he did so much better on his very first successful show than anyone who has been in the business for years. If anyone deserves a chance to prove that he can do better, it's him.

I'm sure he'll come to regret his decision. I'm sure he'll see where he went wrong, how he could have done better, and fix it in any show he might do after this. I, for one, would much rather see any show he is involved in than most of the crap that the AMPTP is putting out, now or in the future. He can only get better. And he did do a lot of things right. Never forget that. Because the majority of showrunners can't even do the minimum, and David Jenkins went above and beyond.

I think he deserves a little slack. If anyone in the streaming industry does, it's him.

It's the fucking pedestal that is the problem. It makes people who do good but are not perfect suddenly look worse than the most cowardice, opportunistic mediocre guy. But they are not and they deserve a leg up, or we are stuck with the worse option who gets support from all the wrong places. Don't fall for it.

#nikku's ofmd meta #nikku's meta #nikku's ofmd finale reaction #nikku.txt #david jenkins #our flag means death #ofmd #izzy hands #ofmd izzy hands #con o'neill

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nimpnawakproduction · 8 months

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The ultimate reference sheets for all of Vash's outfits in Trigun maximum (with commentaries)

IT IS DONE. I'M FREE. Now I can forget all about Trimax and draw Trigun stampede designs only hahaha (just kidding I have things for Trimax on the stove).

Trigun bookclub was an awesome initiative, I loved the manga with my all heart and wanted to honor Nightow's designs ;w; I also wanted to help my fellow artists with references for Vash's clothes because DEAR GOD it's difficult to understand how the hell he dresses himself in the morning. I have a lot of fun dressing and undressing him like a barbie doll. My hyperfixation is completely healthy.

I put a "read more" section to avoid spoilers :) !

The July coat

The very first coat in Trigun chronology and the one he wores during the destruction of July ! There is not a lot of panels to take references but I tried to stay as close as possible to the manga. I don't know what number of prosthesis he had before but let name this one Prosthesis 1.

Scars map

Next, nakey Vash ! There's A LOT of changes between one panel to another. Scars changes places and forms panel to panel and the design evolved from the first chapters of Trigun, the time we see him naked as Eriks and his undressed state while he was a prisoner on the Ark. I drew the scars that appeared more than once or were in clean view in a panel (but really you can do like Nightow and draw as many scars as you want without thinking about consistency, this boy has been in a meat grinder)

After July underclothes

Or the jumpsuit that gave me grey hair. His suit does not make ANY sense, I don't know how the hell he dresses himself in the morning with this. My solution is that it's very long gloves and chaps strapped to a belt. The position and shapes of the belts changes IN EVERY PANEL. Same for his knee guards, sometimes they're here, sometime they cover his shins, sometimes they are tiny..... I gave up in the end and draw them as we see them in the very last panel he wears this suit. But damn he looks good in it.

Also in all of the 13 volumes, there is not a single panel with a clear view of his holster (I checked...) so here is my interpretation.

This is prosthesis n°2, the design is a little different from the first one so I guess Prosthesis 1 got destroyed (this happens a lot).

After July coat

The very first Trigun coat he wears in the manga ! Very simple, very basic, it gives him impossibly wide shoulders but Vash deserves it. The first one is worn Post July until Vash's confrontation against Brilliant Dynamite Neon. The second one is the state of his coat after the sandsteamer incident. He loses his prothesis after his fight against Monev the gale. He meets Wolfwood with only one arm and stays that way while he fights Knives for the first time.

Eriks

I took liberties with colors because there's no colored panels with Vash as Eriks. Yes I drew him without suspenders because he has them for like 5 panels and then Nightow drew him without them for the rest of Eriks arc so I made choices ;w;

I love the fact that Vash choose to wear tight jeans even in his casual outfits, this boy will not let his skin breath. This is now Prosthesis 3 ! It's way less advanced than the ones he wore in the rest of the manga, the other ones seem to replicate skin.

After his years as Eriks

And now the first Maximum coat, he wears it until the famous Yuri hospital arc! Finally an undersuit that makes sense, I love it, too bad Nightow-san decided that I had to suffer and changed it again to add BELTS EVERYWHERE. We only see his legs in this part of the manga so I gave him the same top because I can.

The tubes he has on his waist are filled with bullets, he can connect them to his prosthesis to have a mini machine gun.

We are now at Prosthesis 4 !

Hospitalization on the Home ship

The famous Yuri hospital phase! Vash definitely shared his wardrobe with Wolfwood, you can't tell me otherwise.

The first outfit still shows Prothesis 4 but he keeps it for like 5 minutes and lost it again against Nine-lives. I don't really know if the prothesis comes with the integrated glove or if there's synthetic skin under it but why would he keep the glove on if it's not intergrated?

The second pictures is the different outfits he wears during his convalescence. I took liberties with the colors, I drew this in like 10 minutes, everything seems easy when you don't have to draw BELTS. We are now on Prothesis 5 ! Nightow drew it as a regular arm so I guess Vash wears gloves on top of it??????

Back on the road in pursuit of Knives

He wears this one after his stay at Home, throughout the Dragon's nest ark and until his 2nd fight against Knives.

I liked the design of his jumpsuit until I looked closer at the panels and saw that the design change ON EVERY ONE OF THEM. Knee guard on only one knee? No kneeguards? Two??? WHO KNOWS ??? I tried to make it work but really go wild with this one, even the author does not know how his pant looks.

Still prosthesis 5, BUT UNTIL WHEN?

Prisoner on the Ark

THEY MASSACRED MY BOY. Did they even feed him at least in 7 months? Those pictures are the definition of the drenched kitty cat left under the rain. Give this man a blanket and a therapist.

Bye bye Prothesis 5 ! And see what I mean when I say that his outfit does not make sense????? It comes out in parts????

After his imprisonment on the Ark

The last suit in the manga! He keeps this coat until the end of the story. From this point, only his hair changes (or the color of his coat).

I adore the little angel wing symbol on his left arm, such a cute addition. Too bad it appears in one of the most traumatic event of his life.

Speaking of his jumpsuit...The return of belts.... But at least this outfit stays relatively coherent except for his kneeguards who appear and disappear panel from panel but most of the time he doesn't have any, so no kneeguard it is. Prosthesis 6 hello !

Final battle and end of the story

It hurted to drew those outfits ;w; And working on the design of his coat when he fights Legato made me realize where Orange studio took inspiration to chose the colors for Vash's coat in the final episode of Stampede ! Great job ! I tried to color the same effects as one of the illustrations showing dark Vash but I'm not really good with colors..... He actually radiates energy but with some purple undertones, I took some liberties because those are my drawings I do what I want.

I'm not sure at 100% that he has a tuft of blond hair left when his outfit turns black but his hair is all black at the end of the fight. His prosthesis is destroyed at the end of the fight. He got another one in the final chapter. So 7 prosthesis throughout the story!

#play with vash like a barbie doll #I love reference sheets #took years to do but it helps so much when drawing comics #or writing fics #how the hell do you expect me to show him undress if I don't know how his clothes work #anyway enjoy #vash the stampede #vash #trigun #trigun maximum #a's art

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catastrophicalcat · 20 hours

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Reasons Valmont Sucks (Catwoman 2018)

Valmont was a terrible character. And I really want to dissect why and how he is terrible - not just to get it off my chest and onto the collective Internet, but also because I think that Howard made some questionable writing choices that doomed him.

A quick intro - Valmont is Selina's love interest from the 1st two arcs of Tini Howard's Catwoman (2018) run. Inspired by some version of the Dangerous Liaisons character, he is a quasi French assassin who appears in Selina's life when she is trying to take on the Five Gotham Crime families, stalks her a bit, gifts her a stolen cat, fucks her, and eventually get murdered by her while he's trying to kill Batman. BatCat are on a poorly defined break during these events (with Bruce clearly thinking that they're somewhat committed to each other). Valmont is a dork. He looks like this:

More stuff under the break since I don't know how to write succinctly...

Valmont is a possessive stalker. It's obvious that Howard wanted to create a character who is different from Batman. Just look at him - Batman wears black, Valmont wears white. Batman strives to be a good person, while Valmont is an unrepentant murder. Bruce tries to be a gentlemen, while Valmont.... Almost immediately, Howard is in a pickle - how can she recreate a 17th century romance about assholes when, at the moment her run begin, Selina has no reason to be into this guy? And, this phony goth poser, by definition, cannot be upfront and just ask Selina out. Bruce would have done that. He's not Bruce. Solution? She gets rescued by him. A lot. Some examples:

While getting rescued frequently may be a way to fall in love, it makes Selina just so incompetent. Like I think that almost every single issue where Valmont appears, she needs to gets saved by him in some fashion. I don't think that Bruce rescued her that often, at least not in her own run! I went from reading about a savvy cat-burglar to an eternal damsel-in-distress.

Maybe I missed it, but I literally just read through all of his issues to find these screencaps, and I can't find any reason for him to be there other than to stalk her....

2. Making sexy French man is hard, OK! Prior to this run, I did not realize just how hard it is to write a sexy man instead of a creepy man. But seriously, this guy is GROSS, and Selina being into him makes her come off as dumb floozy. Who in the world would get turned on by lines like:

Maybe I'm fascinating, Catwoman. (Spoiler - he isn't)

I consider myself a citizen of the world. (Is he "my parents live in Ohio, I live in the moment" Ted Mosby?)

I wanted to help. But I did not want to chase you, or do what those boys had done. So I simply waited, where I knew you could find me. ("Those boys" - Tim & Dick, who tried to offer reasonable assistance and advice).

Fascinating? Interesting? Dangerous? (Describing himself.)

But I won't assume that just because a cat has sat in my lap once, it will do so whenever I call. (He then proceeds to bang her on the roof).

Have you ever had anyone encourage you to chase your desires? Just for your own pleasure? (Yeah, this is like a famous trait of hers...)

The sharp pleasure of waiting until I see you again is enough. (See, normal Selina - or a normal woman - would just never see him again).

Related to the above - their sexy times? Not sexy. First, they try and fail to hijack a cannibal's plane and parachute jump. Maybe adrenaline got their heart rate up, but still - poor planning! Second, and more egregiously: multiple characters comment on how Selina is deliriously tired. Valmont is one of those characters! He then bangs her on the roof. I don't want to kink-shame, but sleeping with someone when they're falling off their feet from exhaustion is like, not great?

3. He's a freaking murderer! This guy kills people and drops their bodies in the harbor. He's friends with Flamingo, a cannibal who tried to eat Robin (Damian, but still!). And yet, this is how Selina feels about him:

What happened? Really, what happened? Selina used to be smart and not boy crazy. Sure, she has a wide variety of unfortunate love interests despite these traits (post forthcoming!). But never has she fallen so fast, so quick, so off the deep end for someone who deserves it so very little.

I have other substantive issues with this run, but wanted to start by dissecting Valmont. A non-Bruce love interest is already an uphill battle in a Catwoman comic. Burdening him with all of these negative traits did not lead to a good story. Instead, Selina came off as stupid and immature for ever liking this guy in the first place.

I know that this post was super negative - these are just my thoughts, and I'm open to critique. If folks feel positive about Valmont, or other things I touched on here, I would be really interested to hear it.

#catwoman #dc comics #selina kyle #dc #comic books #batman #bruce wayne #batfam #tini howard #catwoman 2018 #valmont #dangerous liaisons #onyx #god this plot line sucked so bad #i am really happy he is dead #i feel like i got a lot of rage off my chest from writing this #so at least that's a plus #comic book analysis

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hanasnx · 1 year

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hobie meeting black cat!reader 😵‍💫 the chaos. the flirting. the tension. i need it.

MINORS DNI 18+

omg! i was just talking about this concept with my bff let me share the highlights

! ── being a black cat, means you’re good with your hands (in more ways that one). you’ve got sticky fingers, and you’d take things it’d take a second for him to notice are gone. now, HOBIE BROWN's no amateur in thievery nor spidering but you’d still manage to pull one over on him every once in a while. walk into his eye sight wearing his vest, sweeping your hair out from underneath it, and playing keep away because you that badly want him to chase you. and try to touch you in any way.

! ── your relationship with him is less than formal. he does view you as you are, an actual threat but he can see through some of your veiled interactions. a single claw runs down his chest, having pinned him underneath you in a straddle. “you know it’s bad luck to cross me, right?”

he’s sick of your distraction. “enough playin’, girl, i’ve got shit to do tonight.”

it’s so like you to toy with him.

! ── you had met before, he’s had to stop you in your endeavors. but the first time you and him really connect is because you’d taken a job that crossed your paths a little more deliberately. your client paid you to steal spider-punk’s guitar. you couldn’t back down from a challenge, nor an excuse to talk to the object of your fascination. of course it was foiled, but your other goal of getting closer to the spider wasn’t.

! ── you have the classic arc of trying to go straight, and that’s when you and hobie’s relationship really blossoms. you’ve told him you’ve committed to his side of things, even if your villainous ways call out to you every so often.

! ── there was probably a point during your enemy phase that you guys hate fucked to get that tension out. relieve some of the steam from the pot.

“we can’t do this again.” he tells you in between locked lips.

“yeah, yeah, just shut up and take your pants off.”

! ── you’d be addicted to his strength.. you’d fight him in bed but only for show. you like it when he’s gotta put a brat like you in your place.

#black cat!reader #anon #thanks for the msg!!#reader insert #x gn!reader #hobie brown x gn!reader #hobie brown x reader #hobie brown smut #hobie brown x black cat!reader #hobie brown prompt #hobie brown imagine #indy: headcanons #ch: hobie #hobie brown headcanons

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shigayokagayama · 1 year

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incomplete list of weird/interesting manga-anime discrepancies

-you know the bit where they break into the girls highschool in episode 2? yea thats chapter 56. spliced into the middle of chapter 4. its supposed to go before the bit with the ghost family as a lead up to the mogami arc with mob starting to consider evil spirits as just as much “people” as living humans are. all things considered its kind of weird how well it fits its anime placement

-ritsu in the manga gets introduced in the same chapter as teru. you dont see mobs family at all for the first few chapters. infact i dont think his parents appear until like. chapter 25????? every interaction you see between mob and any of his family is completely made up for the anime

-in the manga during the claw arc instead of reigen sending them away all the lackeys just stood there awkwardly during the fight w the scars fdnjksndkjgnd

-mogami arc got GUTTED my god. the part where the fake psychics tried to murder minori got removed, shinras role in the arc got reduced to basically nothing, they move mogamiland ritsu to a bridge like 50 feet away instead of having him walk right over mob, mob only gets beat up like twice, the cat lives, the boxcutter bit is totally removed, the fight with the spirits is made a lot more abstract and less graphic. like im glad this one took the hit instead of the separation arc bc i cant imagine that arc ever being effective as one episode but wow.

-putting the “mob finding his family dead” thing at the end of the episode instead of in the middle of a chapter where it originally was was an objectively hilarious move

-rip the scene of teru outsmarting all three claw guys and saying “say old man have you ever been tortured before” unfortunately all scenes of teru being competent are not plot relevant and must die. also teru can make shadow clones

-hey remember those weird satellite people in claw keeping the viewer updated on where all the characters were in that infinite arc?

-mob with a gun.

-mob getting briefly knocked out while fighting toichiro and dimple possessing him then getting kicked out was replaced w toichiro just throwing him out the window or somethhing???

-toichiro saying that he only kept the super five around as spare batteries and draining serizawas power getting cut was a personal affront to me

-every single emotion mob cycled through in the anime got a 100% meter. the kid was super emotionally unstable in that fight

-that old man whos house they went to whos wraith made everyone asleep that they exorcised? yea they anime team made that up. they never went to his house in the manga, he just went to spirits and such for a shoulder massage

-manga reigen got 0 money for helping the yokai dude. it wasnt on the table. also most of the stuff he was saying was lifted from a video game serizawa played which he pointed out. also serizawa thought getting arrested was a type of spell

-takenakas general meanness was significantly toned down manga takenaka was a huge bitch

-in general the alien arc was a lot funnier in the manga? like the scene where reigen crashes they had reached a dead end on an extremely narrow path and were driving in reverse while tome and takenaka were screaming at each other in the back and inukawa was 5 seconds from snapping and killing everyone in the car. these might be my favorite pages in the entire manga they as so fucking funny

-originally when tome said she wouldnt keep climbing reigen suggested mob carry her with telekinesis (which horrified her) and mob said he was too motion sick to use his powers (obvious lie) but could carry her instead which got her to get up

-mezato asking mob to sign a t shirt for the psycho helmet cult in exchange for relationship advice got cut

-i cry every day that the sequence of ???% waking up didnt get animated it set a very different tone than the anime did. the anime was like. slow build up of dread. the manga was immediately bone deep horror i was literally sitting in my room yelling “WHAT???” over and over again at my computer as i clicked through it

-shigeo and mob conversation cut down significantly, all the references to the body improvement club being mob making a new self rather than embracing who he really is and being scared that all the friends hes made wouldnt like the real him removed </3

-the scene where reigen takes his shoes off is made a lot less somber and depressing. it feels less like “oh he knows hes going to die” and more like. triumphant? in the anime

-100% shigeo kageyama is an anime addition they added specifically to ruin my “the first time we see mob 100% is to fight dimple and the last time is to stop himself from fighting dimple” observation

-anime teru generally seems like hes in a better place than manga teru? manga teru seems very melancholy and like he doesn’t really know what to do with his life or his place in the world (which seems to put shigeo off) but anime teru is like wanna go shopping ^_^ *sips tea happily*

-manga shigeo deliberately threw the cake directly in reigens face and my fury over them making this ambiguous will last until i am dead

#maybe someday ill go through and do my simultaneous rewatch/reread #but for now take the ones i can presently remember #mp100 #mob psycho 100 #long post #pic

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rawliverandgoronspice · 1 year

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THE GERUDO POST

(aka an attempt at a critique of how gerudos were handled in BotW and before)

Oh no. TOTK being right around the corner, it might finally be time for the Gerudo Post.

(aka half of the reason why I made a Zelda sideblog in the first place)

So I want to preface all of this by saying that, as you could probably tell already, I’ve always adored the gerudos. They have fascinated my small child brain when I was 7; then the obsession made its comeback when I was 14, and now, here we are, almost 28, and I’m still thinking about the gerudos. I think they might be among my favorite fictional cultures for their potential and their understated storyline. I guess growing up in a very Arabic neighborhood, coupled with being bi-culturally latinx (?? does Brazil count?? you tell me), also always made them feel like home to me –especially when I was very young and there was not a lot of cool female representation flying around that managed to involve fiercely independent PoC women, flaws and teeth included.

This whole weird-essay-thing tries to do two things. First: analyze the place gerudos have occupied in the series, their initial problematisms and their subtextual narrative arc during the Myth Era coupled with their relationship to Ganondorf. Second: tiptoe to Breath of the Wild and poke it with a stick to see what happens –and in doing that, explain why I believe a lot of their characterization was defanged in service of smoothing their past with the hylians instead of deepening the culture on its own terms, and why I’m a little apprehensive about what that might mean for TotK even though I adore seeing the best girls at it again.

Those are the uhh terms of service??

And now, we must go back to 1998.

OCARINA OF TIME ERA

There’s so many things about the gerudos that are noteworthy and rich, and they’ve made for a complex piece of Zelda lore ever since their introduction –and when I say complex, I don’t 100% mean it as praise. The very racially charged decisions made about their inclusion have been discussed at length by the fandom, especially when it comes to orientalist and Islamophobic tropes being deployed pretty thoughtlessly in Ocarina of Time (their sigil being literally a crescent moon and star originally, the parallels are pretty obviously there).

We’re talking about a band of amazon-like, big-nosed brown women from the desert ruled by a single Scary Evil Man born once every hundred years hellbent on conquering Hyrule who they apparently worship like a god, characterized primarily as thieves, decked in jewelry and orientalist-inspired harem/belly-dancing clothing, hostile to the white good guys of Hyrule (especially men), unblessed by the Goddesses and so deprived of elongated ears (this is true for OoT –we’ll come back to that), also known as a demon tribe with their deity straight-out described as evil-looking by Navi (on my way to cancel you on twitter Navi you watch out), and secretly led by evil twin witches who can turn into a single seductress and, as two mothers, raised their Scary Evil Guy king who happens to basically be the devil.

In so few words, gerudos are the future that liberals want.

It’s worth notice, also, that Ganondorf’s characterization in this game is… kind of relentlessly uncomfortable to play through, especially before the 7 year skip. The utter assumption of depraved and evil intents from every character surrounded by dialogue that does little to hide its biases in spite of having generally very little proof to back them up –even though, in the game’s context, every character is correct to call his eyes evil and the darkness of his skin a moral judgment in on itself. The scene where Zelda demands that we believe her conclusion that the sole and only brown guy in the entire kingdom is evil and will do harm, and the game straight out refuses to progress until we concede that her dreams are prophetic and that this man must be stopped at any cost even though she has no more proof than her discomfort… hits different on replay.

I’m restating all of this not to pretend I’m making a novel and thought-provoking point, but to bounce back on a tumblr post I saw a while back (that I can’t find anymore!! I’ll link it if I find it again) –and so express what it is that gripped me with the gerudos in spite of their pretty damning depiction… and actually maybe thanks to it.

There’s a surprising amount of texture to Ocarina of Time’s worldbuilding that exists folded within the things introduced and left hanging, or in its subtext –and whether on purpose or not, I believe it is why people keep coming back to this iteration of Hyrule.

What was that about the king of Hyrule unifying a war-torn country? Why did the gerudos break the bridge connecting them to the rest of the kingdom during the 7 year timeskip while still worshiping Ganondorf, and why are the carpenters trying to rebuild it against their apparent wishes? What was that about gerudos imprisoning hylian men trying to force entry into their lands? What was that about the secret death torture chambers right next to the Royal Family’s tomb and connected to the race of people who were, apparently, born to serve them?

Nothing? Oh okay… okay… okay….

The same can be said about this strange depiction of this hostile tribe, consistently described as wicked yet suddenly friendly once you prove you deserve their respect once you... defeat them, so you now have joined them? Ocarina of Time isn’t very consistent when it comes to characterizing them as their occupation (thieves) or as a proper culture, with a king and a strange system of rulership that seem to involve at least 5 people: Ganondorf, the Twinrova, Nabooru and the unnamed random woman who decides you’re now part of the gerudos because you slashed enough of them with your sword and hookshot, which, uhh ok.

They’re but a ragtag and negligible group when discussed next to gorons and zoras and hylians, but they also clearly have their own religion and at least a 400-hundred years old history (probably far longer than this) and hints of a written language of their own. I’m not sure the game itself knows what it wants them to be, beyond: intimidating and hot and cool, but also wicked and, because of Ganondorf and the way you barge in their forbidden fortress (heh) with the explicit intent to dismantle their king, in apparent need to be saved from themselves.

Speaking of rulership and the Spirit Temple, let’s have a quick tangent about Nabooru: I always found her characterization when meeting with Child Link pretty strange. I refuse to mention the promised reward, which feeds into everything orientalist mentioned above, but I always found her moral compass so extremely convoluted for someone coming from gerudo culture. Nabooru says that, despite being a cool thief herself, she resents Ganondorf for killing people as well as stealing from women and children. Stealing... from women. Nabooru. Why are you this pressed that he steals from women!!! This feels so out of place, that the only girl of that hostile culture that betrays her king and befriends you, is the one that upholds moral values that only a hylian could possibly hold.

Either way: the strange unquestioned contempt of the game for them as a culture, mixed with the occasional bouts of heart, friendliness and badassery, makes it hard not to consider their depiction as pretty biased in favor of the hylians finding them at once exotic, scary and exciting, and could hide a more complex reality you might only get one side of –especially when you know there were originally plans for Ganondorf’s character to be more gray and motivated than what the campy final version ended up being. To be blunt: even in the context of a game for children, and maybe because of that fact, it all reads like a reductionist and imperialist/colonialist reading of a more complex situation.

This might seem like A Lot coming from a game where the actual game writing can be this overall flimsy and simplistic due to the standards of the time (it’s rough, it's so rough). But I would have never dwelt on that thought about a little children’s game if not for the mainline entries that came soon after, because... ooo boy.

The sense you’re not getting the whole story was certainly not helped by the introduction of Wind Waker Ganondorf, and the chilling emptiness of Gerudo Desert in Twilight Princess.

AFTER THE TIMELINE SPLIT

(I’m skipping Majora’s Mask, not because I dislike them in the game or think they’re not worth talking about, but because it’s a parallel universe and they’re never even called gerudos and their reality seems extremely different from their sisters in Hyrule so I think it’s okay to call them tangential and not dive too deep in this particular depiction)

Here’s something I want to highlight about gerudos and how they were characterized before BotW came along: their absence. Not only their physical absence, the lack of any gerudo character that calls themselves gerudo, but their absence from the text itself.

It’s not that Wind Waker and Twilight Princess retroactively scratch them off existence: we can clearly see Nabooru’s stained glass art in WW as well as recognize them being mentioned in Ganondorf’s final boss soliloquy, and WELL there’s quite a lot to say about their imprint over the world of TP. They are there –or at least they... were there. But nobody ever talks about what happened.

In Wind Waker, there was the deluge. It’s assumed lots of people died then, and those who survived scattered across the Great Sea. Are they sealed under the waves? Have they drowned? Is Jolene, Linebeck’s ex-girlfriend in Phantom Hourglass, a distant relative of one of the rare survivors? It’s unclear, beyond the fact that Ganondorf is the only living gerudo we see in this entire branch of the Timeline split.

In Twilight Princess, the desert which bares their name is empty. The hylians never mention that it used to be the name of a tribe: they’re not even named when Ganondorf is introduced for the first time, reduced once again to a mere band of thieves. We learn his plans to steal the Triforce in OoT were foiled, and that he may have turned to war. Then he lost the war, and was executed in Arbiter’s Ground: a strange structure in the desert, a mixture between a temple, a prison and a coliseum. What looks like gerudo writing coexists with hylian symbols, which often look much fresher. This dungeon is the Shadow Temple of TP: a prison hosting the worst criminals the kingdom has ever known, now haunted and cursed. Besides the locations, the only character that vaguely look gerudo in the entire game besides Ganondorf is Telma, a character with pointed ears that never seems to identify as anything but a hylian. What happened? Who’s to say. Nobody ever says anything. Not even Ganondorf bothers to mention them the way he did in WW –and though the game’s story is quite focused on another exiled tribe seeking revenge and dominion over Hyrule as retribution, the parallel is never explicitly drawn. So who’s to say what happened there. Who’s to say.

And in A Link to the Past and the games forward? The only mention of other gerudo characters are Koume and Kotake, resurrecting their son in the Oracles games through their own sacrifice and failing to bring anything back but a monstrosity incapable of making conscious decisions. Granted, most games in that extremely weird Fallen Timeline predate OoT and therefore had yet to make gerudos up at all. Still: canonically, between the gap of OoT and ALLTP, whatever it may be, gerudos disappeared here as well.

I think there’s something subtle and a little heartbreaking about the fact that no matter what Ganondorf does, the gerudos always end up dying out. His yearning for Hyrule, its gentler wind and the Triforce blessing its lands always costs him the kingdom that he does have already.

Now, does he care? A lot of people would argue that he doesn’t, that he used them like pawns for his own ambition and saw them as servants more-so than sisters, and I wouldn’t be surprised if it was Nintendo’s official opinion, but… One very powerful thing about most of Ganondorf’s incarnations (focusing on the human ones) is that he never seems to reject his cultural heritage. They could have gone for him wearing more kingly hylian stuff given the whole underlying theme of envy and pride surrounding his character, but never once does he try to look more hylian, beyond the ear situation that seems to be tied to the Triforce of Power? Either way: he is gerudo. Several of his outfits reference his mothers, as well as general gerudo patterning and jewelry. His heritage is something he proudly displays, even hundred of years in the future when there is no one left to remember what it means but him. I think it’s a very potent piece of characterization, an arc that crosses over multiple game and says something pretty intense about this character’s fate and his inherent destructiveness over the things he touches –starting with the Triforce, all the way up to his very own body and mind. His mental breakdown by the end of Wind Waker, when the king of Hyrule himself forces him to give up on the thing he sacrificed everything for, takes a new kind of weight with the whole picture taken into account.

(not to excuse genocide or general egomania-fueled madness and violence, but one thing doesn’t mean the other isn’t also relevant)

Regardless of whether this is a tragedy for Ganondorf as their uhh complete failure of a king, honestly, it is undeniably a tragedy for the gerudos themselves: a once-in-a-lifetime joyful event turned into a never-ending nightmare from which there seems to be no escape, their legacy now condemned to fade to black, leaving nothing behind but a demon boar forever laying ruin upon the world.

One may say I’m taking on the bleakest explication for the gerudos’ absence when there could be others. It’s true! Perhaps the gerudos are just chilling off-screen, completely fine, not interested in whatever is happening in the kingdom nearby and their disaster child having yet another temper tantrum about not being the Goddesses’ favorite boy. It’s possible! But regardless, what little elements we do possess as players doesn’t seem to support this, even if it remains possible –and regardless of actual gerudo lives, gerudo culture is definitively a goner in every single timeline.

Even if they did survive... Hyrule still won its unification war.

(I won’t mention Skyward Sword as they are not really a thing there, except for a butterfly that seems to suggest the Gerudo Province was a thing before the gerudo people –I don’t know what to do with this honestly– and the whole Groose situation, which, I’m not sure what to make of either beyond the fact that he may have gotten cursed by opposing Demise? And then went on to start the gerudo tribe, which ended up being an all-women group for some reason? Maybe? It’s not confirmed? I feel like it’s more of a fun tidbit than a central piece of the gerudo puzzle, so I’ll leave it there like I would a cool rock I brought back from a walk and that I don’t know where to put in my house)

Then, Breath of the Wild happened and changed things.

BREATH OF THE WILD

(Additional short note, but: while I won’t mention Four Swords Adventure, since it’s a weird one that almost nobody has played and severely messes with the Timeline, we kind of see the beginnings of what is about to happen in Breath of the Wild in this game –gerudos coming back without much explanation, then distancing themselves from Ganondorf to become friends with hylians because he was too hungry for power and now they are nice and have good reputation because they are our friendsss)

I was actually so happy to learn gerudos were making a comeback in a mainline Zelda game, and this got me more excited about Breath of the Wild than basically anything else the game involved. And getting to explore the Desert once again, meeting this new batch of impossibly tall buff girls, getting more about their language and their culture, Riju and the rest of the little girls are adorable, the grandmas are so cool, the sand seals??? sign me the fuck up??? And above it all, hanging around Gerudo Town at night and feeling as warm and cozy as little me liked to imagine how freeing it would feel, to stay there and watch the desert behind the safety of their walls in OoT… This was great. I loved it.

It was a huge compensation for the criticism I’m about to make, but did leave me with… questions regarding how their culture was going to be handled moving forward.

I’ll start with something small yet deeply revelatory, then work my way from there.

So... gerudos’ ears are pointy now.

This is pretty significant. Lore-wise, it’s been said that the elongated ears of hylians are there so they can better hear the voices of the gods. It’s considered a sign of holiness in-universe. There's a bunch of really thoughtful analysis on tumblr over that whole Ganondorf ear situation, which is a mess but also very interesting, but the short answer is: I think the absence of pointy ears was a clear design choice to originally signify them as Less Good. Even when Ganondorf gets pointier ears, they never get as long as hylians’. Worth noting: not every non-gerudo character has pointy ears: gorons, zoras and ritos (among others) do not possess this trait, and there are even some humans that have regular rounded ears in the series –though they always seem to be of lesser relevance, if not downright peasants in Twilight Princess. Pointy ears always tended to implied a strict hierarchy in the series: basically, the more pointy, the more Protagonist you become.

(also their eyes becoming green instead of the traditional yellow/golden, which looks more wicked and demonic --and cooler also tbh)

The pointy ears imply two things. From within the game, this could be interpreted in two ways: either that gerudos… converted, for a lack of a better term, and are now considered holy through their worship of the Golden Goddesses and/or Hylia, or that their mingling with hylians through tens of thousands of years had them acquiring this trait out of sheer genetic override (though they have kept their mostly-women birth rates, their big nose, darker skin –for the most part– and red hair). Probably a healthy mixture of both. Design-wise, it signifies something quite simple to the player: they are on hylians’ side now. They are good guys. We can trust them, even if they still have a little spice in them. They aligned themselves with us and against Ganon in all of its manifestations (even if he’s but an angry ghastly pig being parasitic to everything it touches in this iteration). They are on the side of Good, definitively, and will fight evil by our side.

On that note, I think it’s worth bringing out another major change from their initial iteration, which is their overt friendship with Hyrule as a whole, and with the Royal Family in particular. Despite not allowing any voe inside their walls (we’ll come back to this), their relationship with hylians is pretty neat. They have booming trade roads, travel and meet with the rest of the cultures, and are fierce enemies with the Yiga clan, who are renowned for being huge Calamity Ganon supporters. The tables certainly have turned. I want to bring out, in particular, Urbosa’s friendship with the queen and her role as the cool aunt taking care of Zelda and protecting her from evil (to be noted: I am not familiar with Age of Calamity so if I’m mischaracterizing her in any way, please let me know). The gerudo sense of sisterhood has been extended to the royals they used to fight against. I would go on and say the cultures peacefully coexist, but I think that what we’re looking at here is a case of vassal behavior, just like we used to have from zoras (in the non-Fallen Timelines) and gorons. This is a huge departure from gerudos being openly rejecting of Hylian culture in their initial iteration, and something that is worth returning to later.

Okay. Now it’s time to mention the weird obsession BotW gerudos have with romance. I didn’t take notice of my issues with their writing until I realized how prevalent of a theme that was. Now, the reason given for gerudos to refuse entry to males (of every race) has much more to do with preventing young gerudos to make mistakes than anything else, and is actively being put into question by the younger generations –which would make sense. But the amount of NPCs that either lament their lack of match, talk about their husbands (because they marry now apparently) or are invested in romance, and a very limited understanding of romance at that (heterosexual, closed, etc), makes for much more of the population that I initially expected. There’s no mention of what’s going on with their males, if there are new males being born and either exiled or abandoned, or if Ganondorf being technically still alive have have cut them off male heirs. Either way: no more kings, only girlbosses chiefs.

To have the gerudos so interconnected with Hyrule, not only through trade but through extremely coded romance where they have to make themselves palatable to a future male partner and enforce fidelity, was… a choice. The extremely brief and skippable mention of gerudos sometimes going to Castle Town in search for boyfriends in OoT became half of their personality traits in this game. We went from a race that was fiercely independent and mocking of the unworthy men who tried to mingle with them, to… this. Now I’m not saying some of the sidequests aren’t cute, or that I didn’t like the wedding, or that the grandma near the abandoned statue of Hylia (so she was worshipped at some point) clocking us and talking about her love life wasn’t one of my favorite gerudo conversations. I’m saying that the vibes have definitively changed. For the better? I’m not sure.

I once stumbled upon an article that said that Breath of the Wild gerudos were a huge improvement compared to their original introduction, because they were no longer presented as evil and hostile thieves groveling at the boot of a single man, but as a full culture allied with the protagonist and actively involved in the story, while still getting their Cool Girl Badass moment (again can’t find it anymore, I’ll link it if I stumble upon it again). I see where this comes from, but I honestly can’t help but consider it a reading that assumes something pretty major (though through no fault of their own, as the games tend to hammer this down as hard as they can), and that being hylians as the unquestioned anchor of Good.

Which, in spite of what the games want me to believe, I… feel uncomfortable taking at face value.

To me, regarding how gerudos are being incorporated in that goodie narrative, this is kind of a case of surface-level feminism trumping over colonialist/imperialist concerns. It becomes more important to perform the aesthetics of being cool and friendly and independent than scratching at any deeper problem that would risk making people uncomfortable. This is kind of Green Skin Ganon all over again: oh wait, isn’t it a little icky to have the evil bad guy being brown while faced by the most aryan-looking ass heroes of all time? Okay, then let’s take the brown guy and make his skin green so we don’t have to feel bad anymore that the conflict has racial undertones!! Solved!! There’s nothing questionable about changing a PoC's features to make it more monstrous and less human, right?

To me, it’s kind of the coward option: instead of accepting the messy reality those initial choices created (and their interesting nuances if taken at face value), let’s just… rewrite the PoC culture’s history to make it feel less uncomfortable for the white heroes. In many ways, it is an extension of what hylians have always done: scrubbing the weird and messy things about the past and shoving them deep down into the spooky well and far into the desert prison and away in alternate hellish dimensions, and then make up a very simple story where they get to feel good about themselves –except this time, it’s the fabric of the games, the literal reality, bending backward to make it happen. Which, in my opinion, makes it much worse than before. Now, there’s no conversation. The fabric of reality is changing their own history so that there is nothing to discuss anymore. Ganondorf was always evil incarnate. He never had any point. It was always 100% his own fault, his own hubris, his own fated wickedness. He was always demonic (and green, very important –having a flashback to people on twitter accusing artists restoring the TotK green skin to the original brown of wanting to make Ganondorf black, and like….. how do I put it gently…..)

And, above all else: gerudo are to distance themselves from his legacy so they can stay in the club of the Good and Just and Holy.

Because here’s the messy thing: as much as I love seeing the gerudos again in Breath of the Wild and as much I love for them to have survived the Era of Myth (??? somehow ???), this… kind of changes Ganondorf’s character arc. No longer do we have the story of a king who wanted more, either for his people, for himself or both, and led his culture to its destruction in his search for absolute Power, while remaining ironically incapable of maintaining what little he already had. This starts from him kneeling to the king of Hyrule in OoT and leads to the deluge, Arbiter’s Ground, his own mothers dying for the sake of his failed resurrection. Breath of the Wild changes this: now, the gerudo were apparently fine without him? They apparently did their own thing and became suddenly and inexplicably disconnected from his actions? I know it’s kind of implied they side with hylians at the end of OoT, but it’s honestly never really explored why they would cheer for the death of their king while never seeming to resent him before except for Nabooru –there are mentions of brainwashing for those who resist him (as well as “other groups in the desert”, tho they are never mentioned again), but it’s hardly a proper plot point for the majority of the tribe, aaaand they still die by Wind Waker in the Adult Timeline, in spite of their potential alliegance…

(again, this shift towards submitting to Hyrule actually started with Four Swords Adventure, getting crisper with each iteration)

There used to be this polite blur regarding Ganondorf’s relationship to them, how much he used them and how much he acted in their name (with arguments for both sides), and I think this messy and debatable question mark was one of the most compelling aspects of his character. Gerudos rejecting their relationship at a near-cosmic, reality-bending level, removes a huge layer of complexity to both parties… all for the benefit of making hylians come out cleaner out of this whole exchange, their moral grayness barely a whisper in the distance.

I’ll kind of go on the record and say that I suspect the addition of Demise to the canon to serve a similar purpose (at least in part): if Ganondorf becomes but the manifestation of a demonic curse, and is no longer an extremely messy character brimming with agency and drive, forcing the heavens to reckon with said agency in a way he was never meant to access, born from a complex set of circumstances from which we clearly get only a limited and biased perspective, then it becomes extremely clear that he’s a Bad in a way that isn’t worth exploring further. Even if he does have some points, he is a Bad. It’s what matters most. Not to say I even hate what this angle can bring to the table or that I want him to become Good (I don’t –I’ll talk more about why I dislike most takes on him being a helpless victim to the curse), but once again, who benefits from adding another Unquestionned Baddie to the equation to rest upon? Not him, and not the gerudos, that’s for sure.

So. Why did I, me, personally, like the gerudos in the first place?

Beyond the inherent coolness factor of their culture and the fascinating mysteries of what is merely suggested, I think… I think I loved gerudos because we were obvious outsiders. Because their rejection of Hylian culture was so sharp and extreme, their value system so different, and their writing, their religion, their relationship to power and hierarchy and worth wanted nothing to do with hylians. They didn’t need hylians, beyond them having potential resources to steal. In fact, the threat of hylians influencing their culture was such that the entry to the Fortress was forbidden to everyone (I don’t think men were ever singled out, by the way, even though they are mocked relentlessly). I think there was something inherently hopeful about this semi-matriarchy resisting the outside world, and especially its notions of what girls were meant to be –it was 1998, and every other girl character in OoT, besides Impa and Sheik that?? is another can of worms entirely, is either helpless or someone to save. For them to reject this narrow vision of femininity was, in my opinion, much more radical than what we got in BotW. Less nuanced, more problematic perhaps? But also much more powerful. Gerudo Valley is home, not to a town, but a Fortress.

Hylians were worth being resisted.

In Breath of the Wild, their refusal to let men enter their town is kind of boiled down to a fading tradition over-focused on romance, a meek little game of chase. Their entire goal seems to be finding a hylian to settle down with. Say what you will about the single man and the many girls (never explored and completely open-ended in its implications, btw), but at least it wasn’t… that. At least it opened the way for different ways for people to exist and imagine culture and civilization, outside of the heterosexual couple, the christian-infused patriarchy and its trickling down implications. What I want to say is: let my girls tell hylians they ain’t shit!! That they aren’t the end all be all of reality! This is what made gerudos so compelling in the first place! Where is that bite now? Where is that self-definition?

It’s gone, because hylians need to be Good. So we tee-hee at the creep running laps around the town, we disguise ourselves to breach their trust and infiltrate their town (though there is nuance to be had there, gender be complicated etc), we watch them pine after shitty dudes and take classes to become the perfect approachable woman and make love soups with ?? strange ingredients honestly, and we witness them get very friendly with the Royal Family they used to conspire against, dying to protect the princess against the manifestation of their ancient king reduced to a raving puddle of Bad Boar.

Hyrule, unified against him.

TEARS OF THE KINGDOM

For posterity’s sake: this post was made before the game was released. I’ll probably update my thoughts on a separate thing later on.

I don’t think gerudos allying with the hylians and burying their own legends about Ganondorf as deeply underground as they can until it blows up in their face is a bad setup at all. It’s actually pretty juicy, and there’s a ton of fascinating stuff that could happen here –even some involving gerudos taking a firm stand against him while still reconnecting with their past and the choices they made once. This is my hope with the title of the game: Tears of the Kingdoms. Let’s examine them all, account for the damage, and decide how we move forward from there with the full knowledge of where we come from.

What I am afraid of (and I already made posts about that) is the scenario where gerudos rallying against Ganondorf, which I expect will forcefully try to take back his place as their king, is used for cheap feminist points that completely fail to examine, well. Everything mentioned above. Where reality bends itself out of the way of the Goddesses, and hylians’ responsibility in any of this mess, so that everything bad is 100% Ganon’s fault and so he must be cast aside and torn away from the Cool Gerudo Girls and this is 100% justified and deserved because we are Independent Women Who Take No Shit from No Men (unless they are the king of Hyrule or any random hylian they wish to marry apparently).

I’ll say this here because it’s been burning my mouth every time I see discourse about Ganondorf and the gerudo: gerudos declared him as their king. To make a really bad comparison that I dislike: he didn’t run around to assemble girls and make a cult around himself, he was born with the cult already formed around him (and it’s not a cult, it’s just a different mode of governance –hylians also revere the Royal Family like gods, don’t they?). This heavily changes the dynamics at play. Not to remove any agency from him to do a little invasion about it, but chances are the ancestors to BotW’s gerudos fully expected him to behave in this way, at least to a degree –in OoT you see very plainly that they value physical prowess, feats of thievery, witchcraft and general violence. It’s more complicated than him being a Bad and making the poor helpless women go along with the plan uwu –even taking the brainwashing into account, AND Koume and Kotake counting as gerudos too, even if they might not be not fully innocent in shaping the culture and the man himself. If manipulation and forced servitude is the explanation given, I’ll be genuinely mad –because, once more, all the nuance and messiness would be flattened for the sake of making Ganondorf Bad and the gerudo Good (= on hylians’ side).

It bears to be said: I think feminism stances that require, not to criticize (which is fair), but to fully dehumanize and bestialize men of color to make any sense are uhhh bad, and it's worth questionning who they end up serving in the end.

The flip side of this would be to make Ganondorf a poor little meow meow that was secretly controlled by the evil Demise all along, and... I’ll be real. I really don’t think it solves our problem at all. It might even make it worse.

My problem with how gerudos have been handled thus far, being mostly connected to how they behave in relation to hylians Good, is that they’ve been systematically defanged not to threaten the status quo as much as they used to. I think it’s pretty clear why I’m not a fan of Ganondorf being a mere victim of cosmic circumstances; I have a post that goes more in depth about this, but to simplify: my man has legitimate grievances. To make him a mere puppet to Evil Incarnate would, to me, be just another attempt to erase the despotism of the Goddesses, the unjust hierarchy of the world, what hylians have historically done to the races they were in conflict with (looking at the Yiga for the most recent example…)

I’m not saying his fight is clean or even legitimate, that he isn't driven by his own sense of self-importance above anything else, or that he should win (he has no plan beyond domination and victory, that's not a future). But I think there’s something really important about having someone being willing to fully consume himself and everything around him for the simple fact that someone should resist the order of the world. Even if that makes him a heartless, cruel, and egomaniac demon-pig. Even if there’s no Hyrule left to rule. Even if his own people despise him, or are long gone and forgotten.

Is it a little heart-wrenching? Uhh yes to me yes most definitively. This is why Wind Waker Ganondorf hits so hard, and remains (I think) his favorite entry in the series so far. But… I still find this fate of eternal resistance more resonant and empowered, and far less grim, than if Hyrule’s lore absorbs his hatred and rage, gives it to another entity that would be Badder (= more opposed to hylians and the goddesses), and scrubs it off anything icky and uncomfortable, rendering it completely domesticated and non-threatening to hylian domination; rubbed of his skin color, of his complexity, of his own emotions, even made... kind of sexy now, in the same way his sisters have been made before him? I am very, very afraid of him being turned from furious and an unapologetic subject in his own legend to a "redeemed" (according to whom??) and palatable object in somebody else’s, that you now end up having to… save from himself.

Again, I want to trust that Tears of the Kingdom can walk that line and preserve everything sharp and contrasting and profound and thrilling about this fascinating setup. I don’t expect a philosophy course, this is a game for children –but it doesn’t mean Nintendo didn’t do an astounding job with similar setups in the past. Again, I’ll invoke the Wind Waker conflict, but Twilight Princess did a lot of great things as well (Zant’s speech, if you can get past the weird stretches and stumping and NNHYAAAs, is pretty fantastic) –and the subtle writing of Majora’s Mask is also proof enough this series can be complex without being impermeable.

So this is where my hope lies. Not really with BotW’s writing, which, I’m sorry to say, but I found to be below what the series has done in the past (I have no problem with the setup and how the story is explored, I think it was a great idea, but wasn’t ever sold on the actual writing the way I may have been with previous titles –it felt… very tropey to me overall, with a couple of highlights). But Nintendo has shown to know how to write compelling stories for children that know where to sprinkle its darkness and how to preserve its hope, and this is this side I’m relying on for this delicate storyline moving forward.

And now? Now… I suppose we wait and see.

(thank you for reading my impossibly long essay what the actual hell, at least I got it all out of my system, see you in part 2 for when TotK comes out I suppose aaa)

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edandstede · 7 months

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racist fucks out here acting like ed is doomed to become abusive like his father, like he is a violent monster, as if his arc isn’t about learning that he isn’t a monster at all but just a man. how are you looking at ed accepting himself, overcoming feeling like he’s the literal kraken, that he’s loveable and worthy of compassion and kindness even when he thinks the worst of himself, and drawing the conclusion that he’s an irredeemable thug - which is, by the way, what every fucking villain and antagonist thinks of him. you’re aligning your view of him with the bad guys, y’know, the ones who call him a donkey, low-born, and try goading him into violence over and over again because they think that’s all he’s worth? and yeah that includes izzy, because he did that too, it’s 90% of what he fucking did, treating him like he only deserved to live if he was performing hyper masculinity the entire time and the second he stopped he was worse than dead.

we are supposed to feel sorry for ed. the way he feels is heartbreaking. he was abandoned, had his worst fears confirmed to him by stede leaving and izzy pressing on the wound in the worst possible way, and then he fell completely into depression and suicidal ideation. he thinks it’s all he’s good for. he can’t be loved, he hates himself, he’s just the dick who killed his dad and nobody wants him for him. how can you see this very obvious spelled-out agony in him and say “hey, that guy is gonna abuse the man he loves, he’s an abuser just like his dad” you guys are just absolute bottom of the barrel scumbag dickheads, you really really are. you could not be more blatantly racist. you know damn well the show is not saying what you’re claiming it is.

also, insisting that he would ever hurt stede is just completely ignoring every single fucking thing about him. ed would never. the only fucking time stede is physically hurt by ed is when he wakes up from literal death and headbutts him. that’s it. i think we can all agree he didn’t even know what planet he was on when that occurred, and he petulantly says “good it was supposed to hurt” during a squabble that ends with stede telling ed he loves everything about him. pull the other one if you think this was ever framed as ed seriously wanting to hurt stede and not an incredibly hurt and vulnerable man still acting on a half-dead brain.

like for fuck’s sake this is the same man who hides under stede’s robe and presses his head to stede’s hand when he cries after telling him - the only person he has EVER TOLD - about killing his dad. he tells stede about the plot to kill him, and he cannot do it. he can’t lift a finger to him, he never would. he holds stede’s face with both hands when he kisses him and tells him he loves him. he brings him breakfast with a bit of twine on ‘cause he panicked and thought it needed a flourish. he rubs stede’s cashmere against his cheek. the first thing he says makes his life worth living is warmth. he imagines stede with a big goofy sweet grin and gold sparkly goldfish tail coming to save his life. he just wants to retire and have his inn with the man he loves and not worry about stede ever being in a near-death situation again. he wants stede to be safe with him. at no point are we remotely told in the text that we should be genuinely worried ed will ever, ever physically hurt stede. he protects this man with his WHOLE BODY twice and signs an act of grace to avoid him being shot. he tries to get ned to leave him alone when they’re being tortured. he jumps off the boat with jack to swim back to him and he rows back to the republic to find stede too.

he loves stede, would never hurt him, and you’re all just fucking sour your fav died and you’re saying any old shite as a result. swear to god if i catch one more of you even so much as insinuating ed is abusive i’m gonna start lobbing off toes as well.

#i’m mad #so help me if the izzy apologists find this I’M going to become monstrous #quill to paper

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cannellee · 7 months

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hey, pls cant you do Mikey, Izana, hanma, kakucho and koko (manila arc) with a s/n temperamental, impulsive, umpredictable Dear who as bipolarity and 0 empathy, insensitive with mbti intj? Bean years younger than them, like a teenager. Thanks!

TOKYO REVENGERS OMEGAVERSE ★

୨୧ alpha! Tokyo revengers x omega! Reader (pairing: mikey, izana, hanma, kakucho, kokonoi)

— their reactions to an unstable s/o

(that's a lot! I'm not very familiar with any of these - forgive me if it's not really representative - and I'm not sure if I quite wrote the reader you had in mind. I hope you still like it!!🫶🏼 I just realized i forgot kokonoi, I'll probably do it later if I'mmotivated sorry)

my masterlist : ☆

KAKUCHO

he is very attentive of every single details about you and completely supports you no matter what.

he always has the right words when you're feeling down and respects your boundaries.

he often hesitates to leave you some alone time or to actually listen to his instincts and stay by your side.

he's aware you value moments of calm and peace and doesn't want to interfere and stress you out.

he's so delicate with you and always there during your episodes. he started to take note of your triggers and symptoms early in the relationship to make sure he could offer you the best support.

if you have to take treatments or medications, he has it all planned, he knows exactly when you need to take them and make sure you do. he doesn't want to risk your health!

he's so patient with you:( when you get irritable easily he gives you time and space and silently envelopes you with his calming pheromones. and when your thoughts are racing and you're not able to talk clearly, he's making you slow down, he doesn't mind if you repeat yourself and stutter over your words : he's actively listening and nodding along to whatever you say.

MIKEY

mikey tries his best to be understanding but honestly he sometimes crosses the line.

he knows you have a short temper and gets angry easily, especially when you're tired. most of the time, he'll try to appear calmer to make up for your restlessness, but there are times where he'll purposely get on your nerves.

angry, you end up saying something hurtful to him to make him shut up and go inside your nest to get some rest. he's kinda used to you cursing at him so he doesn't really take it to heart. it kinda amuses him if you ask, he just thinks you're really cute. his adorable omega getting all worked up everytime he messes up with her is truly a sight to see for him.

he's very careful with you though, and that's something people don't usually notice. you tend to do things out of the blue without a second thought and that scares mikey. it's most of the time harmless stuff, but he can't help but worry and think of the worst.

he tries his best to make sure you feel at home and comfortable with him. he doesn't judge you or anything. if you don't want to do anything at all and rest all day, that's fine with him, he'll even help you build your nest!

the only thing he wants from you is to stay loyal to him and never leave him or for you to hurt yourself. he values your health, probably more than you and accepts any of your mood swings with teasing remarks and comforting hugs.

IZANA

he's so whipped he absolutely doesn't care about anything you can do or say to him.

you can suck the money out of his wallet and not even thank him and he'll accept it. you often demand things from him, order him around when you need to do your nest but you're too tired to do so, make him buy you the finest jewelry and lash out at him if you don't get what you want. izana does it all and feels proud to be able to fulfill all of his precious omega's needs.

you often surprise him with your antics. it's not rare for you during one of your manic episodes to engage in risky behaviours and being overconfident. lucky for you izana is always keeping you under his watch and is quick to bring you somewhere safer and eliminate any danger.

he's always impressed at how long you're able to sleep. he'll leave for work early and come back at night and find you at the exact same place. it warms his heart to see his sweet omega looking so peaceful he wants to join you right here right now!

he does his best to keep up with your change in appetite. he constantly buys you a lot of food, the most diverse he can find and lets you do your little selection each day. he does worry when you eat very little though. that's why he tries to buy sweets and snacks he knows you love best. he's able to adapt himself very quickly, that's why he identifies which food you like to have during each episode or depending of your symptoms.

When you reject what he offers you with a scowl on your face, he takes it to heart and actually feel like he somehow failed as your alpha. he listens to any of your requests in hopes to make up for his mistakes.

HANMA

good luck with him tbh.

he met you when you were studying at the library of your university, although you surely were the prettiest omega he had ever seen, you seemed to drive people away from you. you didn't engage in social interactions and answered him with short and cold responses when he tried to make a conversation with you.

he actually is very fond of your extreme mood and snarky remarks : you never hold back your words and he loves it.

he doesn't reciprocate because deep down he cares a lot about you, but he does tease you when you don't seem really sensitive.

hanma absolutely lives for your choices and decisions in life, it doesn't matter how crazy and dangerous they are. he'll follow you and discreetly make sure you don't jeopardize yourself.

he has a lot of money and he'll happily let you spend it. he only asks for a few kisses and affection from you because he knows you hate that. push him away and he'll come back even more in love.

although he supports everything about you, there are things he doesn't tolerate. when you once felt like trying drugs and alcohol together, he took them away from you and looked the most angry he ever had. you would have shaken in fear if you were just any omega : his pheromones were filled with worry and anger, it was a new scent for him who was always so confident.

actually convinces you to quit school to live with him. your episodes make it hard for you to be around others for long periods of times, especially since you're an omega and you're drained easier of your energy. he doesn't understand why you just don't accept being with him 24/7.

you sometimes question why you actually listened to him because he seems to love provoking you. you do threaten him but he doesn't care.

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the-ginger-avenger · 1 month

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My main gripe about how Ted Lasso handled Jamie and James’s relationship in the second and third season is that, in a way, it contradicts Jamie’s arc from the first season. And I LOVE Jamie’s arc from the first season. I love how sweet Jamie became later in the show, but if I have to pick a Jamie, it would be season one Jamie, hands down. Even with him being an egotistical jerk. Even with him pushing back against everyone who tried to help him. Because that progression he had from the beginning to the end of that season was the most heartfelt, emotionally gut-punching arc for me. And then they ruin it.

Because what is Jamie thanking James for in Mom City? For pushing him to be a better player? Even if you ignore Jamie literally saying in the bonfire episode that his mother is the reason he works so hard, the whole point of his arc in season one was that, while he was a good player, he wasn’t as good as he could be BECAUSE HE WAS THE PLAYER HIS FATHER PUSHED HIM TO BE. Listening to his father, making it all about HIM, acting like he was the only good player on the team, was actually holding him back. And even in the second season, when Jamie talks to Ted about how James keeps pushing him, it’s about the wrong things: how long he plays, how long he sits on the bench, how many times he scores. Every single thing that goes against what Ted was trying to teach Jamie in the first season. So what is he thanking James for? Why did they have Ted go from trying to get Jamie to stop acting the way James wanted him to act, to telling Jamie that a lot of famous people’s dads were “real pieces of work” as if that was the reason they ended up working so hard or became great (can you imagine if, instead of telling Rebecca that she’s not the only one who could see who Rupert actually was, Ted told her that a lot of strong, independent woman had ex-husbands who were “real pieces of work”? It’s infuriatingly dismissive)? And if he’s thanking James for pushing him to be a better player, then he’s thanking James for pushing him to be the player he was in the first season, which they spent at least eight episodes trying to get Jamie to not be that way??

And I honestly don’t think the writers really knew why he was thanking James. You can compare Jamie’s speech in Mom City with Ted’s speech to his mom. Ted clearly lists out what he’s thanking his mother for and what he’s angry with her about. Which works out great because the audience has never met Dottie before. The show only gave bits and pieces about what she was like, or what her relationship with Ted was like, so they had Ted clearly state why so the audience could understand better.

But not Jamie. He doesn’t have to state why he’s angry with his father because the show went to great lengths to show why. Nothing good or redeeming was mentioned about James once in the entire show. That character had maybe a grand total of ten minutes screen time, during which he threw a shoe at his son, screamed at him, got angry when his son wouldn’t let him and his buddies on the pitch, acted like he was going to hit Jamie, and BEAT UP BEARD. So, no, Jamie didn’t have to explain why he was angry. But then he says “thank you” and doesn’t offer any explanation. The show didn’t even give the audience any reason why Jamie should be thanking his dad. Unless, it’s somehow for pushing him. Which again, goes against his arc in the first season, and, in way, makes that whole scene feel like it was put in there solely for Ted’s benefit.

And they could have developed Jamie and James’s relationship more in the third season. Heck, they could have humanized James more, the same why they did with Rupert (who the show actually kept as a villain, who Rebecca let go of her anger towards but was never told to start a relationship with him again. Honestly, the parallels between Rebecca and Jamie’s characters and yet how differently the show handled their arcs makes me go insane but that’s a rant for some other day), but they chose not to which is honestly baffling considering how much screen time Jamie had in the third season. Nothing about his arc should have felt rushed or tossed in at the last minute.

And it’s so opposite from the end of his arc in the first season that it’s like watching two different shows? Because that season one finale? That pass he made at the end of the game? That decision to not listen to his father? That carried so much more weight and so much more character development than that half-baked forgiveness arc.

Because that pass? That was a CHOICE, man. It wasn’t something he did because he was trying to make amends with his teammates. It wasn’t something he did because his current coach was telling him he had to. He passed the ball, he gave up the chance to score the winning goal and the glory that would come from that, even knowing his dad was in the stands, even knowing how angry James would be, because he knew that was the better choice. He knew that made him a better player. (It was also a very strategic move. He knew Zoreaux, and every other player on Richmond, would never even consider that Jamie would pass the ball. You can even see how Zoreaux was fully focused on Jamie. In way, it’s kinda similar to that decoy play Jamie was so against).

And that moment between Jamie and Ted at the end surpasses any other moment they have because it was actually about Jamie, and everything that followed after (except for bringing Jamie back onto the team in season two) felt like it was more for James’s benefit. But that was Ted reaching out to Jamie, giving him that bit of encouragement and praise that his father should have given him. That was Ted, essentially saying “Hey, your dad is wrong. You did a good job." And it’s a very private moment. It’s not in front of cameras or the press or even in front of other players. Ted himself doesn’t even deliver the note. It’s as far from “mind games” as it possibly could be because the season is already over. Richmond has already lost. It’s a “good job, I’m proud of you, now here’s something my son gave me to protect me that I’m now sharing with you”. It’s something short and simple and quiet from someone who is usually very long-winded and convoluted and loud, and it is so much more sincere because of that and you can see how much that impacted Jamie.

And wouldn’t it have been more impactful, for both Ted’s arc and Jamie’s arc, if Ted hadn’t told Jamie to forgive James? If Ted had been able to heal enough to take a step back and look at the situation without it getting tangled up in his own trauma and guilt over what happened to his dad? Wouldn't it have been deeper for Ted, who later would learn that yeah, his son might end up leaving him but he still has to try, to have actually seen a situation where a son chooses to not reach out to his father? Wouldn't it have been more profound for Jamie to no longer let his actions be dictated by his anger or his feelings towards his father. He's no longer angry, but he's also no longer striving for his father's approval either. He no longer cares if his father thinks he's weak or not (kind of like how Rebecca stopped letting her anger and hurt over Rupert control how she reacted, and yet didn't have to start a relationship with him? But again, they paralleled each other and yet they took them in completely different directions). They could have had a moment that had the same amount of emotional weight as that scene in the last season, but no. Apparently we should just forget everything that happened in the first season because James was actually doing his son a favor the entire time.

#ted lasso #jamie tartt #james tartt sr #I don't know if this makes any sense #it's been a year and I'm still so angry over that mess of a third season #so many things that happened in the third season contradicted what happened in the first #and you don’t mess with that first season #that first season was perfect #they can pry that from my cold dead hands #this got super long sorry #the Ted lasso brain rot has come back #and sadly so did the season three hatred rot

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