#and if we get that for SHADOW? He of a thousand tragic backstories? oh its going to be peak cinema

[noccolibroccoli]

I'm watching the sonic 2 bonus features and I gotta say I don't care who they cast as Shadow I just hope whoever it is takes the role as seriously as Idris Elba and Jim Carrey take knuckles and eggman

#nacho talks #its just so great to me how both of them just fully immersed themselves in their characters and dont just write them off as kiddie stuff #and if we get that for SHADOW? He of a thousand tragic backstories? oh its going to be peak cinema #sonic movie 3

[airlock]

airlock grades the Camus archetype

next in this series, we delve into the world of fancy jackets, ebon horses, and loves that cannot be. that’s right -- it’s the day in the lives of the one who was fortunate enough to fuck off into the ocean with no memories, and all the other ones who just straight-up died!

(do note: under cut are spoilers for… everything, and also a significant amount of me criticizing or blamming characters that you might like. you’ve been warned! but if you’d press on, then I’m afraid I have no choice but to face you on the battlefield-)

a foreword

so, I’m not trying to end up rating every single semi-sympathetic miniboss out here; to this end, I will be working with a very specific definition of a Camus for this exercise. I do not claim it to be the definition of a Camus; it’s simply what I’ll be working with. it’s as such: a Camus is a secondary villain who is characterized as virtuous, but tragically doomed to stand against the player characters, either in keeping with the aforementioned virtue, because of an overpowering external circumstance, or both.

so, let us dig in!

camoo

(7/10)

there he is, folks! the man whose dick launches thousands of ships, hurtling into each other on a maelstrom of tragedy.

a multitude of appearances -- matched only by a certain trio of flying girls -- has given him incredible room to expand as a complex, dynamic character. where his original appearance alone might blip as gently tragic but not incredibly compelling, he’s incrementally gained a robust character, and ultimately got to be one of the ones who managed to elude the pits of data size issues in Akaneian characterization.

screaming camus

(1/10)

is it a stretch to tout him as a “virtuous” character? perhaps, but for the purposes of classification alone, intent weighs a little more than execution, and I think it’s clear that the writers had intended for Berkut to be sympathetic, but tragic, as far as secondary antagonists go.

unfortunately, though, they failed big time. Ian Sinclair’s stellar voice acting counts in Berkut’s favor, but little else does. his character is nigh-on pastiche and he seems to hog a lot of screentime without adding anything of significant interest to the story or to other characters. his motivations, while genuine enough, are irritatingly played by the narrative as being sympathetic when they absolutely are not; and worst of all, his fall from grace is severely cheapened by ending on a note of easy redemption that he does not at all deserve.

mongolian camus

(4/10)

in concept, this is a brillant player punch; as if Hardin wasn’t enough, you have to make enemies of even more of those who fought by your side on the previous game, and this guy -- alongside his underlings bar Roshea -- aren’t even fighting you because they’ve gone mad; they’re the same as they were before, and it’s only unfortunate that now, their master is no longer on your side.

however, further labor on the execution front would have been invaluable here. as far as Camuses (camusi? camii? camee?) go, the ole Wolfpack has a lot less time in the limelight than is par for the course, and the one-two maps they haunt don’t leave enough room to draw out the drama.

I’m not docking points for this, but New Mystery of the Emblem also does the Wolfpack a serious disservice in making them all recruitable. besides being a cowardly evasion from the tragedies of war that Fire Emblem is well-known to mercilessly portray, it’s not even a better outcome for them personally. like, have you seen Wolf’s epilogue? and it’s only further a shame after Shadow Dragon went and made Wolf and Sedgar so busted they may have had a better chance to leave an impression on the player -- which would then have made it all the more of a gut twister if they’d remained as full proper... goddamnit I’m not doing the plural Camus thing again.

wine camus

(10/10)

without hesitation, one of the most effective... camus characters, okay, there, I settled that... ever written. it’s sad enough when you have to snuff out someone nice because war is hell and the world is an awful place, but having the guy be the protagonist’s best friend is just ruthless.

and it’s not just text, either; it’s set up brillantly. Eldigan and Sigurd’s good bond is put well on display before it’s brutally shattered. he’s even given an unusual out in that you don’t have to kill him -- but if you don’t, Chagall will! hoohoohoo, Jugdral is the bestworst.

seriously, though, I think I’ve honest to god cried at least once about Eldigan, and making me cry is pretty difficult -- like, outside of an argument or other situation where crying totally sabotages me so of course my body will do that to me.

thunder camus

(5/10)

I appreciate an extremely powerful female character as much as anyone should, but other than that, I will have to admit that I don’t find her incredibly compelling.

although Genealogy of the Holy War may have been the game that gave us Hilda, it very much betrays the Kagaman’s hesitancy in letting women be villainous, and there are not many better examples of this than Ishtar here. as far as Camus characters (hahahaha! I am unstoppable!) go, she’s one of the most virtuous -- and also one with the flimsiest reasons for staying the course of villainy anyway.

like, sure, she has a boyfriend who turned into satan. we sure get told that. and then it stays as absolutely nothing other than text, when she tends to act like she’s being forced by the greatest of all powers to continue opposing you. Thracia 776 at least strengthens the script by depicting the extant relationship as an abusive one, which would shed a little more sense into things, but it’s too little too late; too late because it’s one whole game later, and too little because Ishtar and Julius are not focal characters of that game and don’t have enough room to expand in there. (plus, it’s not a great idea for Julius anyway -- he’s hellspawn, not a smooth operator.)

tiny hand camus

(5/10)

curiously, I’d actually bill Reinhardt here as a hybrid Camus-Michalis -- while his arc swallows elements of inevitable tragedy such as a star-crossed crush and a superior that he won’t defy, it never feels like he has to fight you in the way that a Camus normally does; rather, it feels like he chooses to anyway because of his shortcomings, in the way that a Michalis normally does.

and putting these things together... well, I’m grading the whole character here, but let’s be real, he’s far more effective of a Michalis than a Camus. intent regadless, sympathy isn’t usually the sentiment that he flints up, and I believe even Olwen is ultimately of that mindset; still, it gets to be a shame that he makes the choices he does when he’s otherwise not such an overtly repugnant type.

(I went this whole time not talking about Heroes, yes? that’s because I’m not going there. not the memes, not his thorougly botched characterization there, nothing.)

alamo camus

(2/10)

I believe that Galle and Murdock are intended as Camus characters (booyaka booyaka! shakalaka!) as well, but they’re so painfully inconsequential I’m not going to get sidetracked in their direction here.

Brunnya is not that much better off than they are, alas; she gets a little more screentime, but remains underdeveloped until her one chapter in the limelight. she does get to play an interesting role as a Camus who outlives her master and still decides to carry on his will, but we’ve seen better and more compelling all over this list.

double camus

(9/10)

oh, snap, there are two of them! ... well, so there were in Genealogy of the Holy War, but these here bros aren’t to be analyzed in isolation.

the moral complexities that they play at together are interesting, but I think that the coolest aspect of their character, by far, is that they play at being direct counterparts to Eliwood and Hector. the charming, reasonable one and the brutish, straightforward one who strengthen each other through their balance -- they’re shining mirrors of what could have been, or what comes to be when you take the same strengths as those of the heroes but place them irrevocably in the path of the villains. ... hmmm, I wonder if they’d have a non-adoptive sister if Lyn were, like, relevant at that point of the story.

their screentime is surprisingly short, but all indicates that they make tidal waves on the little time they have. I’m certain they’d have benefitted from more, but they’re still amongst the best of the Camus characters (I did it again!! I did it again!!).

not severa camus

(8/10)

although her tale is not as gut-wrenching as Eldigan’s or the Reed bros’, she’s one perfectly adequate Camus. virtuous, and impactfully so, but loyal to the end, and justifiedly so -- both in a relevant backstory and in a string of deceptions and misfortunes that play her stronger qualities against her.

I don’t find her to be a standout, but she’s a perfect execution of her own concept -- and considering the staggering amount of unfulfilled potential we’ve seen up to here, that deserves its due praise.

tincan camus

(4/10)

although he’s fairly interesting, the sins of his master befall him -- the reveal of his identity is severly dragged-out for also meaning very little until the additional reveal of his brand. and by then, it’s doomed to be only a blur out of the many unfulfilled twists in the Tower of Guidance.

even beneath the mask, he’s had a lot of chances for player punches that he missed out on. his confrontation with Greil emphatizes his role as Ashnard’s underling, instead of his role as Greil’s former student and Ike’s newly-made archrival, and I feel like that’s a severe mistake -- for one thing, it forces the cutscene to end with a lame halfway intervention from Caineghis, where it would’ve been perfectly viable for Ike to walk out of that one alive exclusively due to Zelgius’s own motivations.

even beyond that, his appearances in both Path of Radiance and Radiant Dawn often play him as a plot device instead of a character; as a matter of fact, that ridiculous magic warp powder of his accomplishes no purpose other than enabling him to be a plot device wherever plot needs him (aside from how it silently explains how he lives a double life in two different countries, but that’s kind of a pointless detail).

and lastly, just how impossibly lame is it that he’s given a deadly final confrontation with Ike, that he’s just going to walk off of by the sequel anyway? it’s easy to see why it’s necessary for the plots of the two games it affects, but it’s laaaaaaaaame.

samurai camus

(1/10)

easily the least compelling of the list. he comes in to carry the half of a nonsense arc that doesn’t have enough room to fully build him, and it shows. and to make things worse, he’s one of the most notable sufferers of a syndrome that thorougly afflicts antagonists in Awakening and, to a lesser extent, beyond: a tendency to try to paint them as unambiguously evil before you fight them, but tragic and redeemable right after you fight them. which ultimately completely fails as the player punch that the writers ostensibly intended and robs the confrontation itself of much-needed gravitas.

if-conditional camus characters

(??/10)

hahahahaha!!! hahahahahahaahhahahahaaaa!! sockeye!!! I did the thing again and right in the middle of a nickname too!!

but yeah, I haven’t played Fates any more now than at the time of the Gharnef post.

anyways, what do you all think? have I earned your undying loyalty, or does chivalry demand that you slaughter me for my vile takes? if the upcoming Three Houses is to have a Camus... oh, who are we kidding, of course there’s going to be a Camus. in another life, things have been different, but this fate is inescapable. the only mercy we can extend for it now is to wonder what it’ll be like. once again, I welcome your comments in the replies and reblogs -- would you wrong your country by keeping them to yourself anyway?

#airlock grades the villain archetypes #fire emblem is tagged in this post

[the-desolated-quill]

Rosa - Doctor Who blog

(SPOILER WARNING: The following is an in-depth critical analysis. If you haven’t seen this episode yet, you may want to before reading this review)

It comes as a massive relief to say that I really enjoyed this episode. There are a number of ways Rosa could have gone wrong and while Chris Chibnall has managed to crank out two surprisingly good Doctor Who episodes so far, it’s hard to shake off old fears. Oh my God, I thought to myself, a historical episode about Rosa Parks and the Black Civil Rights Movement. Is Chibnall biting off more than he can chew? 

Thankfully Chibnall had the good sense to hire a co-writer that can keep his white privilege in check. Malorie Blackman. Author of the critically acclaimed Noughts and Crosses series of books depicting an alternative reality where Africans developed a technological advantage over Europeans and where white people are segregated under this world’s version of the Jim Crow laws. It’s safe to say that Blackman knows a thing or two about exploring racism and, being a black woman, she’s much more qualified to talk about issues of race and to represent Rosa Parks and the Civil Rights Movement as a whole than Chibnall is. The result is, without a shadow of a doubt, some of the best Doctor Who I’ve seen in years.

One thing I’m glad about is the way Rosa Parks is depicted. Historical stories (particularly New Who historical stories) have an unfortunate tendency to go completely over the top with it. It’s just not enough to have a character who played a significant part in human history. Oh no. They’ve also got to be the specialist, most important person in the whole wide universe. The result is that we’re often left with a wafer thin episode that completely romanticises the period of history the story is trying to depict, waters down all the more complicated and unsavoury parts of the historical setting and turns the famous historical figure into a shallow caricature of themselves (see Agatha Christie in Unicorn And The Wasp, Winston Churchill in Victory Of The Daleks and Vincent Van Gogh in Vincent And The Doctor). Rosa, thankfully, doesn’t fall into the same trap. Rosa Parks isn’t treated as a god among mortals. She’s treated like an ordinary person, thus making her actions that much more powerful.

Vinette Robinson (who appeared in a previous Chibnall penned story 42) does an incredible job playing Rosa Parks. Again, more emphasis is placed on how ordinary she is rather than how historically significant. Nowadays we of course view her as the genesis of the Black Civil Rights Movement and she has rightly been praised and immortalised for that, but it’s easy to forget that she was a real person behind the legacy, which is what the episode really delves into. We get to see her fear, sadness and frustration in this oppressive society. And it really brings home how mundane her actions really are. Sure we can see from hindsight how her actions would influence others and change the course of history, but she wasn’t some heroic freedom fighter taking a stand. She was a woman who just wanted to sit down on a bus after a hard day at work. And the fact that she, Martin Luther King and other black people actually had to fight for the right to do something so trivial is utterly ridiculous.

Some have criticised the episode saying that this is too heavy a subject matter to deal with at 7pm on a Sunday evening. I couldn’t disagree more. For one thing, this isn’t the first time Doctor Who has handled difficult subject matters (Nazism and genocide have frequently cropped up in past stories after all). But I think the criticism mostly stems from people (white people) being left feeling uncomfortable by the story and are trying to avoid having a serious conversation about it NRA style, claiming that this isn’t the right time for it. Well... when is it the right time? Nobody wants to have this conversation, sure, but we’ve still got to have it. And as uncomfortable viewing as it is, it’s important that it is not sugar-coated and that we’re reminded of how difficult things were for non-white people so that shit like this never happens again. So no, I didn’t think the use of violence against black people or racially charged language up to and including the n word were inappropriate. It was an accurate depiction of the environment at the time and if you felt uncomfortable by that, then congratulations, that’s precisely what you’re supposed to feel.

In fact I honestly thought the episode’s depiction of violence against black people was quite restrained, making the acts of discrimination that much more despicable in my eyes. Using gratuitous violence would have been a cheap shot and Chibnall and Blackman mercifully avoid that route. What makes the episode so chilling to watch isn’t the things that white people do, but rather the oppressive atmosphere they create. It’s not the arrogant tosspot slapping Ryan across the face for touching his wife’s glove that had me on edge. It was the scene after that where everyone is just silently staring at the TARDIS crew in the cafe that really made me feel queasy. The threat is implied, yet constant, which is infinitely scarier. After the likes of Steven Moffat and Mark Gatiss boasting about how their episodes were going to be ‘the scariest Doctor Who stories ever’ only for them to amount to a hodge-podge of tired horror cliches and a dumb monster going ‘boo’, it’s a relief to see writers take a more subtle ‘less is more’ approach. I’m sorry, but the bus driver glaring angrily at Rosa is much more terrifying than a Weeping Angel. Period.

Which brings me to Krasko, played with smug charm by Joshua Bowman who succeeds at making you want to reach through the screen and punch his racist face repeatedly. Again, some have criticised the episode for its ‘one dimensional villain’ and, again, it only seems to be white people making this criticism. Not to make sweeping generalisations here, but non-white fans seem to be largely happy with how Krasko was written and depicted, probably because they’ve had to deal with pricks like him at least once in their lives. I’m guessing the source of the criticism comes from him not having a backstory or concrete motivation other than he hates black people. But my response to that is... does he really need one? Would Krasko have really been a more interesting character if it was revealed that he was bullied in school or a black kid had stolen his My Little Pony lunchbox? Does there really need to be a reason for why he hates black people and wants to ‘put them in their place’? I would have thought him being a racist white person would have been enough reason to hate him frankly. Let’s not forget what happened when Star Wars and Marvel respectively gave their villains Kylo Ren and Kilgrave tragic backstories to provide context for their despicable actions, at which point the fans proceeded to romanticise the fuck out of them, calling them misunderstood. Maybe (and this is just my opinion) giving Krasko a backstory wouldn’t have made him more interesting, but instead would have been seen as an attempt to justify and excuse his shitty behaviour, and maybe, just maybe, we’re better off without one. Just a thought.

Besides, it’s not as if we don’t learn anything about Krasko. We’re given enough information to work with. He’s a time traveller from the future. He was put in prison for murdering two thousand people (quick side note, did anyone else laugh when the Doctor said the Stormcage was the most secure prison in the universe? Remind me, how many times did River Song break out again?). He’s clearly intelligent, as demonstrated by him coming up with a non-violent plan to ruin the lives of generations of non-white people in order to circumvent his neural inhibitors. While it’s never overtly mentioned, he’s clearly some future version of the alt-right and is there to act as an extension of the true villain of the story. Because that’s the thing the people criticising his character have overlooked. Krasko isn’t the villain. White people are. The society Rosa Parks lives in is the true villain. Krasko is there not just to get to the plot going, but also to subtly demonstrate that while things do get better for non-white citizens, there will always be that racist element within our society. Hell, Ryan and Yasmin even spell it out for you in their conversation whilst hiding from the police. While people like Rosa Parks and Martin Luther King made a huge impact and helped change things for the better, racism and prejudice hasn’t just magically gone away. It’s still around. There are still people who cling on to these extremist and bigoted views. Some might argue that racism has become so entrenched in Western society that it will never fully go away. That there will always be some remnant hanging around. That’s what Krasko represents. So if you thought he was a rubbish villain because he had ‘no backstory or motivation’ then I’m afraid you’ve completely missed the point.

I should also applaud Chibnall and Blackman for resisting the urge to shove in some pointless alien like other historicals have. Not only would that have distracted from Rosa’s story, the racist white people are scary enough thank you very much. While there are sci-fi elements in here, the episode quite rightfully focuses on people.

Speaking of people, let’s talk about the TARDIS crew. Yeah! They’re in this episode too! Haven’t really talked about them much, have I? The Doctor largely takes a backseat in this one, which I know some people have a problem with, but I think it was the right thing to do. We don’t want an alien white woman coming in and stealing Rosa Parks’ glory. Jodie Whittaker graciously lets Vinette Robinson take centre stage while she busies herself with other things like confronting and intimidating Krasko and organising fake raffles with Frank Sinatra. I really like the balance they’ve struck between light and dark with this Doctor (something Moffat tried to do with Peter Capaldi’s Doctor and failed at miserably). She’s funny, compassionate and caring, but there’s a little bit of Sylvester McCoy’s devious cunning in there too, which really comes to the forefront here. Did anyone else find it really disconcerting seeing the Doctor try to maintain history? Influencing events so that Rosa Parks had no choice, but to give up (or refuse to give up) her seat. While we know she’s doing it for the right reasons, in order to keep black history in check, she’s still nonetheless actively contributing to Rosa’s misery, which is actually a clever way of exploring how white people all contribute to a racist status quo, directly, indirectly, intentionally and unintentionally. And of course it all culminates in the Doctor and co refusing to give up their seats in order to keep history intact. The look on Thirteen’s face as events unfold says it all. The look of sheer sadness and self loathing, knowing she played a part in this, is haunting. Same goes for Graham’s realisation. The widower of a black woman and step-grandfather to a black teenager being forced to contribute to this racist institution is utterly heartbreaking.

But the standout of the main cast has to be Ryan. Tosin Cole truly shines in this episode, giving an incredibly powerful and moving performance. This in many ways is his episode as he comes face to face with the racist prejudices of the time period and Cole rises to the occasion. My favourite scene has to be when Ryan talks with Rosa, thanking her for everything she will do in the future and promising that things will get better. It’s incredibly emotional and I actually started tearing up with him. I’m also so happy that he was the one that got to beat Krasko at the end rather than the Doctor. I stood up and cheered. And his reaction to seeing Martin Luther King has got to be one of the most charming moments of the series so far.

Rosa is unquestionably one of the strongest episodes in all of Doctor Who. It’s incredibly well written and performed and it’s extremely powerful as well as being very subtle and nuanced. What’s more, I’m now completely sold on Chris Chibnall being the showrunner. Any lingering doubts I’ve may have had are now completely evaporated after this episode. Rosa proves that not only does Chibnall respect and value diversity both in front of and behind the camera, but that he’s also committed to creating something truly special with his tenure, using the Doctor Who format to explore hard hitting and difficult subject matters with care and respect. Truly excellent television.

#rosa #malorie blackman #chris chibnall #doctor who #thirteenth doctor #jodie whittaker #graham o'brien #bradley walsh #yasmin khan #mandip gill #ryan sinclair #tosin cole #bbc #review #spoilers

[singingwordwright]

Shadowhunters recap - s2ep18 “Awake, Arise, or Be Forever Fallen”

SHADOWHUNTERS Recaps Intro and Masterlist

These recaps may contain spoilers from the books (that may or may not happen in the show.) Proceed at your own risk.

Recap and meta under the cut.

Gotta give it to Max, he’s a little badass. Temper that with a bit of discretion and maybe he’ll actually live to reach adulthood, contrary to all book canon. Like, seriously Max, you couldn’t have gone to find Alec or Izzy once you realized what the hair leading you to Sebastian meant, instead of confronting Sebastian yourself?

Gratifying just how many times Sebastian gets stabbed in this episode. Of course, I’d prefer it if one of them was a mortal wound, but alas…

If Lindsay was lurking in the hall outside Alec’s office, she should have heard Max’s head crack against the desk. A blow hard enough to knock someone out and cause them to bleed from their nose and ears would be LOUD. I’ve literally heard real people hit their heads in ways that do much less damage and it sounded like a melon exploding.

Now that the banter and fun goofing around is back, so is Simon and Maia’s chemistry. I think this is the magic of Simon. I bought the Climon relationship the most when he and Clary were being giggly and having fun together. I found Simon and Maia’s chemistry in s2ep06 to be off the charts, again, when they were bantering and laughing. For some reason, whenever Simon forgets to be that guy whom women can laugh and have fun with, he loses a lot of what makes him click in his various potential pairings.

My frustration hit its peak with the fact that Sebastian was right there in the middle of everything while everyone was all, “Where is Jonathan?” There’s only so many times you can yell “HE’S THERE!!! HE’S RIGHT FUCKING THERE IN FRONT OF YOU!!!” at the TV before you just throw your hands up in the air and say, “You know what? Fuck it. You’re too stupid to live. I hope he guts you all.”

They carried this plotline right up to the brink of me hitting that point.

Current sexuality: Magnus saying, “m’lady.”

“Your crush” Oh, I’ll show you a fucking crush, you pint-sized wretch!

Let’s all take a moment to bow our heads and be grateful the producers are making a young-adult urban fantasy show and not a hospital drama. Because they would be really, really bad at it. Seriously I was cringing.

And what the fuck were the runes flashing on the monitor over Max’s head about? Are they there to remind the infirmary medics “This is how you draw an iratze. This is how you draw Nourishment. This is how…” (I’m not sure what that last one was, but it looked like some Shadowhunter stylized version of the Caduceus or the rod of Asclepius.)

Of all the times for Magnus to refuse to take Alec’s call.

Wow. I’d forgotten what an asshole Season 1 Alec could be. He’s come a long way, considering that in-universe it has literally been six weeks since he and Magnus met (No, seriously, check out my timeline if you doubt me. I did the math so you don’t have to.)

I say “asshole” in the most loving way possible, of course. He had his reasons, but he was indeed an asshole. It just goes to show how unhappy and uncomfortable in his own skin he was, and how much losing that burden of hiding himself away from the world impacted him.

Still, I sort of wanted Magnus to push back a little harder when Alec low-key threatened him. “If you let anyone know…”/“Oh, you’ll do what, Shadowhunter?” Because Magnus could almost certainly kick Alec’s ass with all but one of his little pinky fingers broken.

I’m glad we’re finally getting down to business with the whole Ollie thing. But IIRC it’s against the Accords (or Covenant?) to let mundanes know anything about the Shadow world. Which means Luke could be in trouble if the Clave gets wind of her finding out.

And why is so so eager to know, anyway? Like, why was she all up in his business?

I’m wondering if it doesn’t actually have something to do with Maia, considering the way Ollie zeroed right in on her. Say, Ollie’s a cop, but she also, idk, moonlights helping Sam (who maybe is a private investigator?) by taking on missing person cases at the behest of desperate families. Contrary to book canon, we’ve been given some indication that Maia’s parents may actually care for her, so what if they hired Sam and Ollie to track Maia down, and find out she’s gotten mixed up in what might look to be (on the surface) a weird wolf-worshipping cult?

IDK I’m just spinning bullshit theories.

I like how at SDCC Isaiah said that Luke is grooming Maia to take over the pack someday, and how we actually sort of saw that in action here.

I liked Jace’s distress here, because with the exception of s2ep08 and a pat on the head in the last episode, we haven’t really seen him and Max interact or gotten any impression of how his relationship is with Max. And his distress here feels a lot more…sincere? relatable, maybe?...than his oft-repeated bouts of brooding manpain over his upbringing under Valentine.

And, strangely, his pain feeling more genuine also made Clary’s empathy and support feel more genuine. This moment made me feel more of a connection between them than just about any other moment they’ve had on-screen together.

Funny how when you build a relationship between characters out of moments and situations that are arise organically within the plot—rather than forcing it—it just works better, isn’t it?

I feel like I should say something about Bat, but I just don’t have much of an impression of him or what part he’s going to play within the plot, yet. Kevin Alves seems incredibly sweet and eager to be a part of the show, however, so there’s that?

“Rebooting of the brain.” Really? (The part of me that actually knows something about medicine is rolling its eyes so hard right now. This was badly done. Suspension of disbelief in one area only works if you are meticulously grounded in accurate reality in other areas, and this would have been a good area to do that. Massive head trauma that can’t be magically woo-wooed away.)

I have lots of thoughts on the decision to keep Max alive, most of them not good. I was prepared for the pain of him dying, which would have struck pretty close to home because I have a 10yo son. And as a storyteller, I think it would have gone a long way to establishing the stakes for this story.

Like, Valentine wants to commit genocide, and Sebastian wants to help him. We all get that. And we’re all horrified by it. But genocide is a MASSIVE concept to try to really wrap your head around. The human brain, I think, tends to shield you from really grasping it. It’s just too much.

This is a problem faced often by storytellers who are writing stories in which the fate of the world is at stake. It’s too big. The audience can’t connect with it personally, can’t internalize it. So you take that, and you distill it to make the stakes personal. One death, of a character who is beloved by your protagonists and hopefully by your audience, an innocent with all the potential in the world that will now never manifest, stands in for the thousands or millions who will actually die if the bad guy isn’t stopped. That death becomes a rallying point for your protagonists, and a symbol to your audience of just how evil your bad guy is and how much he needs to be stopped.

In short, Max needed to die. He needed to die as tragically as possible. It would have had a lot more storytelling mileage.

God. This scene was just everything I could have asked for their first time to be. I’m pretty sure I wrote a line in a fanfic once about Magnus telling Alec that one of the rules of his bed was that you had to be able to laugh in it, so the giggling and giddiness was just so perfect. And the fact that Magnus responded “No such thing” when Alec expressed concern that he might be doing something wrong is really something else I could have written myself.

It was tender and sweet and sexy without being objectifying and I loved it.

I will say, though, I’m probably in the minority in that I never wanted or needed to see a scene where Alec was confronted with Magnus’s cat eyes for the first time and explicitly stated his unstinting acceptance of him. I always felt it would be othering to go that route. And I felt like this idea that Magnus, who is so incredibly powerful, would lose control so easily a little absurd. I always liked to imagine that the idea that Alec would find NOT being accepting of Magnus unthinkable, that he would be honestly and sincerely befuddled by the idea that Magnus’s eyes might be a Big Deal. “Yeah, he’s a warlock, he has a warlock mark, I’m not sure why that’s supposed to be something that matters.”

That said, if they were going to go there, then this was the way to do it. The thread that weaves through Magnus and Alec’s story in this episode and ties past to present is the fact that they come from different worlds, and with those different worlds come different obligations and priorities. So in this case, the othering was entirely the point and it played into that theme.

So, if it had to happen, I’m glad it at least happened within this context and wasn’t just schmaltzy.

I really loved Luke being such a badass here but I’m certain allowing Russell to live is a bad idea.

Seriously, though, Russell. Not only is Luke a badass just as a werewolf, but he’s got the martial training of a Shadowhunter. How do you imagine you’re going to win this?

Probably one of the most realistic fight scenes I’ve ever seen in terms of showing just how exhausting fighting becomes in very short order. Too many drag out too long before the combatants start to show fatigue.

I really want to know about the cooks at the Jade Wolf. Are they werewolves themselves? Is that why the kitchen staff never bats an eye at anything, including these people waltzing in and out of the kitchen and storeroom?

The scene with Maia explaining her backstory was extremely well done and Alisha Wainwright is all things wonderful and I love her.

“This is what love got me.” Let’s take a moment to recognize the symmetry of Maia and Simon’s stories though. Becoming a vampire, a Downworlder, is what love got Simon as well.

I can’t say anything about this scene that hasn’t been said before, and better, since they released it as a sneak peek. But it’s so beautiful and my heart hurts.

Magnus’s moment with the Lightwoods all together on one side of the hall and him by himself on the other is incredibly poignant but I can’t find the words to really examine it properly. This is the point at which things just began to hurt too much and my brain stopped being able to cope with it.

I’d really like to know how Jace, who can sense Alec’s happiness over things like having sex with his boyfriend for the first time, couldn’t sense the lack of a spike in grief that would have surely occurred upon Max’s death. Grrr.

The fight sequence with Sebastian taking out all the guards was amazing and Will Tudor is brilliant. Did he really use a sword that was still stuck through someone’s body to parry a blow?

What the hell was with him just using his hand to open the crypt, though? No rune or anything. Can Sebastian somehow channel magic?

This whole thing with Clary was awesome and for once she seemed to be working for her miracles so I’ll ungrudgingly let her have this. The one thing I don’t know is what finally tipped her off about Sebastian. Was the electrum nugget thing too warm after he handled it? Did she just realize she never saw his palm? What made her chase after him and check his palm?

I loved her stabbing him. Twice. I’m fully in support of stabbing Sebastian. Yes. Please. Let’s stab Sebastian more. Sebastian for Pincushion 2k17.

Sebastian continues to be a creepy-ass fuck. Seriously, WHY did they decide to go with the incestuous obsession thing? There are so many other places they could have taken that story.

I like that her Open rune that burned through Magnus’s wards also exploded the Institute security doors. I appreciated that for a couple reasons. First, because Sebastian taught her to do that, to use her runes and make them more powerful. Second, it’s also a nice little nod to the books, since we didn’t get that scene of Clary totally disintegrating and blowing up Valentine’s barge with that rune.

Sebastian has vamp speed, too?

I want to ship them, but I haven’t managed it yet. In-universe it’s been like, a week, since Clary and Simon broke up. And of course we know they’re not end-game. But the writers ended up making me buy Climon more than I ever expected to, so maybe they’ll do the same with this one.

I just don’t want to see either of them hurt, so if Simon ends up ending it with Maia, I’m going to be upset, and if Maia ends up ending it with Simon I’ll be upset. *sigh*

I hated seeing the home Simon has been making for himself torn apart like that.

This is the moment of my first death and the beginning of buckets of tears. This look on Magnus’s face after Alec says “our way back to each other.” I can’t. I just can’t. He’s just so heartbroken here.

And the way Alec’s eyes close when Magnus touches him.

And the way Magnus’s voice almost breaks when he says “I love you, too.”

And the way Magnus is trying to smile, just a little. To hold on to some of the joy he’s found with Alec. To file this portion of his life away as a happy memory. To remember Alec as a good thing and not a source of sorrow.

There are so many nuances here and every single one of them fucking slays me dead.

Alec’s disbelief and denial.

Alec’s youthful, naïve insistence that if they just work hard enough, if they’re just determined enough, they can find a way, and Magnus’s world-weary wisdom and centuries of experience telling him there’s just no chance for them.

“You once asked me what I was afraid of. It’s this.”

And here’s my second death. That all along we thought that Magnus was afraid of being alone, being abandoned, like Camille said, he never does well losing the people he cares about.

So, we’ve always thought he was afraid Alec would break his heart. Leave him. Be repulsed by him. Choose duty over him.

We should have known better. Magnus has lived long enough to have his heart broken before, and he knows he’ll survive it.

His real fear is inflicting that pain, that loss, on someone else.

My third and finale death. Alec stifling a sob is where I just lose it entirely.

So I guess what I’m saying here?

Yes, this is a break-up. That’s my read on it. Sorry. It just is.

I don’t believe it’s a permanent one. Of course it’s not. If they’re not back together by the end of the season, at least on some sort of tentative, provisional basis, I’ll be very surprised and extremely pissed off. If I’m left with this boulder sitting on my chest over the hiatus I’m not sure I’ll survive. This show is supposed to be my happy place and I think if they leave me in this hurty place for very long it’s going to ruin it for me.

I don’t think the producers will let this linger long.

But this scene right here? As far as Magnus is concerned in this exact moment as he’s walking away from Alec?

He thinks they’re done. He thinks they’re over. He means it to be that way.

Something will happen to make him change his mind, though, and that’s important. Because here’s the thing:

We’ve seen Alec choose Magnus over and over and over.

He chose Magnus in s1ep06 when he walked away from the Institute and duty to take an evening to at least investigate the possibility of doing something that wasn’t about duty.

He chose Magnus in s1ep12 when he walked away from his own wedding.

He chose Magnus in s2ep06 when he turned his back on his own fears and misgivings and plunged into this relationship.

He chose Magnus in s2ep08 when he challenged his mother’s lack of acceptance repeatedly and sent her a very pointed message about their relationship.

He chose Magnus in s2ep10 when he rejected Aldertree’s words about the impossibility of relationships between Shadowhunters and Downworlders.

He chose Magnus in s2ep13 when he risked censure from the Inquisitor to take a stand for what’s right.

Even when everything he’s ever been trained and brought up to do is telling him to do the opposite, he has chosen Magnus repeatedly.

The only time we haven’t seen him choose Magnus was with regard to keeping the secret about the Soul Sword, and even then, his choice was about Magnus, even if it was paternalistic and wrong-headed.

What we haven’t seen, though?

We haven’t seen Magnus choosing Alec. We see him clearly aware of the difficulty in their situation, especially since s2ep12, but he never really chooses to stand against it. Which is not to say he’s not committed, not at all. We’ve seen Magnus put himself on the line and expose himself and make himself vulnerable for Alec. That’s huge. But with the exception of his hesitation to keep pursuing Alec in s1ep12, we haven’t seen him make that same deliberate decision to damn the obstacles between them and make this relationship happen. His commitment has been more along the lines of ducking and covering and hoping whatever is heading toward them blows over before it pushes them to this critical juncture.

We need to see him make that choice. Everything since s2ep12 has been leading to him making that choice.

Now, I don’t want to step outside my lane, so I’m gonna tread carefully here. 

The thing we have to remember is that Alec, coming from the privileged group, is much safer choosing Magnus than Magnus is in choosing Alec. He’s got that safety net built in, so it’s easier for him. He may face censure and perhaps a decrease in some of his advantages (like being passed over for job promotions) but no consequences that he might face are on the same level of what Magnus might face.

So the two dilemmas and the choice to stand against their respective obstacles are not equal. If Magnus choses their relationship over his people, he doesn’t just face censure, he faces genocide. Pretty big difference there. The only possible way he can justifiably choose Alec at all is if he somehow discovers that choosing Alec dovetails conveniently with the best way to protect himself and his people.

My prediction is that something in the next episode, or in the finale at the latest, is going to bring Magnus to that decision point and make him turn around.

But for the moment? Right now, this scene?

I know it’s going to be an unpopular opinion, but Magnus really does mean this to be a breakup.

#shadowhunters #shadowhunters meta #meta #s2ep18 #recaps #s2b

[monochrome-dust]

9 with Beltza, Erri, and Korone if thats not too much to ask :3c

Oh boy buckle up, friends, it’s a wordy one (even without the bonus question we discussed oops):

9: Their theme

For all three of them, I’ve tried to use the stories they’re based off of to inform their themes (with Erri’s as a bit of cheat as I’ll describe below).

BELTZA

I knew from the beginning that every member of BKBD would be inspired by stories involving corvids, and for Bel, I absolutely knew he was going to be a raven faunus who would have wings, and then those wings would be taken away. Basically he was always going to be a sad raven boy.

Now I’m sure the story I used for him (Edgar Allen Poe’s The Raven) has been used thousands of times for OCs, but I think it ended up fitting him really well. Specifically, I drew from the following lines: “And my soul from out that shadow that lies floating on the floor / Shall be lifted - nevermore,” which can be seen quite literally in the state of his Semblance upon joining Beacon (shadow-based, forms into hands and used mainly for hindering targets).

It’s also in line with this general feeling he has that he’s hit a really low point in his life and he thinks he’s never going to get out of it. But of course he does because I want him to, even though I do have a Bad End for him that I like to think about sometimes (read: a lot). So if I had to give him a sort of theme, it would be “The bird will fly again” because, ironies aside, dammit if no one else is on my side of things at least Bel is going to be happy.

ERRI

I call Erri’s inspiration a bit of a cheat because I’m using The Raven King, a story I have absolutely made up, as his basis. I actually wrote a version of it for a French writing assignment, so one day I’ll post a more polished and relevant iteration. But it’s basically a commentary on how its first tellers felt monarchs should rule and on the social issues they wanted to draw attention to disguised as a children’s story. Of course, over the years numerous versions of the story have sprung up (sometimes the Raven King is an actual raven, other times the king is a person, etc.), but the way Erri tells it (and I’m sure many before him), the theme is “A king will protect their people” and this I would say fits him nicely as well. 

He perhaps embodies this sometimes in a more underhanded way than most would like, but it’s clear in the measures he’s taken to protect his family that he will do whatever is necessary to make sure they aren’t hurt, and he extends this to anyone he comes to call his own. He takes them under his wing and says to the world, If you hurt them, you will deal with me. I think some might attribute this to arrogance (the audacity to think that he could threaten them), and maybe he is walking that thin line between arrogant and not. But considering his winning streak in fights and as someone who went against a Wendigo Grimm alone and did a real fuckin’ good number on it, he has a certain confidence in himself for good reason. I think he understands he isn’t all powerful, and he isn’t this way because he thinks he’s above anyone. It’s more of an understanding that, Hey, I’m actually pretty strong and I feel good about that.

Even though he doesn’t necessarily think of himself as a king, or kingly, or even noble, he takes the protection of his own so seriously and it just devastates him when he fails (see anguish at being unable to stop Bel from being poisoned, see anguish at being unable to prevent his kingdom from being taken over which I may have not yet talked about in detail in Royalty AU, see anguish at being unable to protect his followers or to stop Feu’s death in Deity AU).

I think there’s also a downside in that, because he’s already decided to take on the burden of being this “king,” he’s reluctant to express his worries and fears to certain people (especially to Beltza). And it’s not that he thinks there’s anything wrong with expressing these things, it’s just that—he thinks that by only presenting his confidence, what have you, he shows those around him that yes, he is someone they can rely on, yes, he can and will protect them, and he wants to be that for them. And this is interesting to me because when people see Erri, they see this confident, fearless man, but he actually isn’t without his own fears and insecurities. I think that it stresses him out when he doesn’t talk about them for long enough, and every now and then it really gets to him. When it does, he doesn’t necessarily handle it all that well when left to his own devices. 

This is also really interesting to me when thinking about it in the context of Erri’s relationship with Bel growing up because Erri made sure Bel knew it was okay to cry, to feel sad all while never crying (in front of Bel) himself; it was okay to be afraid of things, while never showing Bel his own fears; it was okay to ask for help, etc. And I think this actually really skewed what Beltza thought “being okay” meant and what strength was. Bel of course will realize that these things are different for everybody, but I think for a time he struggled with wishing he was more like this idealized image of Erri that he (and probably many others) had.

TL;DR: Erri is an irl rogue-ish Raven King (in the context of this universe), and he isn’t without his flaws. Let us all hope he doesn’t meet a tragic end (I say, as the one with the power to make it so he doesn’t meet a tragic end).

KORONE

For Korone, I’m using the story of Coronis, a lover of Apollo who had an affair with Ischys. Specifically, I’ve taken inspiration from the white crow Apollo tasked with guarding Coronis, who was cursed by the god in a fit of rage because the crow, having learned of her affair decided to inform Apollo first instead of gouging Ischys’s eyes out immediately. The curse was so strong that it burned the crow’s feathers black. As a note, I’ve seen some versions refer to the bird as a raven instead of crow, so I’m not quite sure how interchangeable the words for crow and raven are in this context (or if there’s a differentiation in the original language in the first place, I haven’t researched much).

In line with this whole idea of curses, her theme is probably “A curse can be overcome.” I still haven’t talked much about her backstory yet, and honestly I don’t know if/when I ever will because it makes me think of some Bad Things, but there were things that happened that resulted in her having this general idea of, I am a blemish upon the world. This additionally goes along with something I set from the beginning that every member of BKBD has gone through misfortune while at the same time are seen as bringing misfortune to others (whether that be they did bring, are bringing, or will bring). 

So far I’ve only hinted at this theme (partially because I just haven’t talked about my quiet crow very much) in her Semblance and some design choices. When she overexerts her Aura, her hair starts to turn white (and her Aura, which is typically black, might do the same, I haven’t decided). Whenever in the timeline she gets this outfit (which I want to update), her hair is completely white. And I honestly don’t have a logical explanation of why this happens right now, but I like the symbolism because it means Korone is healing, too. It means that she is overcoming this “curse” by her own power. 

BONUS for Erri from the other one: 9. Humiliating memories

I’m going to focus on one memory in particular here, because I think it captures this very interesting image of Erri, of all people, feeling humiliated really well. I feel like Erri’s the type of person who is shamed by little. He’s confident in his body, his abilities, his existence in general and he wouldn’t be adverse to showing either of them off (he doesn’t do it to be flashy, per se, but if the opportunity presents itself, he’ll certainly take it). And while he may act flippant, he conducts himself with dignity. And I think this is what humiliates him most, to have his dignity trampled on. Erri does not kneel for anyone. If he does, it is coming from a place of complete reverence and adoration. He is at their feet, at their mercy because he believes them worthy of that privilege.

So I think this is where the memory starts: He relishes in the power he was born with, in having autonomy and being able to move of his own volition. But after the Wendigo Grimm, after having his body stitched back together and taken to recover by a certain individual, he loses a lot of this independence.

At first it’s because he just cannot move—it comes with having limbs severed and having nerves and veins and muscle and bone forcibly being held together by another’s Aura. It’s excruciating (though over time, as his body adapts, it turns into more of a constant, dull soreness), but he knows, god he knows he should be dead, so the pain is something he can deal with. What he can’t is when someone constantly and purposely reminds him who saved him, the limitations now placed on him, and what that means for Erri’s abilities to accomplish his own goals.

To explain (and I may have discussed this in a previous post, I can’t recall), Erri’s fight with the Wendigo Grimm was…terrible. I posted a scar guide a bit ago, and basically where those magenta stitches are indicates the worst of his injuries. These are the injuries that would have never healed on their own, and frankly, they still aren’t healing even after he’s put back together. One day I’m going to make a proper post on how this Semblance works (maybe after I actually design the character oops), but for now I’ll say that these stitches can be taken out at the whim of the one who made them, or they’ll start to fade if Erri is too far away from the source (though, again as he adapts, he’s able to go farther and farther away without this consequence). What this means is Erri will fall apart. The pain starts first, then the bleeding, then he starts breaking into pieces—his hand falls off, an arm, his leg, etc. in whatever order. And this is what’s used against him, to get Erri to listen, I have your life in my hands and you will do what I say. And usually Erri complies because he knows that the missions given to him will, in the long run, help keep his brother safe. But this is where the disconnect comes in: Erri’s primary motivations are to keep Bel safe, while the motivations of his savior (though he hates to call them that) and the organization behind them are to, in a sense, maintain a certain balance. 

And I think this memory was the first time Erri tried to defy them, the first time he said, No, I will accomplish my own goals first. Maybe it’s something that involves Bel, maybe Erri just wants to be in someone else’s company for a bit. I haven’t fully fleshed out this scene, but I imagine Erri is about to leave whatever base of operations these two have set up. He makes one final check on his knives, a small supply of Dust, and is halfway to the door when a voice behind him asks, And where are you going? 

The figure is long and ghostly (certainly taller than Erri), voice not necessarily quiet, but with a soft quality and a lilt suggesting either amusement or thinly veiled annoyance. Erri knows what could happen here, but he doesn’t care. He’s very, very tired of following orders right now. And so he says, tacitly, Out. He knows immediately this is the wrong answer but hell, he’s in the mood to fight and he wants to know how far this bastard will go.

That’s not an explanation, Erri. They say it with a smile, one that’s curved and unsettling. It’s not impish like Erri’s, but there’s an implied threat to it, and it’s clear that they are displeased.

You didn’t ask for one, darling. He says the term sarcastically, darling, fully aware of the strange state of cohabitation by necessity he’s found himself in.

Sit down. The smile stays, but the voice gets a little quieter, a lot sharper, to which Erri replies, Thank you, but no.

Sit.I will not.Then you will kneel.

It all happens so quickly. The pain, the bleeding, and then—then his leg is the first to go. He’s forced to one knee, with almost the entirety of his other leg dangling by threads. He braces himself with an arm, they let that arm fall as well. It jolts Erri forward, forcing him to bow his head. And the figure knows, they know that this is what Erri will hate. He will hate being so conspicuously reminded of what he can and cannot do and he will hate being reminded that, in the end, he has no power here, and that is exactly why they made him do it. 

And Erri does hate it, so much that his face burns, so much that something vengeful claws inside him. He hates having his will taken away, he hates that he can’t even attempt to fight this. He is in so much pain, but he doesn’t scream or swear. He only lifts his head as much as he can and glares up at them to say, I will remember this.

#mono answers #teamnova #beltza erroi #erregaliz erroi #korone vrochi