#and made a lot of terrible and traumatizing life choices back then in order to self-sabotage and prompted by previous traumas | Explore Tumblr Posts and Blogs

noonegetsleftbehind · 1 year

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This is a headcanon that I have been meaning to type up for some time because I feel it is very integral to Chris in anything post RE6 and I have a verse write up coming that will focus a lot more on this in greater detail in order to be able to play this out more in depth.

In Edonia on Christmas Eve when he lost all of Alpha Team to Carla except for Piers, Chris fell and hit his head hard. I mean really hard. You can hear that crack and see the impact and just know that that was enough to fuck a man up. You see him lose consciousness and you’re treated to the knowledge that somehow Piers Nivans managed to fight off several BOW on his own while guarding Chris and dragging his significantly larger and dead weight ass out of there to safety.

As we know that Chris was suffering from some pretty hefty amnesia through all of 6 and you’re filled in that Piers searched for 3 months for Chris after he just up and left the hospital. Now... Think about how badly he literally cracked his skull in Edonia. He’s lucky he didn’t die let alone is functioning at all. An impact like that didn’t just give him a little bit of amnesia, a bump on the head and a concussion... That right there was a straight up real bad nasty traumatic brain injury that did some damage combined with the fact he went into some pretty fierce alcoholism in his amnesia state. That would also do its own damage. Also factor in the fact that he just yeeted himself out of the hospital and evaded treatment and care that he probably desperately needed after that TBI. Another factor at play is Piers and Claire are basically the only ones that even know what happened to Chris and Piers is dead so... Nobody even knows how badly he hurt himself and how much he suffered/continues to suffer.

Chris doesn’t even allow himself any time to recover. He goes right back into Redfield mode. Sure, he starts to regain memories, but an injury like that had to have done more damage than he ever lets on and short circuits the hell out of him and I don’t think enough attention is truly paid to that.

After 6, Chris still struggles with a lot of memory loss. Sometimes in the middle of things he short circuits a little and has to bring himself back into the moment. He forgets a lot of things and struggles with short term memory. His vision suffers a little from it and he struggles with blurry vision along with blackouts in his vision sometimes. It’s not enough to completely hinder him, but he does rely a lot more heavily on his contacts and/or glasses. He also suffers from headaches that can range from mild to straight up debilitating. He has a lot of night terrors/flashbacks not just from the TBI, but from years worth of PTSD, but they come a lot more frequently after the TBI. He has lapses in a lot of his memory from the time around his accident in Edonia despite him recalling a lot of it - there are still a lot of gaps that he just can’t get back. He remembers virtually nothing of his time just wandering around not knowing who the hell he was and drinking his life away.

There’s whole ass months worth of his life that are just blacked out and gone from him. He can have good days and bad days with his memory. The man is exhausted and really going through it at all times and he never lets on to people that there’s even a problem. Most don’t even think anything of the fact that he maybe tells you something about a dozen times like he’s never told you before. They just think he’s terrible at talking and interacting because he’s so focused on work. While it’s true that his major focus is always on his work, he honestly doesn’t remember that he’s told you that story about his early days in the BSAA 10 times before.

The truth is, he should have retired post 6 and he knows it, but won’t admit it. When Piers died for the BSAA and he made it out alive, Chris made an unspoken promise. He would keep fighting for Piers and because he had to. At that point, he honestly sees it that he has no choice but to keep going. He just keeps pushing himself and will until he takes his last breath. He can’t afford letting anyone know what he’s really going through because he hasn’t really been able to let anyone that close. On the off chance that someone does get close to him, then they’d absolutely know something was up just from being close to him and around him. That’s something that he would address and cross on a basis that depends on who he’s close to/in a relationship with.

Even with Claire who he is arguably closest to than anyone else, he will attempt to play it off like it’s nothing and he’s fine, because in his mind he has to be. He knows there’s not much he can do and he won’t stand for being seen as vulnerable or unfit to do his job because it’s too important to him even if he’s burnt out and tired as all fuck by the time 8 comes around. He’s still tied to keep going after Ethan’s final words to him are to look after Rose. He takes that seriously and it’s my honest headcanon that he keeps going and looking after her/protecting her until his dying breath because Ethan asked him to and Chris keeps his fucking promises. He honors those he has lost so hard. Chris doesn’t outwardly seem like it, but he wears his heart on his sleeve and puts literally everyone else before him. He’d give his life in a heartbeat if it meant saving or bringing back anyone that he cares about.

#|| BSAA File: Headcanon ||

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victorluvsalice · 2 years

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AU Thursday: Londerland Bloodlines -- This Girl Does Not Want To Be On Fire

So -- we all know that the most traumatizing event in Alice’s life is the house fire that killed her family, correct? Well, going through Vampire: the Masquerade -- Bloodlines in various forms (actually playing it, watching LPs, etc.) in order to write her Malkavian adventures in the Londerland Bloodlines series -- specifically, writing the Ocean House chapter in “Santa Monica’s Vale of Tears” -- got me thinking: how often does our poor Fledgling Alice have to face off against fire during the course of the story? So I took a look at the main quest line, and I’ve identified four major incidents where fire was a genuine threat to Alice (instead of just being a thing in the world, like the fire barrels that the homeless warm themselves around). Here they are, ranked by how traumatizing the fire itself was to her:

4. The final fire trap of the Mandarin’s death course -- This one is the easiest of the lot to handle, no surprise -- she only has to look at it for a minute or two before one of the Wonderlanders (likely Cheshire, but it might be somebody else) points out she can explode the trap with a well-placed bullet to escape. It’s not exactly fun for her to contemplate having to figure out a way through the trap, but it’s quickly forgotten as she works to escape the Mandarin’s lab.

3. The memory of the Ocean House Hotel fire -- Alice made it through this one okay -- she didn’t enjoy having to crawl on her belly around ghostly flames and dodge bursts of steam, but I think the fact that it wasn’t technically real fire, just a ghostly image of such, actually helped. It made it all feel a touch less real to her. Plus it was reasonably short, ending the moment she made it to Dorothy and Ed’s burned-out room. Not great, but not terrible.

2. The burning of Griffith Park -- Okay, before anyone asks why this is at number 2 -- the criteria for this list is how traumatizing the fire itself is to her. And yes, having the park go up in flames around her was extremely unpleasant and terrifying, especially when she and Nines tried to flee, only to discover the cable car already leaving --

But the furious werewolves quickly establish themselves as the top threat. Alice never forgets the park is on fire, trust me -- she spends a lot of time avoiding the flames as well as the werewolf, and the smoke does not make dodging it easier -- but the most terrifying thing to her in that moment is the eight-foot-tall toothy death machine trying to claw her to death. At least until she manages to lure it into the observatory telescope’s doors. . .

1. The burning of Grout’s Mansion -- This is the big one when it comes to the fire itself. Alice already hated Grout’s mansion because of his horrifyingly Victorian approach to mental health and what he did to his ghouls, but Bach setting the entire place aflame? Forcing her to run past all those ghouls, now burning alive because they’re too addled by Grout’s experiments on them to avoid the fire, until she has to save herself by throwing herself out an upper-story window?

Yeah, how did Alice escape the fire that killed her family again?

*slow clap* Winner on the basis of forcing Alice to relieve the absolute worst moment of her life. There is a reason that, after this mission, Alice goes from “trying to be polite to LaCroix because she’s worried about what will happen to her if she isn’t” to “fuck you asshole I’ll do your dirty work because I haven’t a choice but you can pay me for it and deal with my sarcasm in the meantime.” (Though, on the plus side, it also marks a more pleasant milestone in her relationship with Victor, as his genuine concern and care for her when she gets back to the apartment ends up earning him touch privileges. . .and is probably the moment when she starts falling in love with him.)

#londerland bloodlines #tw: fire death #the fledgling faces fire #there may be other smaller incidents #but these are the big ones I recall #Alice would call the burning of Griffith Park the worst experience OVERALL #but again that's because she also had to escape a werewolf while dealing with the fire #so yeah #Grout's Mansion is the one that brings back ALL the bad memories #she actually stays curled up in a little ball on the yard for a good minute when she escapes #trying not to cry #it's really a turning point for her in the game #and yet another reason for her to hate LaCroix #poor girl :(#queued

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malika7777 · 2 years

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A girl who has lived through trauma has lived through a situation where her body, her mind, herself was not her own.

Where she felt disjointed, ripped from herself, safety, spirit and sanity.

It was a moment, an experience, a something where her trust was smashed, her worth was gone and all there was was pain.

A girl who has lived through trauma is the girl who was pushed into the deep end of the pool when she didn’t know how to swim, but somehow found her way to the ledge anyway.

She walked through a forest fire and didn’t succumb to the smoke, but dealt with the burns and made it out in spite of the flames.

She found herself in free fall but refused to break upon impact.

She survived. She did.

She values freedom because she fought so long and hard for her own against inconceivable odds and she fought alone.

But the thing about trauma, is that even when it is over it never really goes away.

And sometimes trauma is loud.

Sometimes it’s the monster banging at the windows and screaming gutturally and demonically inside of nightmares.

It’s nails on a chalkboard and an earthquake that rattles everyone’s floors.

It smashes everything in its wake and forces, no, demands that everyone acknowledge its terrible, terrible presence.

She won’t have any choice but to sit with hands clapped over her ears making sounds that are barely human because she just wants everything to stop and it won’t.

But other times, trauma is quiet. It’s sneaky.

It’s the feeling that she is being watched or that she is walking down the street with the word ‘victim’ painted on her forehead in red and everyone is privy to her secrets.

It’s the nagging fear that if she goes to sleep her dreams will be anything but restful and that her life has become a private, living nightmare.

It’s the little whisper saying, “You will never be whole again,” that itches its way into the back of her mind and repeats over, and over, and over.

And you won’t even see it because she convinces herself that she is the only one who knows that it is there.

It’s the feeling that she is a 100,000 piece puzzle of black and grey and everyone staring at the mess realises that putting her back together is simply not worth the effort.

So when you care for a girl who’s gone through trauma, you’re saying that you see the worth in helping her bandage the wounds.

You’re saying that you see the worth someone else tried to bury.

You’re saying you are not afraid of the bad days and you see the beauty in the good days.

You’re saying that a lot of things may scare you, but trauma isn’t one of them.

When you love a girl who’s battled trauma, you’re really saying, “Love, let me help you heal because I believe you can.”

Loving a girl who has managed to make it to the other side of a traumatic experience is like deciding to restore an abandoned house.

She has the framework and the good bones, but you may need to spackle holes someone else left behind on the walls.

She has the makings for beautiful, light-filled windows, but you’ll need to replace a few of the cracked panes with new glass. She has the door frame, she just needs a door.

She’ll make a lovely home one day, but she needs some care and understanding in order to make a space where both of you can fit.

See, loving a girl with trauma in her history is not some choice of your own adventure or some level in a game you need to beat.

It takes time, it takes patience. It’s not something you ‘win at’ it’s something you deal with day by day.

It takes a level of commitment because reality is, loving her is not simple. She's terrified that she destroys who she loves ❤

She is inherently complicated.

She is stained with memories she wishes she did not have but that she will never be rid of.

She is pieced together and the stitching may be tighter in some spots than others so you have to be careful to not unravel her with one careless tug.

But she is brave. And she is strong.

And when she realises that you are choosing to love her, and not hurt her, she will love you back with the same kind of fierceness and tenacity that it took to walk through fire.

And she will hold out her palm and show you the burn marks and instead of apologising for bothering you with their appearance, she’ll trust you to hold her hand anyway.

by Kendral Syrdal

https://thoughtcatalog.com/kendra-syrdal/2016/06/what-it-means-to-love-a-girl-who-has-lived-through-trauma/

Tags: Broken, Heart, Spiritual,

#trauma #abuse #victim #truth

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makeste · 3 years

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BnHA Chapter 299: No Chains Left

Previously on BnHA: Horikoshi was all “and then AFO broke out all of the inmates from six other prisons and took a nap. well anyways, here’s the hospital angst.” Kacchan woke up two days later and was all, “WAIT BUT HOW ARE DEKU AND TODOROKI AND ALL OF THE OTHER CHARACTERS EXCEPT IIDA DOING” and then we cut to Shouto’s room where the other U.A. kids were sitting around being Mutually Traumatized and giving each other moral support and such. Everyone was alll, “...”, and then the rest of the Todofam showed up, INCLUDING POSSIBLY REI?! which, omg. The chapter ended with Kacchan STOMPING THROUGH THE HALLS all “WHADDYA MEAN DEKU HASN’T WOKEN UP YET”, dragging along Satou and Mineta behind him, fueled by the power of ALL OF THE FUCKS HE NOW GIVES. He gives so many fucks now you guys. This boy cares so much he can probably deduct it on his taxes.

Today on BnHA: SPEAKING OF PEOPLE WHO GIVE A LOT OF FUCKS, the story cuts abruptly to Hawks, freshly recovering from his near-death experience, and pondering the threads that have weaved the tapestry of his life and led him to this moment. Basically he grew up in poverty with his Jerk Dad and Jerk Mom until his dad got arrested one day and his mom sent him off to go Find Money Or Something, and so he rescued a busload of people and found himself a new career. Back in the present day, Hawks and Jeanist ride around town in Jeanist’s Jamborghini having awkward encounters with civilians in a country on the brink of social collapse, and visiting Hawks’s mother’s home. Hawks is all “I know from an outsider’s perspective it must look like my life currently sucks, but now that the HPSC is gone, my public image is shot, and my parents are finally out of my life, I’m actually feeling SURPRISINGLY GOOD.” Anyway so he’s gonna go meet up with Endeavor now, and p.s. this chapter was fucking fantastic though, damn.

oh my god?? is this Hawks narration?? something about him growing up watching the heroes on TV and thinking of them as fictional characters

okay I scrolled down a little bit more to see the rest of that “Keigo” panel, and wow

this is basically a shed. poor boy definitely grew up rough. let me tell you guys, I came in here ready for some BakuDeku shenanigans; I was not prepared for Hawks Flashback Angst. I AM HERE FOR IT, but also wow I gotta brace myself now lol

HELLO MISTER HAWKS’S JERK DAD, SIR

BnHA sure does have an array of Jerk Dads, doesn’t it. makes me appreciate characters like Masaru and JirouDad all the more for bucking the trend

anyway. so Horikoshi, you really thought that one itty bitty chapter of hospital catharsis would be enough to calm us all before you went right back to showing us child abuse huh. my god man can we rest

BABY HAWKS

swear to god this kid can’t be more than five or six, and yet he has this completely blank look on his face even with his dad looming over him being all threatening and shit. like he’s shut down his emotions to protect himself. imagine what has to happen to a child for him to have learned this at such a young age. fuck

AND MEANWHILE THIS GUY

don’t mingle with humans?? not “other” humans, just humans?? what is this implying here?? and also holy shit Hawks definitely didn’t inherit his looks from his dad orz

then again he doesn’t really bear much of a resemblance to his strung-out mom here either

omg omg omg. and this child is basically trapped here in this environment with these two people. this explains a SHITLOAD about Hawks’s personality though you guys. his ability to completely separate his real thoughts from the face he presents to the outside world. his pragmatic approach to analyzing and solving problems. his layers of emotional walls. turns out almost none of that came from the HPSC training -- that was all learned hands-on in his own personal do-or-die survival nightmare childhood!! oh, boy

and small wonder then that he latched on to Endeavor so strongly if he really is the one who brought down his dad and inadvertently saved him from this. also, just putting this out there, I know people are always talking about him and Dabi being foils, and I think it’s very interesting how Touya grew up in a household where he saw firsthand the dark side of hero society, and so ended up becoming a villain in order to bring it down. whereas young Keigo had almost the exact opposite experience, growing up experiencing the dark side of villain society and becoming a hero in order to bring about a world where no one else has to experience that. just. both of them are so determined not to become their fathers. some interesting parallels there

so Hawks was sort of an accident after his parents had “thanks for helping me not get caught after I killed that guy” sex, and now this little boy is growing up in squalor and being beaten by his father for things like Sitting In The Wrong Out-Of-The-Way Corner Trying Not To Be A Bother To Anybody. holy fuck. this is so rough to read through you guys

wait so does Jerk Dad have a an eyeball manipulation quirk?? because he doesn’t have the wings like his son, but wth are these things??

this presumably also means that Keigo has never been to school or anything either. he basically doesn’t exist. he thinks heroes are fictional characters, he doesn’t realize that they’re real people. these are people who could help him if he could escape and find them, but he doesn’t know, and they don’t know about him

OH MY GOD HE’S JUST SITTING IN HIS CORNER HUGGLING HIS ENDEAVOR PLUSH OH MY GOD

how could this child possibly have an anti-fandom when he’s done NOTHING WRONG HIS ENTIRE LIFE. huh. just explain that to me. lol I mean I’m not looking to pick a fight with anyone, but also, MAYBE I AM, idk?? this kid has gotten me all riled up lmao

anyways, Protect Keigo 2021, and thank you Horikoshi for these three very terrible pages. I am pleased to inform you that you’ve effectively gotten your point across and you may now commence saving this kid already

YAY

oh no, Keigo’s dumbass jerk dad tried to steal a car and the popo nabbed his ass and now his mom can’t just sit around neglecting her VERY YOUNG SON all day long, oh horrors. sorry lady my tiny violin is on backorder. just imagine that I’m playing a very sarcastic song on it for you

anyway so what are you gonna do now, abandon him? I can hardly imagine he’d be worse off, if anything it might be a near-instant improvement

LMAO HE’S ALL “WAIT WHAT ENDEAVOR’S A REAL FUCKING DUDE?!”

AND THEY SAY THAT A HERO CAN SAVE US~~~~ I’M NOT GONNA STAND HERE AND WAAAAAIT~~~~~ I’LL HOLD ONTO THE WINGS OF THE EAGLES, WATCH AS WE ALL FLY AWAAAAAAY~~~~

lol what a randomly pivotal moment in his young life. TIME TO GO MAKE THESE MEMES INTO DREAMS YOUNG ONE

anyway so his mom freaked out and grabbed him and they wound up at a train station with her TELLING HIM TO GO GET HER SOME MONEY, oh my god. SURE MOM LEMME JUST WALTZ RIGHT ON DOWN TO THE “JOBS FOR FIVE-YEAR-OLDS” STORE AND TELL THEM I NEED SOME CASH. ffff manifesting someone to come help him in 3... 2...

...

SIGH, JUST GO RESCUE THE PEOPLE FROM THE BUS, KEIGO. is this the outfit he was wearing when that happened?? it must be, right?? I can’t imagine them surviving more than a couple days out here unless this starts getting REALLY dark in a way I know that even Horikoshi won’t explore, so yeah. cut to the HPSC now please. never thought we’d be glad to see them. I mean sure, it may be an “out of the frying pan...” case, but good god

THANK YOU!!

and I guess it was his mom’s eyeball quirk then. anyway, whatever, see you again never, hopefully. lol oh man. thaaaat, was upsetting. need to center myself here for a sec. NAMASTE

OH YAY THE PRESENT

so we cut from Baby Hawks Angst straight to Present Day Hawks Angst, huh. not that this exhausted and traumatized lil lad isn’t still a baby to me too, I’ll have you know

BEST JEANIST, ALWAYS WITH THE JOKES

“WHEW, THOUGHT YOU DIED ON ME FOR A SEC THERE KID.” lmao. Caleb will no doubt ruin this by making his word choice all stiffly formal as usual, so I’m just going to treasure this “WOULD YOU LOOK AT THAT, I’M FRESH OUT OF FUCKS” version of Jeanist while I can

look at him, driving his Jeanistmobile

again, is it any wonder Kacchan was bitching about Endeavor’s dinky little car when he was used to riding around town in style like this. anyone else staring at this panel trying to figure out how this car is somehow secretly made of jeans

NOOOOO

FUCK YOU DABI LMAO. PUTTING THESE VOICE ACTORS OUT OF A JOB ONE BY ONE

anyway so Jeanist is all “GOOD THING IT’S THE FUTURE AND WE’RE SO GOOD AT MEDICAL SCIENCE” to handwave how Hawks went from one step shy of being a very handsome corpse, to sitting around texting Jeanist in a car all of two days later

OH MY GOD, AND FINALLY AN EXPLANATION FOR THIS

wait a minute. I’m so confused lmfao. soooo, was Hawks all “anyway, here’s Jeanist’s dead body, you can examine it but please don’t look at him too closely and also I’m gonna need that back unharmed.” how tf did you pull that off lmao

(ETA: also isn’t this technically confirmation of the ol’ Noumu Jeanist theory lol. I’m gonna go ahead and say it is.)

NO BUT PLEASE, CONTINUE. I unironically love reading Horikoshi’s overly convoluted “SEE IT’S NOT A PLOT HOLE” explanations

lkldslfk so wait, you’re telling me Hawks convinced Dabi and the League to put Jeanist’s body in storage, and basically just hoped they wouldn’t use him for any experiments until he could put his plan into action and have the HPSC’s people break in and find and revive him?? WHAT COULD POSSIBLY GO WRONG. A FOOLPROOF PLAN IF I’VE EVER HEARD ONE

fff this man really asked Jeanist to risk it all to prop up his little cover story, and Jeanist was all “sure why not” omfg. anyways, thanks for recapping all of this out loud for no particular reason in your car conversation you two

LMAO NOW WHAT

TROUBLE YOU SAY? GOOD THING THE NEW NUMBER ONE HERO IS ON THE JOB THEN

okay no it’s just some random thugs strolling around terrorizing the downtown. fuck ‘em. so Jeanist is making short work of them now

uh oh

won’t come? not can’t, but won’t?? what???

WOW

well I guess that makes the local heroes A BUNCH OF SHITHEADS now doesn’t it?? jesus

and okay, serious question, if the cops are spread too thin and the heroes have literally walked out on the job, what exactly is stopping everyone from deciding to use their quirks to defend themselves, legal or not? nothing, as far as I can tell. society just got a hell of a lot more chaotic

anyway so this is an interesting panel here

man, Dabi really did pull it off, didn’t he. well anyway so here’s that better world all of the villains were wanting, you guys! isn’t it so great?? everyone’s terrified and angry and losing hope and society is inches away from collapsing into total anarchy! but hey, at least we exposed the number one hero as a hypocrite

anyway so what are these guys up to

fucking hell, he’s visiting his mom. I really wasn’t prepared to commit this much emotional energy towards reading this chapter today. BUT VERY WELL, WE PRESS ON

?? wait she’s not there?

is this supposed to explain how Dabi knew who Hawks really was? except that there’s the little matter of how he even know where to find his mother in the first place. feels like we’re still missing something there, but oh well

OH MY GOD

RHA I TAKE BACK EVERY WORD I EVER SPOKE AGAINST YOU. YOU ARE A SCANLATION GROUP FILLED WITH ANGELS LMAO. I WILL TAKE THIS PANEL IN MY HANDS, AND TREASURE IT AND KEEP IT SAFE

ANYWAY, BECAUSE MY TIRED BIRD SON’S LIFE SUCKED SO MUCH ALREADY, IT TURNS OUT HE’S ACTUALLY PLEASED WITH THIS NEW TURN OF EVENTS LOL HOW ABOUT THAT

GOOD FOR YOU BBY. YOU GO OUT THERE AND BE YOUR OWN PERSON

and in all seriousness, I love that identity he chooses -- chooses, because it actually is him making a choice now, possibly for the very first time in his life -- is “guy who helps people”, though. it really is nothing short of miraculous that he held on to that kind of optimism and desire to do good even with everything he’s been through. there were so many times he could have chosen to turn his back on the world in retaliation for the way it treated him. but he didn’t!! and here he is now, finally free, and what he wants to do with the rest of his life now is simply to help others. anyway please excuse me for a moment, I need to go find some sort of basket or a big vase to put all of my fresh new Hawks Feels in, pardonne-moi

YEAH BOIIIIII

“FIRST ORDER OF BUSINESS, MISTER JEANIST, WHERE DID YOU FIND YOUSELF THAT SWEETASS CAR.” hey, all I’m saying is if this boy’s wings really aren’t growing back, he’s gonna need to find himself a new means of transportation y’know?

oh my god you guys it’s a flashback to his mom buying him the Endeavor plushie when he was like two because, and I quote, ALL MIGHT WAS TOO EXPENSIVE

oh my god oh my god. my boy out here with a new lease on life finding hope in the darkest of times

wasn’t your throat supposed to be all fucked up lmao. Horikoshi was suddenly all “oh shit the VAs are gonna be pissed at me if I keep this up huh”

“that’s why Bubaigawara was such a great guy” motherfucker IT IS A TERRIBLE DAY FOR RAIN. FORECAST SAID NOTHING ABOUT THIS

:’)

yes ma’am. yes indeed. confirmed, I really will straight up fight some motherfuckers for this child. well not really, but YOU KEEP YOUR DISCOURSE OFF MY LAWN AND OUT OF MY BLOG YOU HEAR. THIS IS A HAWKS-FRIENDLY SPACE. WE RESPECT TAKAMI KEIGO IN THESE STREETS

and he’s saying (or is he thinking?? what a weirdly shaped speech bubble this is) that even if what Dabi said about the Todoroki household is true, “I’m not sure it’s the same now.” which happens to be ABSOLUTELY CORRECT. man this whole chapter really is all about saying “fuck the past” and moving forward and I am living for it

SON!!!!

“the first step is at my beginning” fklkjlk. what an iconic fucking line??

AND HIS WINGS!!!! THEY ACTUALLY ARE GROWING BACK AHHHHHHH. “PUT A RAINCHECK ON THAT CAR, JEANIST-SAN.” THE HAWKSMOBILE CAN WAIT, RIGHT NOW HE HAS TO GO INSERT HIMSELF BACK INTO THE TODODRAMA WHETHER THEY LIKE IT OR NOT

you guys. I came here ready for some BAKUDEKU HOSPITAL ANGST, and I got DIDDLY SHIT of that, and none of my other kids were even in this chapter, but!!! ASK ME IF I CARE LMAO omg. because bird son is hanging with his new best friend, and he’s out here Finding Himself and picking up the pieces and putting them back together stronger than ever because RESILIENCE HAS A NAME, AND IT’S SPELLED H-A-W-K-S, and you guys. profound, my love for this child. holy shit. hey google, play Silence by Marshmello

#bnha 299 #takami keigo #hawks (bnha)#best jeanist #bnha #boku no hero academia #bnha spoilers #mha spoilers #bnha manga spoilers #makeste reads bnha #I found peace in your violence #can't tell me there's no point in trying #I'm at one #and I've been quiet for too long

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hellzabeth · 3 years

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i have opinions about The Prince of Egypt musical adaption and you’re going to listen to them: An Essay

So, quick disclaimer: The Prince of Egypt is one of my favourite movies of all time. The casting, the music, the animation, I think it’s one of the top-tier movies that have ever been made. I went into seeing the London West End production of PoE with a full expectation that nothing I saw on stage would ever live up to how much I love the movie. I was fully aware there are plenty of limitations to what can be shown live on a stage with human actors and props.

That being said, I was enormously disappointed with how the whole thing was handled.

The Good

Now before I launch into a whole tirade of what I didn’t like about the production, it does behoove me to say what I think they did do well.  

The casting of the role of Moses was done fantastically, as was Miriam, Tzipporah, and Yocheved. The swings and the ensemble were really engaged and well placed, going through lots of quick changes to go from Hebrews to Egyptians to Midianites and back. 

The two Egyptian queens, wifes of Seti and Ramses, are actually given names, lines, and character beyond being simply tacked onto their respective kings. We get to see how they feel about the events happening around them, and there’s even a scene where Ramses meets his wife and courts her, whereas in the movie, she stands in the background and says nothing. This is one of the areas I was hoping the musical, which would naturally have a longer run-time, would expand on, and I was pleased to see the opportunity was taken.

Light projections on enormous curtains were used to very good effect, taking us instantly inside the walls of the palace and then out to the desert.  

Over all, the work was really put in to be engaging and emotional, and the orchestra really worked to deliver the right musical beats. 

One of two stand out scenes as being done very well was the opening “Deliver Us”, which included a bone-chilling moment of Egyptians separating a mother and her baby, with her screams as she’s dragged off-stage, and the blood on the guard’s sword. It really brings home the fear as Yocheved tries to lead Aaron and Miriam to the river with her, not to mention Yocheved’s actress nailed the lullaby.  

The second was at the other end of the show, “When You Believe” was beautifully performed by the whole cast, though it was somewhat stunted by what came before...

The Bad

Oh boy.

So the main problem with this show is not the music, not the staging, not even that sometimes the ensemble was a little off-beat (the lai-lai-lai section in Though Heaven’s Eyes comes to mind). Any mistakes there can all be forgiven, since sometimes things just happen in live performance, someone’s a bit off or something’s just not possible to do on the budget allotted.  

The problem is in the script.

The Prince of Egypt movie is a story that stands not only on the shoulders of its fantastic music and visuals, but also on its emotive retelling and portrayal of the characters within - mainly Moses and Ramses. And while the stage musical does spend a lot of time with the two mains, it neglects two other, incredibly important characters.

Pharaoh Seti, and God.  

In the movie, Seti strikes an intimidating figure. He is old, hardened, and wise in the ways of ruling his kingdom - and is voiced by Patrick Stewart, who brings his A-game to the role. Both Moses and Ramses admire him and look up to him immensely as young men, and the relationship he has with both of them deeply informs their characters as the story progresses. It’s from Seti that Moses learns that taking responsibility for your actions is the respectable thing to do (and later, the true horror of having your idol turn out to be not what you think), and it’s from Seti that Ramses takes a huge inferiority complex.

There are two lines that Seti gets in the movie, one spoken to Moses, and one to Ramses. These two lines define Moses and Ramses’ actions later on in the story:

To Ramses - “One weak link can break the chain of a mighty dynasty!” To Moses - “Oh my son... they were only slaves.”

Guess which two lines are absent from the musical?

One Weak Link is turned into an upbeat song, rather than shouted at a terrified and cowed young Ramses. Instead of being openly a traumatic, internalised moment of negative character development for Ramses, it’s treated as a general philosophy that Seti passes down to his son. Instead of a judgement that is hung over Ramses’ head like a sword of Damocles, lingering in his mind through the whole story and coming up in a shouted argument with Moses later, it’s said and then moved on from.  

The “they were only slaves” comment, on the other hand, is absent entirely. This changes Moses’ relationship with Seti enormously, as well as his relationship with the Hebrew people. Upon finding the mural depicting the killing of the slave children, Moses is appropriately horrified, and Seti shows up to comfort him and defend his terrible actions. Moses leaves this interaction... and then sings about how this is indeed all he ever wanted! He has no moment of horrific realisation that his father thinks of the slaves as lesser, as lives that can be thrown away. This means that the scene where he kills the guard doesn’t lead into a discussion of morality with Ramses as he runs away, but rather Moses breaking down about his heritage as though it’s a negative, instead of something he’s realised is just as valuable as his life as an Egyptian. Instead of Moses being shown as having a strong moral core that protests against the idea of any life being lesser, he bemoans his Hebrew blood loudly, and makes little mention of the man he killed. His issue that causes him to run away is being adopted, rather than his guilt that he’s a murderer, and nothing Ramses can say will change it.

Later on, we don’t see Ramses express this opinion either (in the movie - M:”Seti’s hands bore the blood of thousands of children!” R:“Hah, slaves!” M:“My people!”) so it seems the core reasoning for the necessity of the extremes God had to go to in order to convince Ramses to let the Hebrews go is completely gone.

Which leads us into God Himself, as a character.  

God is a tricky topic in general. He is hard to talk about as a concept and as a character, and even harder to depict in a way that won’t offend someone. The Prince of Egypt movie always struck me as a very good depiction of the Old Testament God - vengeful and strong-willed, commanding and yet nurturing, capable of great mercy and great cruelty in one fell swoop. God is incredibly present in the story, a character in and of Himself, speaking with Moses rather than simply commanding him. The conversation at the Burning Bush is bone-chillingly beautiful. Moses is allowed to question, he’s allowed to enquire, he’s allowed to express how he feels about God’s choice, and God is given the chance to respond (and reprimand, and comfort).

In the musical, the Burning Bush scene lasts all of two minutes, during which God (the ensemble cast, acting as one moving flame, speaking in unison) monologues to Moses, and Moses is not given room to question, talk to, or build a relationship with God. Later on, once some of the plagues have gotten underway, Moses rails against God, flinches in his resolve, and tries to back out... and God says nothing. It’s Miriam and the spirit of Yocheved that convince Moses to keep going. As a character, God is nearly absent. Even when it comes to calling upon the Plagues, or parting the Red Sea, God’s voice is absent. Moses does not pray. He does not even use the staff that God encouraged him to pick up as a symbol of his becoming a shepherd of the Hebrews out of Egypt.  

It’s these little changes, these little absences of such vital lines and presences, that ends up changing the whole vibe of the show. Seti is more like a dad than an emotionally distant authority figure, and God is more like an emotionally distant authority figure than a character at all. Ultimately, the whole feeling that one is left with at the end…

The Ugly

… is that the script doesn’t like God, or religion in general.

A bold statement to make, considering the source material is one of the central biblical stories in EVERY Abrahamic religion. Moses as a figure is considered so important and close to god, that The Prince of Egypt, even with its sensitive portrayal, cannot be aired in a number of Islamic states, because it’s considered disrespectful to depict any of the prophets, especially an important one like Moses. Moses is arguably the MOST important prophet in the Jewish canon.

However, I haven’t highlighted one of the most noticeable script changes - the elevation of Hotep, the high priest, to main antagonist.

In the original movie, Hotep is a secondary villain, a crony to the Pharaohs, bumbling and snide and two-faced. He and his fellow priest Hoy are there primarily to juxtapose how charlatans can control power through flattery and slight of hand, reassuring Ramses that Moses’ miracles are merely magic the same as what they can do. They even get a whole villain song, “Playing With The Big Boys” which is a lovely deconstruction of lyrics vs visuals, where while the priests boast that their gods and magic are much more powerful, in the background the staff, transformed into a snake by god, devours and defeats the priests’ snake handily. The takeaway from the song is that God’s power is true, and doesn’t need theatrics.

It’s a good little nugget of wordless world building. And it is completely absent from the stage musical, with only a vague reference to the chant of all the gods names.

Hoy is gone, and Hotep is the only priest. He actively speaks out against the Pharaoh, boasts about having all the power, and is played as bombastic and proud. He’s a wildly different character, even threatening Ramses at one point. In the end, it’s shown that Ramses won’t let the Hebrews go not because he has inherited his father Seti’s cruel attitude towards the lives he considers beneath him, but because he is being actively bullied by the priest, and will lose his power and credibility if he doesn’t do as he’s told. Ramses is even given a whole song about how little power he really has. The script desperately wants us to feel sorry for Ramses’ position and hate the unrepentantly, cartoonishly evil priest.

That’s another matter as well - a LOT of time is dedicated to making the Egyptians more human and sympathetic, portraying them as largely ignorant of the suffering beneath them, rather than actively participating in slavery. Characters speak out of turn without regard for formality and class, even to the royal family. They are casual, chummy even. And this would be fine - in fact, it’s good to have that sort of third dimension to characters, even ones who are doing reprehensible things, to show the total normalcy and banality of evil - if it were not for the fact they still include a completely open-and-shut case of evil right next to them.

Hotep has no redeeming features. And on the other side, God is barely present, certainly not in a relatable context. Moses has several lines about how cruel and unnecessary God’s plagues are - and you know what, in this version, they are unnecessary! Ramses is not the stone-hearted ruler that his movie counterpart is, he has no baggage over being a potential failure, because it was never really given to him in the same way! By taking away Ramses’ threatening nature, numbers like the Plagues lose half their appeal, as the back-and-forth ‘you who I called brother’ lines between Moses and Ramses are completely absent. Moses is faithless, and is less torn between the horror of what he’s doing and the necessity of it for the freedom of his people, and more left scrabbling for meaning that he doesn’t find. And the only thing hanging over Ramses is Hotep nit-picking everything he does and threatening him, which is considerably less compelling than the script seems to think it is.

This is best exemplified at the end, when all the issues come to a head. The angel of Death comes and takes the Egyptian first borns (which was actually a well done scene), and the Hebrews leave to a rousing rendition of When You Believe. But then we cut to Ramses and Hotep, with Hotep openly threatening to revolt against the Pharaoh - whom was believed, especially by the priesthood, to be a living god! Hotep is so devoid of redeeming features he cannot even be trusted to stand by his beliefs! - unless Ramses agrees to chase after the Hebrews. Reluctantly, Ramses is badgered into the attempt.

Back with the Hebrews, Moses parts the Red Sea… not with his faith, not by praying to God for another miracle, not even by using his staff as in the most famous scene of the movie… but by holding out his hand and demanding the ‘magic’ work. Setting aside the disrespect of Abrahamic religions to call one of the most famous miracles “magic” (and my oh my, if there was a fundamentalist of any religion in the audience they might have gasped to hear it), it again belittles the work of God, and puts all the onus on Moses, not as a conduit for God’s work, but as the worker himself. Then, the Egyptians arrive in pursuit, lead by Hotep, not Ramses. Moses sends the Hebrews through first, lead by Miriam, and stays behind with Tzipporah… to offer his life in penance to Ramses! The script has completely stripped both Ramses and Moses of their convictions towards their causes, and Moses cannot even stand by his decision to lead his people.

Then, in a moment of jarring melodrama, Moses has a sudden vision that Ramses, his brother, will one day be called Ramses the Great (an actual historical Pharaoh who reigned 1279-1213 BCE). There is no historical evidence that this was the Ramses that ruled over the Hebrews (there are 11 Pharaohs called Ramses through the history of Ancient Egypt), and maybe if the scene was acted a little better, it wouldn’t have been so sudden or jarring. Even more jarring, is that then Hotep arrives with the rest of the army, and Ramses refuses to lead the charge into the parted sea. Hotep does so himself, and is the one to have the final dramatic moment, being crushed under the water.

The Takeaway

After watching the show, I’m afraid I could never recommend it as either a play, an adaption, or even as a faithful retelling of a bible story. Its character drama isn’t compelling enough to be good as a standalone play, with it two main characters declawed and their core motivations reduced to a squabble between brothers rather than a grand interplay between two cultures and ideas and trauma handed down from their father. As an adaption of the movie it’s upsettingly bad, with grand numbers like the Plagues rendered piecemeal and fan favourites like Playing With The Big Boys missing entirely. As a retelling of the bible story, it’s insulting, completely cutting God out of the equation, taking no opportunity to reintroduce Aaron as an important character (which he was, in the bible, as Moses was a notoriously bad public speaker, with a stutter, and Aaron often interpreted for him) and more importantly, completely erasing God’s influence from the narrative.

I don’t know who this show was… for, in that case. If it wasn’t for drama lovers, movie fans, or people of the faith, then who the hell was it for? Why change such a critically acclaimed and well-beloved story? Why take away all these defining moments? If you wanted to tell a story about how religion is the true evil, how God can command people to do terrible things, and how those who uphold organised religion like Hotep are unrepentant, one-dimensional monsters… why would you tell that through the Prince of Egypt?

Underwhelming at best, infuriating at worst… just watch the movie. Or read Exodus. At least the Bible’s free.

#the prince of egypt #the prince of egypt musical #PoE #review #essay

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dogbearinggifts · 4 years

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What are your thoughts on tua S2? Did you feel like the characters grew? What did you like? What did you not? I’m interested in your perspective. Your analysis are super thoughtful and interesting!

Aw, thanks, Anon!

Overall, I really enjoyed S2 and thought it was a solid follow-up to S1. I do have my quibbles about it, so I think (for ease of reference and because my thoughts are a little scattered today) I’ll list some of my personal highlights (in no particular order) before getting into what I didn’t like as much.

Big spoilers ahead.

Allison. I thought they handled her storyline especially well. Of all the siblings, I think she had the most difficult obstacles placed in her way (not only is she a Black woman landing in 1961 Dallas, but she’s a Black woman landing in 1961 Dallas who can’t even speak in her own defense for a year) and they sugarcoated exactly none of it. The writers pulled no punches when showing what civil rights protesters went through, which just made their nonviolent response all the more breathtaking. Allison’s fear and anger during those scenes were palpable even as she kept them hidden. But along with that horror, we see the kindness and warmth of the Dallas Black community, the women who take her in simply because she needs their help, and her love for Ray, perhaps heretofore THE most thoughtful husband ever portrayed on screen. I loved him, and I loved him and Allison together. While I understand and respect his choice to stay in 1963, I wish they’d gotten more time together. They both deserved it.

Vanya. We got to see how much the baggage from her past affected her by glimpsing what she might be like if it were taken away. It’s an interesting philosophical question, and it was explored well, in my opinion. She finds it easier to love and be loved, and she stands up for herself more readily—but she also doesn’t hesitate to use powers she can’t quite control and threatens Five without fully realizing how dire her threat is (or how it might dredge up traumatic memories she doesn’t know exist). The moment where Ben finds her curled up, fully convinced she’s a monster, was heartbreaking. I loved watching her find happiness with Sissy, even if that was fleeting (and dear god, Sissy deserved her happy ending with Vanya, dammit, I don’t care if it would fuck up the timeline). Her patience and sweetness with Harlan were just beautiful. And the way she used the confidence she gained during her amnesia to fully come into her own not to exact revenge on her siblings, but to save them, was fucking phenomenal.

The humor. There was a lot more humor this season, and it was awesome. So many iconic scenes—Olga Foroga, Luther babysitting two homicidal Fives, Elliot awkwardly lecturing his guests on the history of Jello, “NEW TIMELINE NEW ME,” “Your vagina needs glasses,” AJ the fish gobbling up the cigarette bubbles, Five getting to say “fuck”….this season was a lot funnier than the previous one, and I think that was one of its strengths.

Klaus’ cult. It was played for laughs, which I both expected and thought was the best way to handle it. He didn’t want to start a new religion with himself at the center; he just wanted to not get thrown out of any more diners, but Destiny’s Children had other ideas. The “I too am a fraud!” scene was hilarious and tickled the question of whether or not a religion founded on false pretenses can still help those within it find meaning.

Luther. Getting him away from his dad, his siblings, and the Academy was exactly what he needed to become the pure of heart and dumb of ass genius we always knew he was, but his first major step in that direction was heartbreaking. We all knew he’d be rejected once he got to the Academy. We all knew Reginald would rip his heart out and stomp on it in his admittedly fashionable shoes. It gets Luther out on his own and forces him to become his own person apart from his dad, but that doesn’t make it any easier to watch. He got the positive character development he needed, but the catalyst was tragic.

Diego. We see, for the first time, exactly how Reginald kept him in line—not with meds or with PTSD-inducing torture, but with words. Even when he knows Diego as little more than a stranger, Reginald is able to rip off his skin and fling it in his face with a single diatribe; and even at 30, with years away from his dad, Diego is left unable to speak, feeling as if all of his accomplishments up to that point were the work of a dumb kid who thought he was smarter and more capable than he actually was.

Luther and Diego sharing a braincell. Luther has bad ideas. Diego has bad ideas. When they put their bad ideas together, they get terrible ideas. I loved watching them work together as a team, rather than being at each others’ throats for most of the season, even if I’m left hoping Olga Foroga had a pleasant and quiet day after that phone call.

Reginald. At first glance, it may look like the writers were trying to make him likable so they could parade him around as your average abusive-parent-with-a-soft-side. But it’s more nuanced than that. Abusive parents (and abusers in general) often fly under the radar because they fool outsiders into thinking they’re good people. They’re active in their communities. They give to charity. They have friends who attest to their virtue, significant others who think they’re the greatest. And that’s what we see with Reginald. We see him as the rest of the world did: an intelligent, eccentric man with a sharp sense of humor who cared deeply about scientific advancement. That’s how he evaded suspicion—because there were stories from years past of lively parties at his mansion, of what a gentleman he was to Grace and of how he did everything he could to save little Pogo. But those stories would all have come from people he considered his equals. When he’s with people he considers his inferiors—aka, the Umbrella kids—he’s openly condescending and demeaning. We get to see how he fooled the world, and it is chilling.

Elliot. He deserved better, and you can ship him with any one of the Hargreeves kids and get the cutest thing ever.

The Swedes. They said so much while speaking very little.

Ben. He got more personality and screen time, and it was glorious. His love of his family and resentment toward Klaus practically leapt off the screen. The way he says “I’ve missed you all…so much” once they’ve all left was one of those right-in-the-feels moments; and watching him get so much of what he’s wanted for years when he possesses Klaus was beautiful.

Now, as for things I took issue with….

Ben. I understand why they ended his arc the way they did. I get that they were probably afraid the Klaus/Ben dynamic would grow stale if they didn’t change it somehow and wanted to give him a larger role in S3. His death(???) was heartbreaking and extremely well-done. But it also wasn’t foreshadowed. We never got any sense of what ghosts in the TUA ‘verse are, so the fact they can be destroyed by a ton of sound-turned-energy or by going too far into someone’s psyche or whatever happened….it’s not that it doesn’t make sense so much as there’s not enough evidence to determine whether or not it makes sense. It feels like the writers just kinda made that up so they’d have a reason to change Ben’s relationship dynamics, but if that’s the case, couldn’t they have done it another way? Couldn’t they have made it so the immense energy or psychic woo-woo or whatever gave him a power-up instead of destroying him? Vanya transferred some of her energy into Harlan and brought him back to life. Couldn’t something similar have happened with Ben? And if it tied him to Vanya as well as to Klaus, great! More fodder for angst and humor! (”Vannyyyyyyyy, stop hogging Ben!” “You got him for 17 years, Klaus, you can part with him for 20 minutes.” “Guys, don’t I get a say in this?”) I’m glad they didn’t write him out of the series entirely, but I still wish they’d kept him and all the character development he’d gotten throughout S2.

Episode 10. It looks like they tried to cram half a season’s worth of developments into 45 minutes. Twenty minutes in, I’d already said “Wait what the fuck” half a dozen times. A lot of those moments were explained later on, and I was able to make enough inferences to fill in any lingering plot holes, but…still. Too much stuff, too little time. E9 was a perfectly satisfying ending to the season. Yes, it leaves the siblings stranded in 1963, but they could’ve tied up those loose ends in the S3 premiere.

Lila. She’s an incredibly fun character, but her arc is kind of a mess. Most of that is due to E10, and I do feel that more time to let her arc breathe would’ve worked wonders, but I’m left feeling like her turn from “Handler is the best mom ever and I lurve Diego too” to “KILL DIEGO AND HIS EVIL FAMILY” to “Handler is a bad mom and Diego is right” happened too quickly.

The Commission. Okay, so, the Handler announces the entire Board has been killed, and she’s stepping in as director even though everyone appears to know she’s been demoted (and demoted pretty severely—she went from having an office bigger than some apartments to being a case management drone). There’s suspicion and lots of it. But then, La Resistance is….ten or so people in a single room? And when she calls the temps agents to her side, thousands of them show up ready and willing to fight and die? I dunno. Just seems like there should’ve been more splintering going on there. Again, I think they needed more time to tie everything up.

Aside from those complaints, I loved the season. I set aside most of a day to binge it, and I do not regret that decision at all.

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shuttershocky · 3 years

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If you could make a trigger warning list for Tsukihime, what would be on it? There's a lot of people who are just getting interested in it with the remake (myself included) and I think having a tw list would be a really nice thing for those getting in now. If you can't remember every scene, a general list is good enough!

Oh boy.

Ohhhhhhhh boyyyyyyyyy.

Alright. So. A little bit of explanation: there's a reason why Nasu actually wants to remake this game. Tsukihime is by miles his darkest and most brutal work, and a lot of it is completely unnecessary edginess made by poor and almost literally starving Nasu and Takeuchi. Kara No Kyoukai wasn't exactly making waves, and the two were living on cup noodles and working other jobs to keep themselves afloat. To finish the VN Takeuchi even made Nasu quit his job and worked two in his stead (biking home in-between said jobs to do art) just so Nasu would have time to write. The nastiness of what they felt at the time is everywhere in the script, and it speaks to Nasu's talent that what came out wasn't complete edgelord garbage.

Did you ever read the original Fate/Stay Night? Did you get taken abrupt when Illya and Berserker first attack Shirou, Rin, and Saber, and Illya orders Berserker to behead Saber and rape the corpse so that Saber would rather die than continue to regenerate and fight? Did you think that kinda came out of nowhere and was unnecessary? The Realta Nua rerelease didn't just remove all the bad sex scenes, they removed lines like those entirely.

Tsukihime has waaaaaaaay more of that, and unlike Fate/Stay Night it couldn't easily edit all of them out and get rereleased without changing the story. It needed to be rebuilt from the ground up.

Personally, I've been so excited for the remake because Nasu has expressed regret before on how misogynistic his writing was before. Specifically he was asked in an interview about his focus on female characters in his works and he something like "I've been told before 'Nasu respects womens rights' because of all the powerful girls in my works, but looking back I can clearly see my own prejudices" especially singling out how Shirou treated Saber in the Fate route and how Tohno Shiki needed to get uppercut by Arcueid. I'm far more excited to see how Nasu will approach Tsukihime with that hindsight in mind more than I am about the visual and music upgrades the VN will get. I don't think Nasu wants to (or even should) remove all the problematic content of the original Tsukihime as this IS a work of horror, but a lot of editing would greatly improve the script.

Releasing Tsukihime R on PS4 isn't just a message of a console release, it's a sign that things will be different this time due to Sony's strict rules (that do not apply to its first party games apparently).

With that being said, a general trigger warning list from memory:

1.) There is a LOT of rape and sexual assault. Mentions of the act, internal narration from characters witnessing or attempting to find someone to rape, Shiki can straight up rape two of the girls on two seperate routes if he makes the wrong choice (he will be killed the day after). There's also a line where Shiki tells Ciel that if she doesn't do what he says, he'll rape her. The context there is that he's extremely weak and she can snap him like a twig so he just shouts the most hurtful thing he can think of, but it's still dumb. If I remember correctly, there's a choice that makes Shiki sexually assault Hisui and it DOESNT lead to a dead end, with most guides recommending that choice to get the CGs. I got annoyed and that's when I made my own guide for the route.

2.) Unknown to Shiki, his family's bloodline carries a powerful violent impulse to kill any non-human they see, strong enough to temporarily take over their wills and delight in murder by conflating it with sexual pleasure. The first time Shiki sees Arcueid, he falls into a trance and stalks her back home before brutally cutting her up into 17 pieces and experiences multiple orgasms while doing so. He then comes to his senses and starts vomiting and crying from what he just did and the shame of how much he enjoyed doing it. They're not taking this scene out (It's in the remake PV) but I'm preeeettyyyy sure Shiki's narration won't suddenly talk about how much his dick is loving this.

3.) Incest. Akiha is Shiki's sister. She's also a romantic interest. Technically they're adopted so it's not incest and they haven't seen each other in 8 years so it's not like they grew up together the whole time, but any tine you got to say "technically it's not incest", it's not great. I heavily doubt this is getting removed from the Remake as it's, you know, a whole route. On the other hand, Akiha has a biological brother, and he is creepy about her so that's 100% guaranteed ick right there, but fortunately he never goes far enough that you can tell if he's a sicko or if he's just really possessive of his sister.

4.) Kohaku's backstory. Koha-Ace once joked that this is the true reason the Remake took so long. It forms the backbone of Tsukihime and one of the main threads that ties everything together, but also Kohaku is the middle link between Fujino and Sakura. You can guess what that means.

5.) Heavy gaslighting, heavier drugs. Both Shiki's past and his present in the far side routes involve an almost hilarious relationship to the truth. Everyfuckingbody is lying to Shiki, and his father literally gaslights him with magic by using hypnosis to conveniently erase some traumatic memories that the old man is responsible for and replace them with falsehoods. Shiki nonchalantly talks about his terrible memory when it comes to his childhood throughout the VN, but the actual reason for that is that he got gaslit to hell and back. In the present, Shiki gets drugged out of his mind by someone in his house, and experiences long and detailed hallucinations, all the while being told by his family that nothing is going on. It becomes difficult to tell what's really going on; if he's really walking around town or if he's in bed babbling at the ceiling. It is terrifying and is a part of what gives the Far Side routes great psychological horror, but it still deserves a TW.

6.) Suicide. At least one character kills themselves onscreen.

7.) Torture. In the Ciel route, Roa tortures someone by repeatedly and slowly stabbing blades into them while Shiki is forced to watch. It goes on for a while.

8.) Grooming. This particular bit isn't a part of the Tsukihime VN itself, but more of a fandom joke thanks to Carnival Phantasm. A big part of Shiki's backstory is meeting the mage Aozaki Aoko as an 8 year old and her teaching him about life in the short time they have together. Due to Shiki's nature he almost certainly would have become an evil person, but meeting Aoko instilled a moral compass in him that is the only thing he has to fight his impulses, which is why Shiki loves his sensei so dearly. Melty Blood later made a joke that Aoko is mad she never got a route in Tsukihime, and Carnival Phantasm later had a whole scene stating the real reason Aoko cared for Shiki was that she was grooming him to be her boyfriend as soon as he turned of age. It's super gross and a perversion of what is literally the sole wholesome relationship Shiki has and the only reason there is any good in him at all. I really fucking hate this joke among all others in the Tsukihime fandom.

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hamliet · 3 years

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The Girl Who Gets to Have It All: Buffy Summers

So with @linkspooky‘s encouragement, I have binged Buffy the Vampire Slayer and relived my childhood culture. And, it's a 10/10 for me. Not that it doesn't have flaws, but it's genuinely one of the best stories I've seen, with consistent character arcs, powerful themes, and a beautiful message. It's also like... purportedly about vampires and demons and superpowered chosen ones, but it's actually all about humanity.

Buffy was able to be a teenage girl, allowed to like the things teen girls are scorned for (boys, shopping, etc), to be insecure about the thing teenage girls are insecure about (future careers, dating, school, parents), and to be a superhero with its good and its bad aspects. The story wasn’t afraid to call Buffy on her flaws (sometimes she got in a very ‘I am the righteous chosen one’ mode) and to respect and honor each of her desires (to be a good person, to be loved, and more). The story listened to what she wanted and respected her desires, giving her the challenges needed to overcome her flaws while also never teaching her a lesson about wanting bad boys or romance is silly or any manner of dark warnings stories like to throw at teenage girls.

It respected teenage girls--nerdy girls like Willow, jocks like Buffy, lonely wallflowers with trauma like Dawn, and popular/snobby ones like Cordelia, girls gone wild like Faith. It never once reduced them to the stereotypes that were lurking right there: each character was fully rounded, human, flawed and yet with respected interests and goals. This is so rare for a story that I’m still in awe.

The story as a whole follows Buffy from 15 to 21, of her as she grows from teenager to adult. She acts like a teenager and grows to act like a young adult, wrestling with loneliness and duty. The adults, like Giles, Joyce, and Jenny, are not perfect either, but neither are they “bad parents” or “bad mentors” necessarily. Joyce in particular says something terrible to Buffy, but she tries to do better, and it’s rare to see a parent in YA stories shown with such nuance. Basically, it wrote the long-lasting adult characters as human beings, too.

Speaking of growing up, I appreciated how Buffy’s love interests mirrored this. Angel was someone Buffy loved and admired, wanted to be like, but who was always either extreme good or extreme bad, and combined with Buffy’s own tendencies towards black-white thinking, made for a beautiful relationship to help her grow, but didn’t necessarily form a foundation for a long-term partner. Spike, on the other hand... they both saw each other at their worst and were drawn to each other even then, and were inspired to become better because they couldn’t bear to be a person who treated the other person so wrongly. They pushed each other to become the best them they could be, and believed in each other. Also, Spuffy is an enemies to lovers ship for the ages.

(Also, most of the other ships were well-done or at least can be understood. Riley was very obviously wrong for Buffy which paralleled Harmony and Spike in being 100% wrong for each other. Cordelia and Xander were a fun ship even if we all knew it would never last, and Willow and Oz were beautiful and cute. But Xander and Anya and Willow and Tara? OTPs. As were Giles and Jenny, the librarian and the computer teacher.)

That said, it’s not a perfect series. No story is. All of the characters and ships had problematic aspects to them worthy of critique, and the writing is very 90s in a lot of ways. It’s a product of its time, and in many ways it’s good society has progressed beyond some of the tropes/metaphors used in the show. In other way, though, the show was ahead of its time, and in a good way it wasn’t bound by the fear of purity policing with its takes on redemption (many characters would never fly today).

So, in order of seasons ranked from my very favorite to my “still enjoyed it very much” (no season was actually bad, imo), here’s my review. I’ll also review my top 10 villains in the show, because Buffy does villains very well in terms of the redeemable and irredeemable.

Season 7: Yep, the final season was my favorite.

Overall Opinion: Buffy's finale is literally "f*ck them men, our power is ours" and while it seems cheesy it actually works (also, f*ck in both a literal and figurative sense). The series strongly hit all the themes: love as strength, and redemption. Buffy consistently shows love as her strength--*all* kinds of love. Friendship w Willow/Xander, familial with Joyce/Dawn, romantic with Spike/Angel. These types of love are also never pitted against each other as is so often the case in current-day media. It's beautiful. Also, Spike’s confrontation with Wood was so powerful in terms of exploring forgiveness, redemption, and reconciliation: where they overlap and where they don't, and what it means to move forward.

Unpopular Opinion: I have seen a lot didn’t like the inclusion of Potential Slayers, and while I agree they could have been better incorporated/characterized, it was a great way to show Buffy’s final stage of growing up to be ending her chosen one status and projecting/multiplying her powers over the world.

Biggest Critique: Kennedy was female Riley--the anti-Tara to Riley’s anti-Angel (by ‘anti’ I mean opposite in every way). Kennedy was annoying and immature. Her role, like Riley’s, was less about exploring her as a character and more about her just being stamped as “love interest: lesbian.”

Favorite Episodes: Beneath You, Lies My Parents Told Me, Touched, Chosen

Season 6:

Overall Opinion: I said this on Twitter, but I felt like this was Buffy’s The Last Jedi or Empire Strikes Back moment. It is polarizing and dark, deconstructing the tropes it stands on--but by digging to the core of these tropes, it actually makes what’s good about them shine brighter. Everyone’s enemy was the worst versions of themselves. Giles left Buffy, Willow's struggle to relate to the world led to her trying to destroy it, Buffy hurt everyone through her anger, Xander abandoned Anya at the altar, Spike... yeah. It ages well as an integral part of the story, and the Trio were eerily prophetic.

Unpopular Opinion: Dawn is a great character with a good arc. A traumatized teen acting out and struggling to come to terms with loss and identity? She wasn’t whiny; she was realistic.

Biggest Critique: Willow’s addiction coding (I’ll discuss this below) and Seeing Red as an episode. I see the argument for both of its controversial scenes from a narrative perspective: Willow starts the season not grieving Buffy but instead being determined to fix it with magic and needs to learn to grieve, but. Still. Bury your gays is not a good look. For the Spike scene... he conflates sex/passion and violence (”love is blood, children” is something he said way back in season 3), but like Tara’s death, it had more to do with Spike (as Tara’s death did for Willow) than with Buffy’s arc, and as for the actual execution... they really botched that. Did it like... have to go on that long or go that far? No. Also, the framing was good, but inconsistent with the rest of the series (Xander to Buffy in the hyena episode, Faith to Xander and to Riley, etc.)

Favorite Episodes: Once More With Feeling, Smashed, Grave

Season 3 (tied with Season 5):

Overall Opinion: The opening continuity of Buffy meeting Lily/Anne after saving her life in Season 2 was sweet. The Witchhunt episode had really powerful subtext: stories of deaths that aren’t even true are actually demons that possess the town and convince them to turn against their children in the name of protecting the children. It’s a good commentary on, oh, everything in society. Faith’s character arc was fantastic, and her chemistry with Buffy was off the charts (look, I may be Spuffy all the way, but Fuffy has rights). The finale was satisfying in so many ways, seeing the entire graduating class unite to destroy the Mayor and the school with it, symbolizing Buffy et al’s readiness to move on to college. Oz's relationship with Willow was very sweet and meaningful for a first romance for Willow.

Unpopular Opinion: I actually don’t really have one. Maybe that the miracle in Amends was earned? I think you can make a decent case that Season 3 is the best written of the seasons, but can only truly be thematically appreciated to its full potential in the light of subsequent seasons (which finish Faith’s arc and deconstruct Buffy’s).

Biggest Critique: It forgot Buffy killed the hyena guy in Season 1, making her continual insistence that she can’t kill people very ?????

Favorite Episodes: Lovers Walk, Amends, Graduation Day Part 2

Season 5, which ties with Season 3:

Overall Opinion: The entire season is about family and what it means, from Tara’s to Buffy’s to the Scoobies. I loved Glory aka Enoshima Junko as the Big Bad, I loved Dawn’s interesting meta commentary on retconning (like, the fact that she’s retconned in matters), and most of my ships are still alive. Joyce’s relationship with Spike is one of the most heartwarming aspects, and Spike’s arc’s desire is clearly highlighted: he wants to be seen as a person. The episodes after Joyce’s death are the most honest portrayals of grief I’ve ever seen, and absolutely brutal to watch.

Unpopular Opinion: Buffy’s choice at the end seems a deliberate inversion of her choice at the end of Season 2 (sacrifice a loved one to save the world), but it actually isn’t: much like at the end of Season 2 where Buffy skips town because she’s devastated after killing Angel and doesn’t want to sort out being expelled, her mom knowing she’s the slayer, and her own trauma, Buffy’s sacrifice here was as much about her wanting the easy way out of relationships, family, college, etc. as it was about saving Dawn. Buffy’s death is coded as a suicide, which Season 6 emphasizes as well.

Biggest Critique: Like Season 3, I don’t have a lot to critique here. I wish the suicidal coding had been a little more obvious in Season 5 itself, but also I’m not sure it could have been more obvious; it’s pretty apparent if you pay attention. Maybe also that Buffy and Riley’s relationship failing should have been more squarely blamed on Riley, you know, being insecure and cheating.

Favorite Episodes: Family, Fool for Love, Intervention.

Season 2:

Overall Opinion: Heartbreakingly tragic but exciting and revealing at the same time. It asked the viewer interesting questions about redemption and forgiveness and atonement through Angel being honest about his past, and then decided to show us his past now reenacted, challenging us. And still, we saw them save him in a parallel to saving Willow in Season 6 (but Season 2 was tragic because it wasn’t enough, while Season 6 was not). Jenny’s death was agonizing, and the scene were Angel watches Buffy, Willow, and Joyce get the news through the window was powerful. We didn’t have to hear them to get the grief.

Unpopular Opinion: Jenny’s death isn’t a fridging; it works for her arc too when you consider her history. She worked to save the person whose life she was tasked to ruin, and it cost her her own--yet she still succeeded, because Jenny brought joy and wisdom to the show. Kendra’s death, on the other hand... was because they needed the stakes to be high--but we already knew that before she died. So, her death was useless.

Biggest Critique: The subtext was Not It. It was essentially “do not have sex. Your older boyfriend will lose his soul, kill your friends, you’ll lose your family, your school, your home, and have to kill your true love or else hell will literally swallow earth.”

Favorite Episodes: School Hard, Passion, Becoming Part 2.

Season 1:

Overall Opinion: I really liked it; it’s just lower on this list because the others are just better. It’s a great introduction to the series and to its characters, from Giles to Buffy to Willow to Jenny to Cordelia. It has great subtext a lot of the time (for example, Natalie French as She-Mantis is a literal predatory bug who engages in predatory behavior with students). Additionally, it subverts the typical YA trope of two guys and a girl, in which the girl is usually the least interesting character. Buffy and Willow were both fully fledged characters from the beginning with distinct strengths (even before Willow became a witch, as she wasn’t one in season 1 yet), while Xander was the more ordinary of the group.

Unpopular Opinion/Biggest Critique: Xander’s arc showed its first flaws that unfortunately continued throughout the series: his writing was either very good or very indulgent in ways it never was for other characters. (cough, the hyena episode, cough, in which he gets to skirt responsibility--and acknowledges that he is skirting it--for something the show will later hold others to account for). Xander’s just kind of inconsistent, which weakened his character over all. (Which is why both his love interests--Cordelia and then ultimately Anya--were good for him: they did not indulge him.)

Favorite Episode: Witch, Nightmares.

Season 4:

Overall Opinion: it’s still a good season. It’s a good portrayal of college and the growing pains of branching out, the strains of college growth on relationships (romantic and platonic). It shows us the first hints of Spuffy, giving us some serious Jungian symbolism between Spike and Buffy early on, and does well in establishing Xander/Anya and Willow/Tara as beautiful OTPs. Faith and Buffy’s foiling is fantastic. The Halloween episode was very fun as well. However, it suffers because its Big Bad, Adam, is not all that compelling thematically--yet, he could have been. See, the final battle pulls off the Power of Friendship in a really strong way but notably the season does not end there. Instead, it ends on dreams of each character’s worst fears, continuing what we saw in Nightmares in Season 1. Why? Because it shows us that the characters’ wars aren’t against monsters, but monsters of their own making: their flaws. Adam, as a literal Frankenstein, exemplifies this, but it wasn’t capitalized on as well as it could have been.

Unpopular Opinion: Beer Bad isn’t a bad episode, at the very least because Buffy gets to punch Parker. It’s not one of the series’ best, obviously, but it does give Buffy an arc in that she gets her daydream of Parker begging her to come back, but she has overcome that desire and her desire for revenge. If we wanna talk about bad subtext in Season 4, Season 2′s Not It sex subtext continues in the Where the Wild Things Are episode in this season; it’s a powerful callout of abusive purity-culture churches, until the fact that the shame creates a literal curse undermines the progressive message it’s supposed to send. Also, the Thanksgiving episode (Pangs) is a nightmare of white guilt and Oh God Shut Up White People.

Biggest Critique: Riley is awful. Like Kennedy, he had “love interest:normal” stamped on him and that was it. The thing is, he could have worked as an Angel foil, representative of the normal-life aspect of Buffy to Angel’s vampire/supernatural aspect, but the writers never explore this and seemed to even try to back away from that later on. They threw all the romantic cliches at the wall to see what sticks, from klutzy “I dropped my schoolbooks, that’s how we met” to cliché lines that had me rolling my eyes. Do you know how bad a romance has to be to make me dislike romantic tropes?

Favorite Episodes: Fear Itself, Hush, Restless

Villain rankings:

Dark Willow, the only villain to be truly sympathetic. While the addiction coding was insensitive and, while unsurprising for its time, aged extremely poorly. That said, Willow’s turn to the dark side after Tara’s death worked well for her character and the story: it was believable and paid off what had been building since Season 1's “Nightmares” episode (Willow’s inferiority complex).

Glory managed to be genuinely terrifying, and humorous/enjoyable too. Her minions and their numerous nicknames for Glorificus were hilarious, as was her intense vanity. Her merging with Ben--a human being who genuinely wanted to be kind and good--added complexity and tragedy to her role.

The First. A really good take on Satan. The seventh season as well as the First’s first appearance in season 3′s “Amends” had kind of blatant Christian symbolism, and so the First being essentially Satan works. Their disguising themselves as dead loved ones and the subtle manipulation they used to alienate people was really disturbing and well done.

The Mayor, who was a terrible person but a truly good father. He provided an interesting contrast to the normal ‘bad dad’ bad guy character, in that he provided Faith exactly what the other characters refused to: he saw the best in her and offered her parental support, while the heroes didn’t and wound up pushing her away.

The Trio, who were villains ahead of their time: whiny fanboy reddit dudebros, basically. The stakes seemed so much lower than fighting Glory, a literal god, the previous season. But that’s why they worked so well for Season 6′s human themes, and were especially disturbing because we all know people like them. I also appreciated the surprisingly sensitive takes on Jonathan and Andrew, who got to redeem themselves, but Warren did not, and I don’t think he should have either.

Angelus + Drusilla. I’m ranking them below the Trio because Angelus was just sooooo different from Angel that it was difficult for me to feel the same way for him. He was still Angel, so it wasn’t possible to enjoy his villainy, but he also wasn’t nearly as sympathetic as Dark Willow, had no redeeming qualities like the Mayor, and wasn’t as disturbingly realistic as the Trio. However, the emotional stakes were excellently executed with him as the Big Bad, in that you were never quite sure how to feel and it just plain hurt. Also, Drusilla was a favorite recurring character. She was sympathetic and yet batsh*t enough to be enjoyable as a villain at the same time.

The Master, who was just completely camp and really worked as an introductory villain. He was scary enough to believe he was a threat, and was funny enough to introduce the series’ humor as well. He was, like Glory, an enjoyable Big Bad.

The Gentlemen, the one-off villains of Season 4′s Hush who were genuinely terrifying. It’s not as if they got a lot of explanation or any backstory, but they didn’t need it.

Caleb, the misogynist priest. Fitting with the First’s Christian symbolism, Caleb serving as a spokesperson of all bad religious beliefs felt appropriate. He was also a good foil to Warren--being actually supernaturally powered instead of a wannabe--and to Tara’s family in being full-out evil. I despised him.

Snyder. Okay Snyder is not a Big Bad like Adam is, but let’s face it: Adam is lame compared to the other villains. But Snyder as a principal? He was so irritating and yet really well used in the series to critique overly strict, hypocritical teachers. Like, we all know teachers like him. I loved to hate him, and his ending was so satisfying.

#buffy the vampire slayer #btvs #spuffy #buffy summers #dawn summers #spike #angel #cordelia chase #btvs giles #willow rosenberg #tillow #tara maclay #anya jenkins #xanya #xander harris #jenny calendar #kendra young #faith lehane #hamliet reviews

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hereticalmother · 3 years

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✝ PARALLELS BETWEEN VAL AND BLAKE ✝

[personals can reblog! This is general game analysis and not RP specific.]

Outlast 2 makes it very clear that there are parallels between Blake's past abuser, Father Loutermilch, and his current abuser, Val. But, what I find more interesting are the parallels between Blake himself and Val.

She's symbolic of Blake's past trauma, but not only of Loutermilch; she's simultaneously Loutermilch, Blake himself, and Blake's guilt and self loathing as a result of his abuse. She's symbolic of every person involved and of the emotions Blake felt both at the time and now looking back on it.

I think a large part of what makes her such an effective antagonist to Blake is how much she mirrors him. Val is what Blake could've turned into, and what Loutermilch tried to convince him that he was.

[continued under the cut]

✝ BLAKE AND VAL'S HISTORY ✝

Blake and Val are both very driven by their past trauma, which, in both cases, stems from being groomed by religious leaders.

Blake saw his teacher, Father Loutermilch, murder his childhood best friend, Jessica, after months (if not years) of sexual abuse. Val was ordered by the leader of the cult she had been raised in to murder her adopted children.

I think it's easy for people to say that Blake witnessed a murder while Val committed a murder, but Val's situation isn't so black and white. Val does a lot of bad things that are absolutely her own choice, but I don't think the deaths of her children can be included. She truly had no other choice. She was forced. Her life was at stake, as were the lives of her other children.

She could kill them quickly and as painlessly as she could, continue taking care of her living children despite the fear that she may be ordered to kill them next, or refuse. Refusal would mean someone else would kill them, not quickly, not painlessly, and that she would no longer be around to care for the others (who may be killed prematurely as a result of that, or even killed just to punish her.) There was no option that could save their lives.

In both cases, their trauma revolved around the death of a child/loved one at the hands of a religious leader that they had always been taught to trust. Following the deaths, they were made to believe that they were responsible for these deaths and that they were perverse, sinful, people for their involvement.

✝ DIFFERENCES ✝

This brings us to the differences in their situations. Blake was a child, and knew only to trust teachers. He had options, to tell his parents, to tell the police, but was made to believe that he didn't; that no one would believe him, that, if anyone found out, he would get in trouble rather than Loutermilch.

Val was an adult (for the worst of her trauma; though, arguably, her upbringing was traumatic as well.) But, she was also led to believe that there was no one she could turn to and that she wasn't allowed to speak out against Papa Knoth. That if she did, she would be the one in trouble, not him. However, born and raised within a cult, it was true. There was no law enforcement, no government, no one in charge of her but Knoth and no one with the authority to punish him for his crimes or to protect her.

Blake and Val were both left to feel completely powerless and alone and at the mercy of the authority figures abusing them, and were set up to take the blame for what these authority figures had done.

✝ SHAME ✝

Additionally, Loutermilch’s dialogue towards Blake, such as “did I interrupt something between you two?” and the tone that he says it in, implies that there’s something sexual going on between Blake and Jessica (though there isn’t, and Loutermilch knows that there isn’t.) He tries to confuse Blake into thinking that Blake is doing something perverse and wrong, even before the murder. He tries to convince Blake that, if Blake were to tell anyone the whole story, Blake would end up sounding like the pervert.

This is where Val, again, embodies Blake's fears for himself. She is sexually motivated and sexually aggressive. She doesn't prey on children the way Loutermilch did, but she doesn't need to; what's important to her character is that she preys on men like Blake. She is shameless and selfish in her wants. Blake, after years of Catholic school and guilt, struggles to tell the difference; Is any sexual urge perverse and shameful? Is he a bad person for them? Val is certainly a bad person for hers, and where does the line lie?

He knows he isn't as bad as Val, but how far away is he? How many mistakes can he make before they're identical? Covering up the murder of a child for his own selfish (in his own opinion) reasons is a pretty big mistake to start with; he has a head start on the path to being a terrible person. Val, coupled with the flashbacks from the towers, gives him too much to think about, too much self doubt.

✝ DIVERGING PATHS ✝

But, while there's similarities between the two of them, the differences are what separate them into protagonist and antagonist. They had similar trauma, but opposite reactions to the trauma. They both felt overwhelming guilt and shame, both from the situation itself and from the things told to them by authority figures, but they both chose to respond to that shame in different ways.

Blake feels as though he has to prove people wrong; he has to prove that it wasn’t his fault, that he isn’t a bad person, but deep down he doesn’t believe it. He’s on edge that he’s going to slip up and everyone is going to know what kind of person he really is. Especially during the events of Outlast 2, Blake feels as though if he can save others (Anna Lee, Lynn, their child,) that it will make up for his inability to save Jessica. He has hope that he can still be a good person and a hero.

But, suffering comes along with this optimism. He isn’t content, isn’t happy in the moment; he’s looking towards an unachievable future in which he can undo what’s been done. He isn’t happy with himself or his surroundings and won’t be until that future goal is reached. He feels as though he’s missing a piece of himself due to his trauma and he’s forever searching for it.

Val, meanwhile, feels as though she’s too far gone. There isn’t a way of proving people wrong or a point in doing so. When any little misstep means you’re irredeemable and betraying god himself, what chance of forgiveness is there for the things that she’s done? She believes that nothing she does could be worse than what she’s already done, so what’s the point in trying? Plus, the messages of what is good and what is evil has been so warped for her. People she’s trusted have told her that god wants her to do evil things, that she’s evil for not doing them. She has no one who’s moral guidance she can trust and no one who will judge her through an unbiased lens.

With being in a lose/lose situation comes freedom. Val is happy with her life because Val does the things she wants to do; no shame, no judgement, no guilt. Other people’s opinions of her have been so conflicting and so harsh that they’ve become meaningless. She knows other people won’t ever approve of her or her actions, and so she lives only for herself.

✝ HELPING BLAKE ✝

At the end of the day, this is what Val preaches. More importantly, she sees the similarities between Blake, in game, and herself, years previous. She remembers feeling ashamed and searching for the right answers. She’s found that the right answer is to accept that there is no right answer. That acting on impulse, acting on what makes you feel good, brings so much more joy than stressing over what’s morally right or what other people want you to do.

She sees Blake suffering in such a familiar way and she knows how she saved herself; she knows she can save him, too, if she can open his eyes to the truth. Though Val’s actions towards Blake are horrendous, they’re merciful from Val’s perspective. She wants him to see what she sees. She wants him to push past the wall of his trauma and come out the other side stronger for it, as she did. She wants him to just give in to his urges, without any concern to what’s proper or acceptable in the eyes of god. She believes that if he tries, just once, to act without guilt and shame holding him back, he’ll get addicted to the freedom the way she has.

#outlast 2 #Headcanons;#[i spent DAYS on this]

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wisteria-lodge · 3 years

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lion primary (bird model) + slightly burnt lion secondary

Hi there! I’m a fan of your sorting posts, and of your kind and insightful way of supporting people in finding out more about themselves. So naturally I’d be very interested in your take about my own sorting, if you’re game! :)

I won’t talk much about my Secondary, because now that I’m starting to unburn my Lion seems very clear to me, even when my explosion-prone Badger model still tries to get in the way of that clarity sometimes. The more interesting riddle is my Primary. So far I’m operating under the working theory that I am a Lion with a very strong Bird model - or is it the other way ‘round?

The supposed dichotomy between “thinking” and “feeling” in many of the more binary personality models has always bugged me, so it’s no wonder this is the area where whenever I feel like I’ve decided on who I am (for now) a new question mark pops up (so much fun!).

If ‘thinking’ and ‘feeling’ doesn’t work for you as terminology, it might help to think of Lion as leading with subconscious reasoning, and Bird as leading with conscious reasoning.

Instead of trying to formulate a cohesive text, which would have gotten even longer, I’m putting together an associative list of thoughts and stories that kept turning up while I was trying to figure out my Primary.

A very Lion primary way to solve a problem, not gonna lie ;)

- I think I got my Bird model from my father, who made quite an effort to teach me to look at things from all angles. As a child, whenever I got in a fight with this friend I had, he would sit me down and ask me to put myself in my friend’s shoes. It was hard, because a lot of the time my friend was being unfair to me and I actually could have used some support, someone to tell me that it was not okay to treat me this way. But I’m still immeasurably grateful for my father’s lessons, through which I’ve learned to understand peoples’ motivations and gained an understanding for the complexities of every conflict. He also taught me to doubt, to look closer, to not just believe the first thing I see, or want to see. To this day I still consider my ability to pin down the relevant factors of a situation before I make judgments one of my strengths.

That definitely sounds like a very strong, beloved Bird model.

- Whenever I had to write an essay at school or uni, I first had to come up with some aspect about the subject that I really cared about, even could be passionate about. (I am passionate about many things, so it was usually possible to find some connection to that.) Then I would use the essay to discuss this aspect in great detail, ending with a polemic flourish. I had the time of my life doing that; meanwhile the text would structure itself magically in relation to the issue I had chosen to focus on. Whenever I tried to write without such a focus, I’d get bored, stressed and the text would be of a much lower quality.

- Something similar happened in oral exams at uni: Only when I got the opportunity to bring a discussion paper (a few pointed statements regarding the exam topic) which I could then debate, I was able to recollect all the important details I needed for that. If I just had to report on the topic or answer questions, I often got confused, to the point of drawing a complete blank.

Linking things to emotion and passion - thinking with emotion and passion, basically - is a Lion primary thing. Especially if doing that makes you feel safe & comfortable & effective & happy.

- Even as a teenager I was very interested in philosophy, ethics and moral decision making.

I love teaching philosophy to teenagers. It’s the perfect time for it, they are so into it, and if it were up to me I would absolutely make it a required class.

I picked up certain philosophical ideas and concepts that I liked and integrated them in my belief system (yes, I know how very Bird that sounds).

I had my mind blown by Genealogy of Morals in high school, and I still won’t shut about Eichmann in Jerusalem. But what was so staggering to me in high school was… here are these ways of thinking that are possible and allowed. The fact that here they are in words in front of me made me a great deal more expansive.

Now that I think about it — I don’t remember adjusting my beliefs as in any way traumatic back then. The shift from a belief in the Christian God to Mother Goddess to my very own brand of agnostic paganism was smooth, natural.

Now that I think about it… I would describe myself as a mythic relativist (which is a term I just made up.) Systems of belief are metaphors, and they’re metaphors trying to describe and say something large and beautiful about what it means to be human, and what it means to live a good life. And since we are all human, they are all attempting to describe the same central, indescribable thing in different ways.

I feel this very deeply, but it took me a long while to be able to articulate it.

I constantly reevaluate, and I adapt.

You stop reevaluating and adapting, might as well be dead.

Still, there are some basics I’ve kept with me that just make too much sense to me to give up, and some that perhaps I keep because I just really like them and I’m kind of attached to them.

… somebody’s thinking with Pathos :)

- I’m a constructivist at heart, so that makes it much easier to tweak the content of my beliefs while staying true to the principle that we (socially) construct our reality, and (my take on this): that I choose what kind of world I want to live in, and according to that I make choices which are the most likely to create that world.

- At uni I attended a seminar about the development of moral judgment and action. What I remember most clearly about it is how much it bugged me that the other students didn’t seem to understand that morality always depends on the perspective. Even though I had definite moral convictions that I was ready to fight for, at the same time it seemed obvious to me that theoretically there could be a justification for every kind of moral guideline; it depended on your principles and the world you wanted to live in.

A human after my own heart.

I wanted to understand these different perspectives, not talk about empty categories like “right and wrong” or “good and evil” that meant nothing to me. I still feel that way.

Absolutely. I don’t use alignments when I DM Dungeons & Dragons. I mean, I can list evil *things* but that’s not the same thing as defining *being evil.* I want to know WHY these people did these evil things.

It just seems so impractical and complicated to base a conversation on those broad categories that don’t have any definition people can agree on instead of referring either to defined principles (in order to explain what good/ bad is *for you*) or consequences of certain actions, and whether you want them/ accept them/ don’t want them.

Oh that’s a fun discussion. Asking a highschooler to define “evil.”

(and then they have to figure out what moral systems Jigsaw, Pinhead, the Joker, and Bane all subscribe to.)

- Between “the Revolutionary” and “the Grail Knight”, I would love to be the former, but I’m clearly the latter. I’m someone who questions, not someone who knows.

Take my archetypes with a grain of salt, they are supposed to describe characters. (Who are different from people - but still useful, because they are attempts to describe us.) I actually want to write more about the differences I see between the way fictional secondaries are written and the way real-life secondaries work.

And just “knowing”... is dangerous. That’s how Exploded Lions happen.

There are a lot of causes I find worthy to fight for, but I haven’t committed to any one, which so far I’ve attributed to my Burned Secondary (How do I do things?).

Sounds about right.

If I’m honest, though, it feels a bit strange to really, really fight for anything. I’d rather contribute to the cause by keeping an eye on whether we stay aligned to our values on every level of the fight, not by storming sightlessly in front of some army. (I got polemic again, didn’t I? ;))

So after all this Bird talk, why do I think that I’m a Lion?

… that was the Bird segment?

- I trust my intuition. It has never steered me wrong, with one exception: My Primary burned for a time when I first understood the concept of privilege and internalized bias, which was coincidentally at a time when I also went through a lot of changes in my personal life. Like many people unaware of their own privilege, I had thought of myself as “one of the good ones”. I learned that even with the best intentions I could cause great harm without even noticing it. This then also happened to me in a relationship, when I was already confused, hurt and more than a bit burned. It seemed like I couldn’t trust my intuition anymore, but I also couldn’t figure out intellectually what to believe, because I felt mentally overwhelmed by all those new concepts, all of which put my previous convictions into question. Which Primary burned then?

Been there, done that, it’s brutal. It sounds to me like a Lion dramatically changing direction - that’s what I mean when I say that it *hurts* when a Lion changes their mind. Birds see their past selves that thought wrong as almost different people. “I wasn’t aware of my privilege then, now I am, and can take steps doing forward.” But if you’re a lion it’s like… I *should* have been aware, and the fact that I wasn’t says something terrible about my moral/emotional calibration, and THAT has to be put right.

- I felt like everything I had learned about the world and myself didn’t count anymore. My concepts and my strategies didn’t serve me anymore. So I started to rebuild everything from scratch, this time with less pride and more practicality.

Yeah. That’s some Lion recalibration. With a Bird Model, to help.

- Anyway, I trust my intuition. It contains my experiences, instinct and all my accumulated unconscious observations of the situation, and it’s very reliable. Usually I use it as an important source of information which I try to back up with data/ understanding, but when push came to shove and the apparent facts would contradict what my intuition told me, I would be unable to set my gut feeling aside. I wouldn’t follow it blindly, of course. But I would never just go against it either. If the voices of my unconscious and conscious mind don’t align, I keep poking at the issue until they do. If I absolutely cannot come to a satisfying conclusion, I go with my gut. Since I know it usually knows what it’s doing, I’ll find out the reasons for my feelings later. (Weird, says my inner bird who is busy compiling these examples.)

I’LL FIND THE REASON FOR MY FEELINGS LATER. What a perfect way of articulating what is perhaps the central experience of being a Lion primary.

- Probably I’m just both, you know. Some interesting lion/bird-chimaera. I like it.

I read you as a pretty clear Lion Primary, Bird primary model. But as always, the decision is very personal.

- I have a weird way of processing information: I read/ hear it, work to understand it, work to connect it to existing knowledge in my mind, then my beliefs, my existing knowledge and my feelings about it all wind around each other, grow into each other, some dissolve together, becoming a swamp which then nourishes the plants of new ideas and connections that grow from it.

You grok it. And that’s not weird.

I often can’t remember where certain knowledge came from. I can’t take it out of a memory shelf and tell you about it. I usually remember that I’ve read a certain book and whether I liked it / it influenced me, but I won’t exactly remember what was in it, even if it was important to me. Because all that information is already processed/ digested/ transformed into something new. It’s much easier to access my memory swamp intuitively than consciously.

and you seriously had like… any doubt that you were a Lion.

In intellectual discussions I tend to get stuck because I just can’t remember enough of the details (for my satisfaction), just my conclusions about the topic and how I feel about it.

I’m inclined to think that not accessing the details is either a secondary thing, or an entirely unrelated processing thing.

What do you make of all this? I’m very curious!

[On an unrelated note, I’d like to specify the compliment I made at the beginning of this post. I’m really impressed with your ability to pick up on what people need, not just what they say they want. As a counselor this is a skill I try to hone, so I know how difficult it is to not get too distracted by the story people tell and miss the more subtle cues. You have a powerful combination of perceptiveness, insight and so much kindness, which you use to effectively support people who have questions, are in distress or confused. You don’t generalize. You don’t judge. You see the people who talk to you. I love that you’re a teacher, because I can see you’re using the influence that gives you in a way that contributes to making the world a better place. Fellow Idealist, I’d like to give you a High Five for that, if I may. :)))]

I’m not sure I’ve ever been given a better compliment. Thank you.

#submission #sortinghatchats #lion primary #lionpri #bird primary vs lion primary #philosophy stuff

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mylittleredgirl · 3 years

Text

way too many thoughts about “the fight”

like, way too many. more than anyone should have, really.

“the fight” is pretty universally regarded as either the worst or second-worst episode of voyager (and, unlike “threshold”, does not have an emmy to defend it). it’s usually panned for one of these reasons:

it’s boring/repetitive

why are people still giving each other traumatic brain injuries for sport in the 24th century

what the fuck is going on

so i naturally watched it 14 times in a row and finally cut apart the transcript to try and put it in chronological order, like this episode is some kind of davinci code cryptex and if i crack it open, i will find a Great Episode inside.

what “the fight” got right, or: why this could have been a really great star trek episode actually:

wacky brand new space anomaly!

aliens that are Too Alien to communicate with!

all told through the lens of one character’s personal development

with a classic trek-style moral: “the real fight is against your own natural human desire not to get hurt.”

come on! that’s good shit!!! also:

letting big tough characters feel real fear? thank you

the way the aliens ultimately communicate is so cool. it’s like the prophets on speed.

i Big Resonate with chakotay’s struggle with psychosis, and his fear of going Irreparably Crazy. (caveat: psychosis is a relatively occasional feature of my mental illness; this rang true for me, but i’ll defer to people who experience it more acutely)

his judgment of his grandfather is harsh, but feels like how a child could perceive it (especially one -- see “tattoo” -- who resents that the people around him have chosen to avoid the 24th century federation life). hopefully after this episode chakotay will come to a more compassionate view of it.

this ep can be compared to tng’s “the loss” in many ways, but in this one, chakotay saves the day not in spite of his sudden disability, but directly because of it.

look. i’m j/c trash and they touch each other a lot.

how they fucking fucked it up, or: put that experimental narrative structure down until you know how to use it properly:

star trek has done non-linear narrative structures before, usually to mixed reviews (and basically always in a mystery-solving context, like “suspicion”). this is... substantially weirder, and the writing and production don’t quite support the ambitious concept. there’s more than one time-skip. there’s no visual or voiceover cue about where a scene falls in terms of before/after (like, put chakotay in a sickbay gown or something at some point to help us out, yeah?).

i assume this choice was made for one of these reasons:

“wouldn’t it be cool if we got wacky with this episode because we’re in chaotic space”

they wanted a dramatic teaser (which, incidentally, is the scene that’s almost impossible to place in chronological order -- why is tom still there? why is seven there at all?).

and it makes me want to scream because it would be so easy to make this a good episode!! they needed to tell all the real-world elements of this episode in order, and limit the flashbacks to the vision quest scenes. it would still feel surreal, but would make sense, and the “ooooh, it’s aliens!” would actually be the cool reveal it should be. as it is, the shuffled time is to blame for the repetitive/boring complaint -- the characters are not only slowly discovering things we already know, but things they already knew in the previous scene.

the real reason i went all enigma codebreaker on the transcript is the sickbay scenes where chakotay is alternately drawn to his delusions (“let me back in the ring!”) and trying to escape them (“get them out!”). i thought that if i put the scenes in order, that would become a linear progression, but it seems like it’s actually a more complicated character decision (or, you know, a terrible writing decision that i’m turning into a complicated character decision). chakotay, anthropologist, wants to communicate with the aliens, but because of his family history he’s terrified and keeps pulling back every time he steps forward. this back-and-forth is complicated enough to express well in real time -- but wildly difficult to parse with all the time-skips unless you watch this episode 14 times in a row.

also, i can’t imagine how it would help, but i’m pretty sure there’s some cut scenes or dialogue in the vision quest sequence of chakotay jogging around the ship. there’s a great shot of b’elanna dramatically back-lit by the warp core exchanging a Meaningful Look with chakotay... with no actual clear meaning. i find it hard to believe they put her in makeup just to stand there, but that wouldn’t be the weirdest thing to happen here.

about the boxing thing

you know what? i buy that some people are still into boxing in the 24th century, especially on the outskirts of federation space. it seems like the sort of thing a young chakotay would seek out too, as a structured way to channel his restless aggression.

however, it would’ve made more sense for this to be a thing chakotay picked up in his youth, because it’s hard to believe it’s still a professional or collegiate sport on earth. i get the appeal of making his coach a familiar, beloved character, but using boothby makes it seem like an academy-sponsored sport. the dingy, retro design of the club hints that it’s off-campus (or -- much better -- that wherever chakotay learned to box was actually a normal-looking 24th century building, and tom programmed this retro 20th century boxing club for chakotay as a gift), but it would’ve been nice to get a line in the text to clear up that this isn’t where young chakotay got his official starfleet PE credits.

one of my Bulletproof Headcanons is that chakotay picked up boxing again in “night” as a way to work off the many-pronged frustrations he was dealing with in the void. we know chakotay had a great fight record once (b’elanna brags about it in “tsunkatse”) but if he’s only taken it back up again recently as a hobby, we’ll give him a pass on his fighting stance.

can i pick a bone with fanon please

i really don’t like the take that janeway did something wrong by “coercing” chakotay into contacting the aliens. legit, they’re all going to die if he doesn’t, and as captain, it’s her obligation to order a crewman to sacrifice himself if necessary to save the ship.

her asking him, and using their close relationship (“do this for me” instead of giving him an order), is actually a benevolent act. it gives him the illusion of choice in a situation where he’s totally disempowered by what’s happening to him, and lets him decide to rise to the heroic occasion.

i’ve read a number of fics where j/c shippers feel that she’s manipulating him by playing with his feelings, because she has no plans to follow through. if in fact his feelings are entirely unrequited (which j/c shippers usually don’t believe?), he’s much more likely to feel teased by something like the ~romantic mood lighting~ at dinner than by an emergency situation like this. if she’s knowingly tapping into a “kathryn override mode” (must do this thing! heroically! for the woman i love!!) he’d totally thank her for it, because it makes this terrifying thing he’d have to do anyway a little easier.

one more thing i notice about j/c in this episode is that unlike, say, troi hovering by the delusional riker’s bedside in “shades of grey,” janeway checks on him in sickbay but always leaves right away. of course she does! she has to man the bridge, just like he did in “scorpion,” etc etc. however, in this case, i keep thinking about how he’s probably grateful she didn’t see him in the full throes of it. and we can still fic up a few nightmares for her if we want to, because she could probably hear him screaming through the comm system in the teaser, whenever the fuck that scene takes place.

hello reset button, my old friend

i mean, of course it’s what happens, but it’s still a bummer that chakotay’s sensory tremens is handwave cured off-screen at the end of the episode.

in tng’s “the loss,” it would have radically changed deanna’s character and reduced her narrative usefulness to permanently take away her empathic sense -- but here, it would’ve been so easy to have the illusion of lingering consequences. twice in the text they say that the disorder can be managed with medication, so it wouldn’t have to impact future episodes unless they wanted to pull it out again. there’s a scene where the doctor asks for chakotay’s consent before exposing him to a field that will enhance the nucleotide bonds and “fully activate” the gene. even after they leave chaotic space, chakotay can still hear the crowd when he collapses on the bridge (though i guess he had his first visual distortion before they entered chaotic space, so they could still be in range of whatever transmission).

even if they never touched on it again (i mean...), it would have been so cool to have a canonically mentally ill character whose disorder is managed by medication. in the 90s it would have been groundbreaking. beyond that, though, big themes for chakotay in this episode are sacrificing himself for the ship and coming to terms with this part of his family history, and i think they could’ve stuck the landing on that with an ending of “this is something that will always be part of me now, but i think i can live with it.”

so anyway that’s what happens in my headcanon and you’re welcome to share it.

fic recs

aftermath - zjofierose is big into having janeway hold chakotay while he cries and honestly we love to see it

final bell / five minutes - pessa offers more of a realistic hurt/more hurt kind of situation in the first fic but patches it up in the second (which also falls into the rare category of post-endgame fics where everyone loves and respects each other, god bless)

#trekathon #deep dives #star trek voyager #the fight #perhaps now i will know peace #star trek thoughts

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spockandawe · 3 years

Note

Hi....If you don't mind me asking, who are your favorite MXTX characters (top 5 from each novel)? And why? I'm sorry if you've answered this question before.

It’s absolutely no problem at all!! I don’t think I’ve been asked this before, but hey, I also have zero object permanence, so it keeps things fresh and new. And it’s interesting to see how my answers change over time! Lemme see, I think I’m going to go in reverse order, because I feel like then I’ll be doing the worst agonizing up front.

TGCF

Fifth favorite: YIN. YU. I know that he’s a minor character and him even making it onto the list is pretty solid performance, but I do feel guilty that he isn’t higher than this. He came out of nowhere in my first reading and punched me in the stomach with emotions. I find his sections so hard to read, and I was DEVASTATED when he died and BEYOND stoked to find out he was still alive in the extras. His story hurts so much! I am weak against characters who have relatively modest goals and still see them snatched away (see also: my next entry) and have to struggle on. I wish wish wish I had a way to see more of how he made his peace with things after being thrown out of heaven, and the nature of the (distant) relationship with Hua Cheng and what happens with Quan Yizhen now that he died in his arms, and still came back anyways, my god!

Fourth favorite: He Xuannnnnn. I have a hard time articulating particulars, but. I love him a lot. I love a character with a grudge, with a deep, painful grudge, where the grudge is hurting him almost as much as it’s hurting the people around him, and setting the grudge aside would also hurt, and then what has any of this been for-- I've used this metaphor for other characters, but I don’t care if I’m overusing it, because I love it. He feels like a character caught in a thorn bush, where simply being there... hurts, but trying to escape or move in any ways is going to hurt worse, and there’s no path forward that doesn’t involve pain. And like... I don’t love the way he hurt Shi Qingxuan (who didn’t quite make this list adfasgdafsd I’M SORRY) but I wouldn’t have liked to see him swallow back down all that pain and set aside everything that happened to his family and fiancee either! I’m always, always soft for characters who have no good path forward and who grit their teeth and set out anyways.

Third favorite: MU QING!!!!!!!!!! I have done... extensive screaming about him. And I love him veryvery much. I can already tell that this list is going to have a lot of mean boys on it, and like... no regrets. Especially since this is one of my FAVORITE flavors, an unapologetic mean boy who is rarely (but sometimes!) soft for the people around him, and who regularly tries to do decently by people, but who consistently gets shat upon and misunderstood and accused of acting in bad faith. I screamed when he and Xie Lian finally got to talk their friendship out in the book. I also screamed when I realized how immediately after Xie Lian’s return he started looking out for him again, and how sincerely, despite his horrible attitude about it. I still want to write more fic for him so badly. I love him so much.

Second favorite: Xie Lian! What a good boy! The best boy! He’s so sweet and gentle, but also the best fightboy this world has ever seen, and also so gently snarky with the people he loves! I just... really love me some traumatized characters who have trouble recognizing that they can be Loved, and I’m not going to write this whole essay right now, but I think in some ways, he’s the most... passive about his romance, out of all the leads? Shen Qingqiu is aggressively oblivious, but Xie Lian kind of gently shrugs off the idea that he might be Hua Cheng’s special someone, until he finally gets hit with the cluestick. I generally shy away from the idea of a character “earning” love, but he’s maybe the mxtx character who moves me most with ‘you deserve to be loved’

Most favorite: Hua Cheng. HUA CHENG. Oh my god, gotta love this boy. Gotta love this devotion. I love a mean boy who is soft for one person, and he EMBODIES it. I mean, I love Shen Jiu, but he barely manages to do the soft thing at all, while Hua Cheng is over here like ‘if I could only be the stone beneath your feet--’ It’s hard to talk about him separately from Xie Lian, because they’re a unit in my head more than just about any other characters on this list are. I don’t want to get this list to get out of control, so I’m not going to scream for too long, but... I could just watch him go forever. I want to write him forever, and that’s a huge aspect of what draws me to some characters.

MDZS

Oh god, I think I lied, I think this book is going to be hardest. Making these choices is AGONIZING.

Fifth favorite: .....Lan Wangji. Oh god, I feel bad about how low he is. But this story is just packed SO full of wonderful characters, and I’m already consumed with guilt over all the characters who aren’t going to make it. I don’t love them less! But my love for characters in this particular story is very evenly distributed. And I think that Wang Yibo’s acting is possibly scoring points with me that the book might not have earned all by itself. Microexpressions and subtle body language add SO MUCH to a character with such flat affect, and I would be drawn to such a closed-off character anyways, but it really helps. And I love, like... the combined subtlety and intensity of his relationships. It’s not that subtle once you know what to look for, and the brother/sworn brother network makes for varying degrees of how much other characters understand of the things he chooses not to explicitly express, and it gives a really interesting character to the way he interacts with the people around him. Also, love me a man with intense separation anxiety.

Fourth favorite: Jiang Yanli? I think it has to be Jiang Yanli, but these rankings are hard. So. I just talked about how much I enjoy the flat affect and closed off nature of Lan Wangji? Well, guess what, I also love it when m’girl is just very GENUINELY AND OPENLY an absolute sweetheart of a person, and I love the contrast between her genuinely kind nature and the uncomfortable pressure that her family’s dynamics put on her to start parenting at a very young age. It’s not necessarily a happy situation, but she adores her brothers so much and they adore her so much! And it’s... a very understated element of the story, but after her parents died, her baby brothers went off to war, and one wreaked havoc as a straightforward commander and one of them disappeared for months and returned as a creepy-ass zombie puppeteer. And she STILL dotes on them like before, despite knowing what they’re capable of. Like, yes, Wei Wuxian just raised an army of corpses and forced a man to eat himself, but I shall still boop him on the nose and feed him Soup. How can I not adore energy like that?

Third favorite: Wei Wuxian, I think. I do adore him a lot. He gives me some of the same vibes that make me ache most with Xie Lian, where he is trying his best, and is struggling to hold on in the face of lots of suffering, and I find it really interesting that when the suffering peaked, Xie Lian was forced go on because he couldn’t die, while Wei Wuxian... expired. That line about ‘he thought that no matter how large the world was, there was still no place for him’ always sticks with me, and hurts me deeply. Xie Lian had most of his personal attachments stripped away, and was left to wander on his own, while Wei Wuxian still had a number of strong connections left, but abruptly exited life. And that informs their respective trauma so interestingly! The way Wei Wuxian bounces between high energy chaos and drained exhaustion is really fascinating to me, and was the thread that held me attached to the book through a very confusing beginning. And I’m still very drawn to how intensely he loves, whether it’s Xiao Zhan’s fantastic acting, or it’s him busting out with how much he wants Lan Wangji in the middle of the Guanyin Temple scene. He’s a fantastic character, honestly, I don’t think such a convoluted book would have held together very well without a protagonist this strong.

Second favorite: Xue Yang :X Look, he’s a good boy and I love him. Who among us hasn’t done a few mass murders that we are completely unrepentant about, but that we would really like to keep hidden from our current boyfriend, actually? Anyways, as always, love me an angry boy who makes terrible decisions for understandable reasons. And I do love a character who is consumed by agonized ragrets (see my next entry), but I DO also love me a character who has no regrets at all and doesn’t even have much interest in trying to justify himself to anyone else around him. Just look at that confidence! Look at him go!!

Most favorite: Jiang... Cheng....... I knew he and Xue Yang were going to be at the top, but those were the only parts of this list that were easy. I mean. Love a self-sabotaging angryboy who is also super super sad and keeps hurting himself in his own confusion. And while I love the romantic thread in all of the mxtx books, the agonized family thread in mdzs is one of my favorite parts, and something that I don’t really see echoed in any of the other stories. I need ten million jc+wwx reconciliations, at LEAST. He’s so sad! And so angry! And I want to see him becoming less of that thing, and for Jin Ling and Wei Wuxian to demonstrate very firmly how much they love him, because they do. I am invested in his happiness in a way that goes far and beyond any of the other non-main characters, haha

SVSSS

Fifth favorite: Tianlang-jun. I think? Oh god, but moshang. THIS IS REALLY HARD, I HATE THIS ;-; But especially since writing my fic, Tianlang-jun has really won me over. And like, he already hurt me good in the novel, just thinking about how he was an innocent young guy, just! Trying to have a girlfriend! And instead got trapped in sensory deprivation, body-rotting-hell for twenty years, when he didn’t do anything wrong!!! He suffered, so much! And I live for his intensely strained relationship with Luo Binghe, because it’s! Perfectly understandable and painful, from both of their perspectives! And he wants to hate humans so badly, but in the end, when he’s told that Su Xiyan never betrayed him, he starts helplessly asking the people around him, ‘really? is it really true?’ and then in the end he loses the only family member he has left who cares about him, and it’s just! Everything is terrible! I have a su xiyan au brewing in my head because I can’t stand it! Someone just give this man a loving partner!!!

Fourth favorite: Shen Qingqiu. But... moshang??? Goddammit. Anyways, this dumbass. I find him so endearing, in his dumbassery. I sometimes get a bit frustrated with Wei Wuxian for being oblivious, and Shen Qingqiu is just asking for me to react the same way, but I... don’t, for the most part? Because he thinks he has good information, and he’s slow to react to a changing playing field, and I still haven’t read another transmigration novel that strikes the same balance of hypercompetence and intense incompetence :ppp It’s a funny book, and he’s a funny character! And I really vibe with him, in most parts of the story, which covers a pretty darn wide emotional spectrum. Plus, the running internal commentary is choice.

Third favorite: Liu Qingge. Look, I’m a woman of simple needs, and sometimes I just need a high-quality fightboy who clearly cares deeply and is absolute garbage at expressing his emotions. I can’t articulate it much better than that. I absolutely howl at the succubus extra, when Shen Qingqiu is talking to Madam Meiyin about his future partner, and Liu Qingge is like ‘oh my god, sHE IS CLEARLY DESCRIBING ME’ and Shen Qingqiu is like ‘haha, liu-shidi, i thought you thought this was stuupidddddddd’. They’re both so dumb. I love them so much. But stupidity plus war god fighting energy has a narrow lead over stupidity and internal commentary track.

Second favorite: SHEN JIU. GOD. I’m still arguing with myself over whether he should go first, but Luo Binghe hurts me consistently through the whole entire story, so I think he wins. Shen Jiu just stabs me in the heart at strategic moments. This is it. My ideal mean boy who is soft for one (1) person, and who BOTH does unconscionable things for terrible reasons (someone just. give him a pile of girls to teach, it will be much more pleasant for everyone involved), and who ALSO gets blamed for things he didn’t do even when he tries to act in good faith. It is the best of all painful worlds. And even at the end, when he has a powerful person who wants desperately to protect him, he still tries his hardest to shove that person away, to keep him safe. I’ve got like four aus where he gets to live. I’m so invested in this character, I love him so much.

Most favorite: Luo Binghe. He was.... made for me............ Like, the overwhelming amounts of childhood angst were baked in by Shang Qinghua, but the in-story pain and suffering is PRECISELY my jam. I love a character with separation anxiety! I love a character with massive anxieties over being unwanted! Over nobody ever, EVER just choosing him! I love a character struggling with the idea that the person he loves most in the world thinks that he’s intrinsically Disgusting! I love the kind of stubborn determination that leads him to preserve a corpse for five years, desperately hoping for a way to revive it, constantly cooking fresh food, in case, in case he someday wakes up. The way Hua Cheng loves is overpowering, but he’s had time to like... learn to be mellow when he needs to be. Luo Binghe doesn’t have a chill bone in his body, and if he’s acting chill, it’s probably because he’s done some mental math and decided that being more clingy right now will probably get him pushed away harder. I love the combination of manipulative tendencies and a very, very genuine fear of rejection and being unwanted. There is nothing I don’t love about Luo Binghe, including his worst decisions. I love him so so much.

#spock replies #long post/#svsss #mdzs #tgcf #thanad-zid

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stagandsteer · 3 years

Text

Complete transcript of the Wonderland interview, by Catherine Santino, below the cut :)

In 1993, the year in which Freeform’s new thriller series Cruel Summer opens, actor Froy Gutierrez was yet to be born. Chat rooms and beepers, just two of the symbols of 90’s culture featured in the show, were absent in Gutierrez's own childhood. Instead, the 22 year old grew up among the endless, glowing feeds of social media — and the inevitable pressures that they create.

“There’s a kind of self-awareness that comes from growing up with the internet, which everyone in our cast did,” Gutierrez, who stars in the upcoming series, tells me over Zoom — his boyish charm tangible across the screen. “We’re all technically Gen Z or like, older Gen Z. And so you have to unburden yourself from curating a persona online.”

Due to the dizzying evolution of technology in the past two decades, Gutierrez and I had drastically different experiences with the internet growing up — even though he’s only seven years my junior. I fondly remember a time without the prevalence of social media, while Gutierrez was born into an era where internet presence was not only common, but expected.

Like most of Gutierrez’s peers, the actor was active on social media from a young age, but his presence has quietened over the years — even with 1.7 million instagram followers. “If there’s a general consensus on the internet of a certain readership or viewership, you know about it, because people tweet about it directly to you,'' he says. “There’s a kind of lumping in of the character you’re playing with who you are, that people do. I don’t know if it’s intentional. It’s probably just a human thing, but that happens. And it can be hard not to internalize what you read about yourself, you know? Words have power.”

In 2017, Gutierrez appeared on supernatural MTV drama Teen Wolf, a show with a massive internet fandom. Suddenly, fan theories and commentaries about his character, Nolan Holloway, came in droves, something that the young actor wasn’t necessarily prepared for. “I was still a teenager,” he says. “Around that time, you're an adult, but you’re still figuring things out. So I learned where to set my boundaries because I didn’t know where they were beforehand.”

When Cruel Summer came around, Gutierrez assumed he would be portraying the “desirable young male” he was used to auditioning for. “The first time I read the character, it definitely felt like an archetype. When I auditioned for it, I walked in and was very much myself, and Michelle Purple and Jessica Biel responded very well to it.” However, after he got the role and production ramped up, he was pleasantly surprised. “It didn’t really hit me that they were wanting to take him in such a unique direction until I showed up for wardrobe one day to do my first fitting for the pilot,” Gutierrez recalls. “I looked at the mood board for Jamie and it was like, young Heath Ledger, Keanu Reeves and Kurt Cobain. And I was like ‘Oh shit, I need to step my game up,’” he laughs. “I couldn’t get by doing the same thing that I’ve always done when it comes to characters like that.”

Cruel Summer takes place over the course of three years — ‘93, ‘94, and ‘95 — showing splices of each year in every episode. Produced by Jessica Biel, Tia Napolitano, and Michelle Purple, it centres around the kidnapping of a teenage girl and the fallout of the crime in her community in Skylin, Texas. Gutierrez plays Jamie Henson, the boyfriend of the missing girl, Kate. In her absence, a quiet nerd named Jeanette suddenly rises the social ranks and assumes Kate’s place — including dating Jamie. When Kate returns, Jeanette is suspected to be involved in her disappearance, throwing Jamie into some seriously challenging circumstances. His character could easily be a one-dimensional archetype — and truthfully, I expected him to be — but Cruel Summer took the opportunity to explore toxic masculinity and its widespread impact.

We see Jamie caught in the middle of conflict, unsure how to respond to a traumatic event that certainly no teenager expects to be faced with. He’s not a hero, but he’s not a villain either. It’s unclear whether we’re supposed to root for Jamie or not, which makes him that much more interesting to watch. “He talks a lot about his desire to protect the people around him, regardless of whether or not they asked him to protect them,” Gutierrez says of his character. “He kind of superimposes his own idea of what the people around him need. In order to maintain the peace of the people around him, he kind of robs the people around him of their agency. It’s just a really fascinating character to play in that way.”

Gutierrez has also been able to explore the ethics of true crime in a time when the genre is exploding in popularity. Though Cruel Summer is fictional, it questions the effect that public opinion can have on criminal cases — and perhaps more importantly — the well-being of the people involved. “When it comes to the investigation of a crime, you have to weigh the good it can bring into the world versus the bad it can bring. Or making one person seem suspect, or airing the dirty laundry of a private citizen for the viewership of loads of people.”

Despite his eloquent reflections on Jamie throughout our conversation, it’s clear that Gutierrez doesn’t take himself too seriously. He speaks into the camera like we’re old friends on FaceTime, and when my dog unexpectedly jumps into my frame, he gushes excitedly and asks what her name is. He’s able to laugh at himself one minute and share poignant truths the next. It’s refreshing, much like Cruel Summer.

Another likely contributor to the show’s authenticity? The fact that the cast was kept in the dark when it came to overarching plot points. Instead of knowing the show’s trajectory ahead of time, the actors would receive scripts for the next episode while they were filming — and they were subject to change. “We didn’t know where it was going,” Gutierrez says. “And we were told, “‘This might happen here, or this might happen there.’ And it would shift around.”

Without foresight into their character’s arc, the actors have no choice but to focus only on where they were in that moment — a difficult task when a single episode spans three very different years. Gutierrez faced an even greater challenge, as, unlike the two female leads, his character didn’t undergo any drastic physical transformations over the three years.

“I didn’t really compartmentalise the character,” he explains. “I kind of thought of the different years as different phases in my own life. The first year, ‘93, was a complete absence of any regret. You’re still very young, I was just thinking of like, a complete golden retriever,” he laughs. “A 16-year old boy who just wants the best and isn’t aware. ‘94 is me right before I made the decision to go to therapy, where I was making all these bad decisions and I didn’t know why. And then ‘95 was a whole desire to wrestle with those things and really look at yourself in the mirror and take accountability.”

Gutierrez didn’t only infuse personal experience into his behind-the-scenes work — some aspects made it onto the screen. The actor, whose father is Mexican, grew up spending time between Mexico and Texas and is a native Spanish speaker. Because Cruel Summer is set in Texas, Gutierrez suggested creating a similar background for Jamie.

“I was talking with Tia Napolitano, the show-runner, and I was like, ‘Hey, you know what would be really cool? What if the character is half-Mexican, too?’” Gutierrez says. “And she's like, ‘Oh, yeah, let’s write it in the script.’ And I got to write a couple lines in Spanish, which is really cool. [Jamie] could have been this mould of a cool, likeable jock. And then he ended up being this very nuanced human being, which is awesome.”

Though he is learning to appreciate all parts of his heritage, Gutierrez hasn’t always embraced his identity. “I remember feeling like I might have been not American enough for America, and not Mexican enough for Mexico,” he says. “And I remember having a bit of time in which I had an accent in both languages. Even my name — in Mexico I always went by ‘Froylan’, which is my full name. And then in the U.S., I went by Froy, because I thought it would be easier for other people to say.”

He continues: “I identify as Latino, but I”m also very wary of auditioning for Latino roles because I’m aware I don’t look like a typical Latino person. I don’t want to be someone that you can just sub in for that role, when I’m really white and blonde. And so whenever I do get a role like this, one where he’s not written to be any particular direction and we’re able to collaborate, I’m able to inject some of myself in there. So it’s been really cool to embrace all sides of my history.”

But of course, as is true for Gutierrez, Jamie’s cultural background is only a small part of who he is. Cruel Summer is committed to portraying him as a nuanced character that breaks the moulds of masculinity while tackling complex inner conflict. “Living in his shoes and walking in them, a big question that came up for me was, ‘What is the difference between guilt and shame? [Jamie]’s coping mechanism was terrible and unhealthy, and caused more pain for the people around him. But at the same time, the shame that he internalized made it worse for him. One thing I really learned, is that shame is about yourself and beating yourself up. And guilt is about taking accountability and apologising, moving forward without expecting the relationship to come back. It's just about trying to heal what happened and then moving on, on the terms that the other person sets. It’s not about you, and I think that’s what the character learns throughout the show.”

#froy gutierrez #wonderland magazine #froylan gutierrez #interview #cruel summer #catherine santino

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testudoaubrei-blog · 3 years

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TL/DR - Catra is a uniquely complex and compelling character who has -so much going on- compared with most characters in any medium. Her character arc is psychologically astute, morally powerful and dramatically compelling, and it pushes the boundaries of the audiences sympathies in ways that are really groundbreaking for a kids show, and her arcs conclusion celebrates love, growth, and the power to change in a way that is all too rare in TV for grown ups.

Content note for mentions of suicidal ideation and self harm.

Well, now that the summary is out of the way, here’s a massive fucking dissertation on why Catra is such a great character.

This is the first of a series of posts outlining things that make She Ra a truly great show, one that stands out even 15 years into a golden age of TV animation for kids. This isn’t going to be a comprehensive account for why the show is great - the real answer is that this show has so many arcs and so many fully realized characters and they are all growing and changing in ways that interact with each other and complement each other so well. But I’m going to highlight some particular standouts, things that this show does better than anything else, things that made me step back and say ‘holy shit they did this in a show pitched at 10 year olds?!’

And so the first of these posts is about Catra. I’ve never seen a character in a kids TV show like Catra before. Depending on the season, she’s an anti-villain, an outright villain and an anti-hero and then, in the end, a hero. Being glib, I describe her in villain mode as a Saturday morning cartoon Supervillain as written by like, Dostoevsky. She’s got the trappings of classic villain camp - long speeches, sneering, over-complicated plans, she’s oddly ineffectual at times etc/ Yet all of this is underlaid and justified by something much deeper - her feelings of rejection, her desire to lash out at everyone around her, at her self-hatred and hatred of everyone and everything else (at least by Season 4. Good God.) And her actions are as dark as her motivations - she nearly destroys reality out of spite, betrays literally everyone who cares about her (often multiple times) and isolates herself so completely that in the season 4 finale she is a solitary, suicidal wreck of a person. Hell, in her last fight with Hordak, I was definitely rooting for Hordak (to say nothing of Glimmer, who is a pretty impressive antiheroine, like if Sparkles had just blasted her into glittery oblivion would we have held it against her?).

Let's start by discussing trauma. It comes up a lot with Catra for obvious and good reasons. But I almost feel like that word is insufficient for what's going on with Catra, or at least, we shouldn't stop with it (I know there are terms like complex trauma, but rather than simply using those I want to explain the difference between Catra’s consistent abuse and a single traumatic event). To use another example from a different show, Korra was also traumatized in season 4. But she was traumatized by a series of an events when she was a young adult. She had something horrible happen to her, and it fucked her up, and then she had exposure therapy with Zaheer and at least starts to get better. Catra...Catra is much more consistently abused. It's not just that shadow weaver traumatized her with the various acts of torture, but that Shadow Weaver taught Catra both an explicit worldview and a series of coping mechanisms that she struggles with through young adulthood. First, Shadow Weaver trained Catra to seek her approval. This is something she is particularly vulnerable to with Shadow Weaver, but also what she does with Hordak and to a extent Double Trouble. Catra's instinct when people mistreat her or show that they aren't trustworthy is to invest further in the relationship, until the breaking point. By contrast, when people treat her well Catra lashes out or takes them for granted. This is uh…a dymamic I am acquainted with among people who have been abused as kids, people whom I love. It is pretty rough.

She also developed a desire to prove herself. This starts off being tied to her drive for approval, but combined with her competitive streak (which is expressed in both healthy and unhealthy ways with Adora) it turns into a desire to beat Shadow Weaver and then Hordak at their own game.

At the same time, Catra learned by always being blamed for everything to evade and deny responsibility, no matter what. I think this form of self reassurance is tied to her self doubt (I think at some level she does think she is worthless) and her self hatred. It is also enabled by Adora’s martyr complex and willingness even act as Catra’s punching bag (as we see in the flashback in Corridors). This is a dynamic that actually repeats in an even worse fashion with Scorpia. Far from being arrogant, her constant evasions, put downs against others and preening speeches sound like the words of a woman who is trying to convince herself most of all. This tendency borders on narcissistic self delusion by season 3-4, which she begins recounting her version of events and possibly believing it even when it is obviously false, and everyone knows it.

When it comes to worldviews, Shadow Weaver taught Catra that love is about control and manipulation. We see this in seasons 1-3 where she congratulates herself for manipulating Adora when all she has done is take advantage of Adora's lingering love for her. Meanwhile, she’s learned that power is her only protection, and that the only way to stay on top is to abuse those beneath her.

The final kind of static tendency in Catra is her identity in the horde and her view of herself as one of the bad guys. This is something she rarely articulates but underlies much of her her decision to stay and not join Adora (at least at first). I think one thing to consider is that even if Catra never believed horde propaganda, it may have made her cynical and unwilling to imagine something better for herself or the world. Another factor is having struggled to belong in the horde for so long, she isn't going to give up now. At first this ties into her desire to win the approval of shadow weaver and Hordak, then it comes from her desire to prove herself better than them. Another factor is her self hatred. She sees herself as someone who hurts people, perhaps as a monster. She sees herself as a bad guy and so team evil is her side.

So yeah, our girl is kinda fucked up.

And yet Catra is never reduced to the sum of her traumas and bad habits. At every step of the way she is shown as a moral agent. She is shaped by shadow Weaver's abuse but she remains aware of and responsible for her actions. This is a double edged sword. She is fully responsible for her actions, but also she is never shown as broken by abuse or mental illness. She’s fully responsible, but by the same token is also redeemable, because she still has a choice.

So with that our of the way, let's go to Catra's arc.

I’m not going to recite everything terrible Catra does because I’m still on my first complete rewatch and I honestly find it hard to list it all. It’s a lot. So let’s talk about her shifting motivations. Early on, we see her desire for approval and recognition motivating her in ways that are so easy to sympathize with - she’s been told she’s worthless for years, and she wants to be worth something. We see how much she’s been scarred by Shadow Weavers abuse and by the ruthlessness and callousness of the Horde, and can sympathize with her desire to survive and advance since her own position is so untenable. We also see how, at first, she wants to be reunited with Adora. Her first huge turn into much darker territory is Promises, when she tries to kill Adora in order to permanently sever her connection with her own life and eliminate a possible rival for advancement (should Adora ever return). She’s told herself that she doesn’t want Adora back, and at least partly means it. Yet we still show her care for Scorpia and Entrapta and even Shadow Weaver in Season 2. It’s when Catra realizes that Shadow Weaver has chosen Adora over her once again that she takes her darkest turn. It’s not just that she destroys reality out of spite, it’s that she rejects her chance for a better and happier life, betrays every friend she has and focuses single-mindedly on hurting Adora (and arguably herself) and then on surviving when her attempt fails. Then Catra spends an entire season both fully inhabiting her role as a villain (and not a sympathetic one - really only our history with her leaves us sympathetic) and being utterly self-destructive and miserable. At the end, as mentioned, she’s a broken, suicidal wreck who has destroyed everything she’s strived for. If this was an HBO drama, we’d roll credits here and she’d go down as another self-destructive antihero. It would perhaps be too much to call her ‘Walter White as a catgirl’, but still. Of course, her story doesn’t end there.

Something that is incredibly dark that is happening in step with this is Catra’s hardening of herself, indeed, her dehumanization of herself. We see her struggle with her natural compassion, her kindness, her need for connection, her desire for happiness, and we see her ignore it all, stamp it down and nearly snuff it out. This is a huge factor in her descent into becoming a real villain (no ‘anti’ qualifiers needed). Every step of her descent is a struggle for Catra - not going with Adora in the second part of ‘The Sword’, trying to kill Adora in ‘Promise’, going back to the Horde, betraying Entrapta, lying about Entrapta, threatening Scorpia, destroying the world - but she always chooses evil. And with every step she becomes more isolated, more callous, and more cruel. Her default reaction becomes not just bravado and mockery and insolence, but threats, bullying and intimidation, until her management style is identical to Hordak’s, and indeed, is quite a bit worse. Catra starts off fighting for Hordak and Shadow Weaver’s approval and struggling to survive, and ends up cackling maniacally at her brutal and murderous conquests. She has very deliberately turned herself into a cruel conqueror, and a tyrant. This self-dehumanization is a huge part of evil in the world, I think, and it’s really powerful to see it so clearly in a kids show.

Meanwhile her insistence on evading all responsibility finally results in a self-serving, self-protective narrative that insulates her from responsibility or self-examination but also cuts her off from reality and other people. It’s always a bit unclear to what extent her various untruths (about Adora leaving her, about Shadow Weaver’s escape and her concealment of it not being her fault, about Entrapta betraying Hordak) are things she believes, lies she is telling to have power over others (mostly Scorpia) or things that she doesn’t quite believe but is trying to convince herself of. It’s probably all of these at various times, and in different degrees for each lie. The end result is that Catra is even more alone, because only she inhabits the safe cocoon of lies she’s built around herself. It also is the key to her and the Horde’s downfall - Catra is so isolated and in such denial that she can’t see how thin her forces are spread, and this crack shows up even in episode 1 of Season 4, with her insistence that the Princess Alliance is in shambles (when, in fact, it’s already rebounding, and proves more resilient than she allows herself to believe, and is led by a woman as ruthless and determined as herself). This part of Catra’s arc brilliantly shows how deception (of yourself and others) can feel protective by keeping shame at bay, but ultimately is destructive and strips someone of so much of the intellectual and moral qualities that we call ‘human.’ It’s also chilling to see since we’ve seen the end game of this mentality play out in US national politics, at the highest level.

I said at the opening that we’ve never seen a sympathetic character like Catra in a kids show. What about Zuko? I would argue that Zuko is never a cruel, or as callous, or as self-destructive as Catra is at her worst. Zuko is motivated by a desire for recognition from his abusive father (much like Catra is initially motivated by desire for recognition from Hordak and Shadow Weaver, and indeed Adora), and perhaps a desire to belong in the Fire Nation. All of this gets wrapped together in his ‘Honor’. He’s a young man with a very weak sense of what he truly believes, instead relying on external guides to what he should do. He’s also incredibly self-involved, and initially indifferent to anyone’s pain but his own and anyone’s needs but his own need to restore his honor. Uncle Iroh is there throughout to push Zuko both to see the needs of others and to become his own person. Zuko’s redemption arc, then, is a twofold quest to recognize other people and to find his own moral center and act from it. This is a pretty powerful coming of age story in that it is about him becoming his own person and throwing off the shackles of his upbringing. Politically, it’s a powerful story of a young man taking responsibility for his own actions in an authoritarian regime and refusing to participate in its imperialism any more and to embrace a new way forward both for himself and his nation. At the same time, in some ways it is easy to sympathize with Zuko because his greatest crimes are those of weakness - he’s not strong enough to stand up to his nation and his family until midway through the last season. Catra though...Catra does what she does, eventually, because she wants to hurt people. She’s cruel, and spiteful, and destructive in ways that are truly scary and which prevent any excuse or mitigation.

Which brings up the other comparison - Azula. But while Azula is (somewhat inconsistently) shown either as a monstrous child sociopath or a traumatized and broken child who can’t help it (and thus, perversely, as not a moral agent but something like a monster), Catra is consistently shown as a moral agent. Catra chooses her own path, every step of the way. She has so many chances to do something else - Adora’s offers to leave together in the two-part series opener, Promises, Scorpia’s suggestion that they dessert the Horde and become desert gang leaders, etc - and until season 5, she turns them all down. While Azula seems destined for evil and madness, with Catra we see a young woman very deliberately walk down the path into unmitigated evil with both eyes open. And then we see it destroy her.

And after she is basically destroyed, we see her build herself back. This process actually starts in Season 4 with the creeping realization that even when she is winning she is miserable and alone. She doesn’t even notice Scorpia is gone for several episodes, then she completely loses it. She spends the entire time when she is at her most triumphant isolated and raging and borderline incoherent, as ineffectual as she accuses Hordak of being. She’s won, and she’s alone, and she’s the most unhappy she has ever been, and I think for the first time she realizes that. And that’s the worst blow to her, even before all the external things come crashing down. She’s already miserable before Double Trouble and Glimmer deal her a triple coup de grace of destroying all her armies*, turning her and Hordak against each other and then Double Trouble’s epic evisceration. By the time Glimmer shows up, Catra is, as mentioned, literally suicidal. But she’s also already begun the process of changing in that she knows that she has a problem (her, and her self/other-destructive tendencies). Moreover, she knows, at some level, that what she really wants isn’t conquest, or to prove herself as the baddest leader of the Horde, but love - and she’s seen how she’s squandered that at every opportunity.

Let’s just pause for a moment to observe how much better Glimmer is at villainous machinations than Catra. In a couple episodes she makes a faustian bargain for unlimited power, kills all her enemies armies, sets her two chief foes at each other’s throats and literally cripples one while rendering the other helpless. And given her ironic non-answer about hurting Catra (‘we’re the good guys, remember?’ and the fact that she’d tried to kill Catra twice before**, she walked into Hordak’s sanctum fully intending to end Catra’s life, one way or another. She does all this through ruthlessness, recklessness and treachery, and she could give like, a TED talk on villainy. Of course it also blows up in her face and is actually way worse than the portal did in Catra’s, endangering the whole universe (I always assumed that the portal only threatened Despondos), dooming Etheria to invasion and all that. Of course, Catra pulled that switch and then fought Adora knowing that the world was ending, while Glimmer was just ignoring warnings from...just about everyone, including Shadow Weaver. So yeah, Glimmer, best kids show antihero since Princess Bubblegum***(unless we’re counting Catra as an antihero, which works for the first half of season 5).

Anyway, at the beginning of Season 5 Catra is adrift. Though some interpretations, like TV tropes, see her as immediately falling back into old habits and casting her lot in with Prime, I see her actions from the end of Season 4 onwards as more ambivalent. She seems to be kind of...going through the motions. She doesn’t have any of the drive or passion in her plotting that she once did, she seems to be maneuvering into Prime’s good graces out of habit. At best she’s back in the survival mode of early season 1, but without the ambition and desire to prove herself that motivated her. Some interpretations put a lot of stock in Prime being someone that can’t be bargained with or appeased, but...I don’t buy it. I take him, to an extent, at his word when he says that he was ‘exalt’ Catra (I am sure it is something awful). Catra actually gets what she wants halfway through “Corridors.” Only it’s not what she wants. She’s done jockeying for advantage, especially in a world where she truly would be alone because all she has is this psychopathic narcissist and his clones for company. She wants connection. She wants to do what is right. She’s suppressed all her humanity (felinitity? Anyway) for years and it’s made her miserable, and now she’s ready to embrace it. At the same time she confronts her own culpability, seeing just how much harm she’s done and admitting it for the first time. Her first lifeline is Glimmer, the only person she can actually talk to, the only other Etherian, the woman whose mother she doomed and who has nearly killed her three times. But Glimmer is also going through her own dark night of the soul - Glimmer and Catra’s character arcs were converging at the same time that Catra’s and Adoras and Glimmer’s and Adora’s were diverging. And they come together on either side of that forcefield, just talking and being people in an environment that is designed to be as dehumanizing as possible. Even this barest lifeline is enough for Catra to hold on to for dear life, and enough to inspire her to not just feel bad about the bad things she’s done, but do something good.

But the first way she does this is a cop out. Her plan, like Shadow Weaver’s in the finale, is to sacrifice/kill herself doing ‘one good thing.’ That way she doesn’t have to figure out how to live with the consequences of her actions, face the possible rejection of the people she loves whom she’s wronged, and do the hard work of building herself back up as a better person. She gets to die a hero rather than live as a villain. That said, unlike Shadow Weaver she does at least get off one apology, and it makes all the difference.

Then Adora fucks Catra’s sacrifice up, in glorious, space operatic, gay AF pulp fiction fashion, by saving the cat. Catra is mind controlled or unconscious for most of this episode, but what she does do is so crucial. When Adora comes for her, she reaches out to her, as soon as she is able. She doesn’t push her away, she takes Adora’s help, and her love, and Adora does the rest in badass fashion. The next few episodes plus the so perfect its canon Don’t Go are my favorite part of Catra’s entire arc.

She nearly falls back into her old habits, at least partly. Now that she has to live with what she’s done rather than just dying for it she just wants to run away again. But when she has to choose between losing Adora all over again and confronting herself and her past, she chooses Adora, and asks her to stay.

Catra then spends the rest of Season 5 slowly easing herself into the very human world of the Princess Alliance - the comaradery, the dedication to others and a cause, the goofiness. I’m going to talk a lot more about her relationship with Adora in my Catradora post, but I do want to highlight three moments.

The first is Catra running away again. This is actually a big change from what she’s done before - she’s not leaving because she’s angry, or bitter, or spiteful, she’s leaving because she doesn’t want to see the woman she loves sacrifice herself yet again (maybe this time for good) after being manipulated by the woman who had abused them both. But then she comes back. And then she confronts her abuser in a way that she has never done before - for the first time in the series, she not only calls Shadow Weaver out but calls her to do the right thing, and doesn’t give up until she does (this is after Adora also calls SW out and cuts her off forever, meaning that her two charges have finally called her on her bullshit and chosen each other over her, more in my Shadow Weaver Rant...and I guess my Catradora rant).

Then, at the end, Catra both stays with Adora through her potentially fatal harnessing of the Heart of Etheria and then her comes in and rescues her by challenging her to do something for Catra and for herself. Not to be with Catra, or to kiss her, or love her, but just stay for her. Needless to say, Adora responds far more enthusiastically than Catra had dared hope. (more on this in my Catradora rant).

Catra starts the show convinced she doesn’t need anyone except Adora, and she’s willing to even push Adora away if she can’t have Adora on her own terms. She goes down that path - ambition, manipulation, treachery, cruelty and isolation - until she has nothing left. She then slowly, painfully, turns around and reaches out and begins to heal the pain in Etheria and the universe rather than causing more. This is a psychological journey in many ways, but even more than that it is a profoundly moral one. It is a story of her accepting responsibility for her actions, facing reality, reaching out to others and making amends. It is in every sense a redemption. And while it works perfectly with Adora’s own development into her own, fuller, happier, healthier person, it works not because of Adora or the power of love, but because of Catra herself. Adora’s companionship, Adora’s rescuing of her and holding her to account, all of these are necessary for Catra to change for the better. But in the end it is Catra herself who chooses the right path, maybe for the first time in her life. And that’s what makes the romance work in turn - Catra is motivated to change not simply by a desire to impress her girlfriend or by Adora’s shining goodness (to the contrary, Adora’s a healthier and less self-sacrificing person at least in the finale...she comes around later than Catra) but by her desire to be true to herself and seek out what she really needs and wants - which is love, and connection, and to do good rather than evil. It’s a gorgeous story that takes an antihero all the way down to hell and then back again, and this makes it a truly unique redemption arc in all of kids TV - not just because of how far Catra falls, but how far she travels overall.

*(I know a lot of fanficcers talk about there being a lot of Horde Soldiers left but like...in the show...they’re nearly all dead, guys. Glimmer and company...okay mostly Mermista... just about killed them all in an afternoon. The cadet Triad survives because they deserted and weren’t there to get drowned/frozen/suffocated by plants when the grand invasion of Brightmoon went sideways)

**Okay, once she was only an accessory to Shadow Weaver’s attempted murder of Catra, the other time she leaves Catra for dead in ‘Pulse’

***I stan PB so hard guys. So hard. Machiavellian genius, mad scientist, god figure, possible Nietzschean Ubermensch? She’s so great. So great.

#she ra #she ra adora #she ra catra #spop catra #redemption arcs

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ruby-whistler · 3 years

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Srry but i noticed in one of ur dream posts u Referred to tommy's cat as hope. I must correct u, that cat was born pussbou and died pussboi. /lh Also tommy killing that cat was nothing compared to dream killing mushroom henry in exile btw just wanna say Also for ur posts about dreams trauma or wilbur manipulating him can u provide links to vods or other proof? Srry if i seem rude i mean that in a "genuinely curious way"

Aaa sorry if my ask came off as rude im just genuinely curious :(((

hi! dw, you don't seem rude at all, and i'm extremely happy someone with a different perspective has found my blog! i really appreciate that sort of attitude and am happy to answer :]

/dsmp /rp

the cat was called pussboy by tommy, but dream only called it "the cat" and then said that "it was hope", which is why it sort of became a symbol (his hope is dead, basically) - that's why i kind of made its name capitalized, because it was more of a metaphor than anything.

most c!dream fans call the cat hope because it's just really nice and really symbolic, and also really sad when you think about it. that's why the name was used in the essay, just to clear up the confusion!

tommy killing that cat was nothing compared to dream killing mushroom henry in exile

i don't really think so? mooshroom henry was entertainment more than anything, and even if it was bad, when watching the stream i don't remember seeing him mourn that much - on the other hand, dream was very quickly and very obviously attached to the cat, with it being his only companion in months of isolation, along with the hope that even when tommy left it would keep him company.

keep in mind c!dream has been deprived of stimuli and human contact for so long it's officially classified as psychological torture at that point.

i don't mean to compare trauma or even compare deaths - because honestly, what c!dream and c!tommy have gone through individually is incomparable and i think neither should be diminished in favor of the other since they're both terrible situations.

that's why i disagree that it "was nothing compared to" - it had an obvious effect on c!dream, and was still c!tommy killing an animal specifically to hurt him, no matter what reasons he had.

when i'm talking about effects people's actions have had on c!dream, i'm not talking about those people. i'm talking about him. :) /lh

as for the trauma, a lot of people agree that a lot of the things he says or does are trauma responses, and hence it's very possible that he's had trauma before he went into prison!

this includes being repeatedly called a tyrant via propaganda by about half of your friends who decided to betray you, trying to keep peace and being pushed deeper into villainy instead, repeatedly being put in between a rock and a hard place in order to make sure the people you care about don't start killing each other, then being betrayed by your closest friends after merely trying to keep peace (sapnap & george) and just in general having no control over your life or image and grasping at straws to gain it back.

i know a lot of people with trauma who heavily relate to certain trauma responses, which aren't always just shaky breaths and flashbacks, but trauma often also manifests itself in extremely ugly and destructive ways, both inwardly and outwardly.

trying to control the people around you is also very often a response to going through trauma, as well as emotional repression which is... rather evident on c!dream during season two. it only seems to get worse with repeated abandonment.

in the end, during the vault scene, the way he acts really just isn't at all the way a healthy person would act, and a lot of his really bad mindsets come from the way he was taught by the world around him.

the character is very reserved however, and since we don't have his pov we can't really say for certain - a lot of people claim it in good faith because they have a lot of evidence for it, and i think they're certainly valid in that.

that is just before the prison, however. from what happened during the prison arc? there is no denying he's traumatized at this point.

he's been emotionally and physically abused by c!sam since the very beginning of being imprisoned, and being in solitary confinement for over two weeks is generally considered psychological (and maybe also physical?) torture. that alone shows up in a lot of symptoms of his mental deterioration while in pandora's during people's visits, and quackity's "sessions" just absolutely drove the point home.

what he's gone through during this arc is absolutely incomparable to anything others charactes have faced before, and it's just plain suffering being endured by someone who is, despite everything, still a human being.

as for the wilbur manipulation thing!! it's talking about the whole vassal scene (though even beforehand a lot of their interactions are pretty iffy), and here's a post about that :]

I also have a small question about the analysis u last reblogged cus it says "why dream needed lmanburg gone rightfully" and like. The house analogy is poor because for one cus the land is infinite. And 2 cus punz's yard was literally larger then lmanburg. And also stuff about dream being a mediator? Can u provide examples?

i wouldn't say it was poor. dream's said a lot of times that he didn't care in the slightest about the land - a lot of his problems with l'manberg arose with the fact that wilbur basically built it on lies and tried to disallow half of the server to come there. c!dream was mad about the division and the fact that wilbur wanted "freedom" to have authority in his lands - over others, as can be seen in this post also.

the table analogy was fitting not because dream was some overlord, but because these were literally friends he invited to hang out and live in a place he wanted to call home. claiming a part of it for yourself and saying people of a certain nationality can't come in is directly opposing those goals.

in the early days of the smp, dream's always been a mediator between his friends - sapnap and george, who would often get into fights and go around killing each other! he would always do his best to stop the conflict, which continued after tommy joined when he took him to court and then later tried to mediate conflicts he was a part of, which resulted in tommy killing him unprovoked, stealing his gear, and starting the disc wars when dream was trying to get his stuff back. later, during pogtopia, he is also most concerned with peace over everything, and this seems to continue indefinitely after.

Today i was thinking about how messed up the final control room was. Like. Dream arranged the betrayal and punz and sapnap killed tommy and tubbo who like. Were literal children and their pals (because the author, wilbur soot, is dead/j but srsly if u take the streamers words tommy said he was 9 during the revolution sooo)

Sorry im gonna ramble about how dumb canon ages are for a second cus like. Streamers can say the characters are one way or another (wilbur saying he is mentally 30-something, etc.) But in the end the characters act like they(or at least their streaming personas) do.

i... honestly don't find it that bad? they were in a war, and the final control room was basically just supposed to end it quicker. the l'manbergians made it clear they were going to fight to the death, so they really left c!dream no other choice. and it's not like he didn't give them chances to give up.

also yeah the 9 year old thing was retconned, because in that case c!dream would've been 14 and i don't think that's true.

c!tommy and c!dream were both young and once again, in a war. the final control room was an attempt to assure victory, which both sides would've taken if possible, but only c!dream saw he had the option.

i do agree the whole child soldier thing was bad but... complain about that to c!wilbur, methinks. he talked naive kids into fighting for his personal power. however, the age argument isn't really valid either way. they had enough agency to sign up for it, and whether or not c!wilbur pushing the intense nationalism onto them had something to do with that is another debate entirely.

Bacl to final control room cus like??? Also fun fact punz took 2 of wilbur's canon lives. And like that probably is what started wilbur's paranoia which later lead to his spiral and i. Many thoughts full of lmanburg today.

i'm pretty sure cc!wilbur said what lead to c!wilbur's spiral was a "dark, twister view of possessions" and "disregard for his fellow citizen whom he claimed to love so much", but i really wouldn't say it was the control room; if anything the sudden loss of power after the elections seems to me like the trigger for his spiral.

I watched the exile arc live and. I feel dirty almost for feeling little to no sympathy for c!dream (srry ive been forgetting to add that aa) because of his actions toward c!tommy and like. The whole probation was so humiliating and unfair and c!dream was planning to frame him for the crimes he and puffy did under the the guise of "pranks" and c!quackity was planning to seize the vice president role.

i mean... to be fair, if you didn't watch the prison arc much yet or only watch tommy's perspective i understand not feeling that sympathetic - however, i encourage you to maybe watch a few prison visits, since they could help you see the whole picture better!

i also watched it live, and i also thought it was terrible, but i share very much the same sentiment for the prison arc because. absolutely no one should have to go through either of those things, you know?

i don't think probation was that humiliating? he was just. being asked to not start conflict with the other factions for two weeks. of course, what happened as a result is in no way justified, but i don't think probation itself would've been bad at all. either way yeah the framing and c!quackity's behaviour was. very yikes, i agree.

Also c!tommy antis are dumb because they say "he deserved exile angry emoji" i dont see u saying that about ranboo. Just say you hate cc!tommy and go. Also people say c!tommy was just as toxic to c!dream and i??? No. One is the victim and one is the abuser and like. :/// man. This part is rambly srry

i wouldn't say they hate cc!tommy? cc!tommy has a persona who people think is annoying at first ( but then they subscribe because he is super entertaining big man! ) but a lot of c!tommy's actions are straight up toxic to certain characters, such as c!funndy and c!jack. he has a very dismissive attitude towards others and their trauma and it does affect the people around them very negatively.

examples; his repeated bullying and behavior towards fundy:

Tommy: “Fundy, I’m just here to kinda let you know that I – if you weren’t Wilbur’s son, you would be out of L’manburg, alright? Just remember – you need to keep that relationship with your father. I saw how asshole-y and bratty you were acting in the courtroom the other night. You need to pull your shit together young man.”

......

Fundy: “I’m wearing glasses…are you making fun of my eyesight?!”

Tommy: “Yes.”

Sapnap: “Your father would be very disappointed.”

Fundy: “Wh – disappointed for wearing glasses?!”

Tommy: “You got glasses, like what are you wearing…”

Fundy: “What do you mean?”

Tommy: “Sapnap, Sapnap, over here. Fundy, Fundy, Fundy, I’m really sorry to say this – I’m just here to publicly denounce you.”

Fundy: “…What?”

( credit for transcript: @/findingjoynweirdstuff )

he's also responsible for a big chunk of c!jack's trauma, both with actions and words, and that's why i think certain people might dislike the character, and i don't think that's wrong of them. anyone can dislike any character they want if they don't attack people for liking them, in my opinion.

also c!tommy was most definitely toxic against c!dream in the cell. it's of course understandable but that doesn't change the fact he was constantly hitting and insulting him (without dream doing anything back for a long while until he snapped) which is toxic behaviour.

i wouldn't say he was "just as" though, so i agree with you on that. they're different and they behave differently.

i made a dream blob keychain today. Is it possible to send images if u wanna see? Idk cus i havent used tumblr before. I think that's all for now. Thx for letting me talk :D peepoShy -curious anon (but fr a connoreatspants c!dream redemption arc would be cool)

yooo that's cool! i don't really,,, know if it's possible to send images? try it out and if it isn't i'll try find a way to turn it on.

also, no problem! just please remember this is a c!dream sympathetic blog, and me as well as my followers are uhh,, oftentimes emotionally attached / personally relate to the character, so if you could avoid sending hate on the character (not that you have or that i expect you to, just a friendly reminder) in the asks that would be great! we already see a lot of it unwillingly so, i'd rather not see more, but as long as the discussion is civil i'm absolutely ok with you asking more and with me answering more questions if you'd want to! :)

if anyone else would like to reblog this and add some things i might've missed with my answers, feel free to, just go easy on her (she uses she/her pronouns!) and keep it factual.

i hope u had a good or at least ok time at school today :D

thanks! i gtg now because exam tomorrow but i'm going to try write the redemption essay tomorrow as well because ohhh boy i have a lot of ideas about what all i could write around the concept.

also sorry this was long, i can't keep my tongue on the leash :[

#c!tommy critical #c!wilbur critical #my asks #curious anon #long post #history #tw torture #tw manipulation

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