I'm gonna end up saying this really sloppily but something that surprised me (in a good way) in ptutu was how autonomy is so heavily respected and usually considered to be the strongest factor when making decisions regarding Mytho. Duck and Fakir both knew that returning his heart in full would lead to the raven returning. Fakir, in an effort to protect Mytho, essentially took away any autonomy from him. He controlled what he did, where he went, who he was with, and didn't hesitate to restrict Mytho's access to the outside world entirely. When Tutu first attempts to return the prince's heart shards, Fakir fights back, believing that since it will lead to the raven being unleashed, it's up to him to keep Mytho safe. But as time goes on, Fakir and Duck start to work more closely, and Mytho regains a lot of control over himself, through both the return of his emotions and Fakir realizing that Mytho can and should make decisions for himself.
Once Fakir stops trying to control Mytho, Mytho becomes very verbal about his wishes. He can't return the heart shards himself, so to that extent he has to rely of Princess Tutu, but he can be clear and direct with the people around him about what he wants. Mytho's decision is rarely doubted by Fakir or Duck, despite the known consequences. It's more important to Duck and Fakir that Mytho's wishes are respected and upheld than what they and others might believe is best for him. Even when the raven is released and Mytho is in potential danger, his want for the heart shards doesn't waver, so Duck and Fakir's conviction to return them doesn't either.
This is pretty poorly written but I just felt like I needed to say something about this because I feel like this is something overlooked in a lot of media. "The greater good" is usually prioritized in situations, as well as the idea that, even though it's not what this character wants, it's what we know is best for them so really their say doesn't matter. But it does. It's the say that matters the most. And tutu held strong on that. Mytho's autonomy was what was protected and fought for in the end, and I thought that was pretty cool.
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something. about. the horror of being sent on an impossible (death) quest and obligations and hospitality politics. the trauma of not having a home, and then the trauma of being in a house that becomes actively hostile to you, one that would swallow you whole and spit out your bones if you step out of line. all of this is conditional, your existence continues to be something men want gone.
it's about going back as far as I can with the perseus narrative because there's always a version of a myth that exists behind the one that survives. the missing pieces are clearly defined, but the oldest recorded version of it isn't there! and there's probably something older before that!! but it's doomed to forever be an unfilled space, clearly defined by an outline of something that was there and continues to be there in it's absence.
and love. it's also about love. even when you had nothing, you had love.
on the opposite side of the spectrum, this is Not About Ovid Or Roman-Renaissance Reception, Depictions And Discourses On The Perseus Narrative.
edit: to add to the above, while it's not about Ovid, because I'm specifically trying to peel things back to the oldest version of this story, Ovid is fine. alterations on the Perseus myth that give more attention Medusa predate Ovid by several centuries. this comic is also not about those, either! there are many versions of this story from the ancient world. there is not one singular True or Better version, they're all saying something.
Perseus, Daniel Ogden
Anthology of Classical Myth: Primary Sources in Translation, edited & translated by Stephen M Trzaskoma, R. Scott Smith, Stephen Brunet
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lurking in radfem spaces has really changed my entire view of most mainstream internet spaces because once you realize just how censored women's voices and feminist thought are on these sites, and how much porn and misogynistic values are defended, you can't unsee it.
how anyone can bear to participate in an online space where porn, of all things, is lauded as the bastion of "self-expression" and yet any woman slightly critical of popular cultural opinions is demonized is wild, especially when a lot of that porn is a) violent and misogynistic b) often accessible by minors c) gross and shallow d) myriad of other reasons far better writers have probably described
fuck I'm just so tired. seeking rationality online is just opening a pandora's box of garbage and seeing the reflection of how bleak the social hegemony has become.
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Etho and Grian are back at base, hysterically laughing over their achievement. Cleo sits inside, staring, as the two of them talk about getting a wither and a warden to fight, and tries to figure out what she feels about it.
In some ways it's not their fault. Task made them do it and all that. Plus--
Well, it's not like she and Etho are losing hearts anytime soon. They've both done a damn good job keeping themselves from dying. A benefit, Cleo thinks, of deciding to team with Etho this time. Between the two of them, they'll largely only do chaos they can recover from. Maybe this is their game. Maybe this time, Cleo manages to stick with someone until the very end. It looks like it. It looks like...
Grian, of course, is the confounding factor.
She wasn't going to turn him away. He needed allies. They needed someone a bit better at actually doing damage than herself or Etho. It's mutually beneficial. And, besides, he's weirdly lovable, in an inherently kind of dangerous way. A little like loving a bobcat someone had accidentally raised as a pet cat until it got a bit too big and stinky and murdery for them. Like, yeah, he shouldn't be domesticated and he's not, really, in any sense of the word, but it's a bit sad to watch him try to survive on his own now, right?
Hah. Maybe that's what Scar managed to do to him. Would explain a lot, really.
Anyway, he's her bobcat now, which is the problem.
See the thing is: Cleo understands Etho. It's why finally deciding to be partners for once felt... right. They're similar flavors of people. Scared, mostly. Survivors, but not in the 'will stab anyone' way that like, Martyn is. Loyal, although Cleo has no delusions that Etho is as loyal as she. And scared. Has she already said that? Scared. It's important to the kinds of things she and Etho are. Like... mountain lions, maybe. Mountain lions that have been around just enough people to know how dangerous they are. Like that.
God, she's only doing cat metaphors. Bdubs really is turning them all into furries.
Anyway, the point is, Grian isn't scared.
And that... terrifies her.
That's scarier than anything else. Because, see, Cleo wants to survive. But more than that, she wants her partners to survive. And she and Etho, the two of them are doing well. Better than most people. They're green and they have so many hearts.
But Grian? Grian's yellow and not afraid and goading Etho into not being afraid too. It's not their fault, exactly, Cleo thinks. They both had hard tasks. They didn't have a choice, Cleo thinks.
But. But.
She doesn't know what to do, if Etho gets convinced the humans down the mountain aren't scary. She doesn't know what to do if he gets too close. She doesn't know what to do if he gets hurt.
Because she--she doesn't think she can learn to stop being scared, anymore.
But she also doesn't know how many times her heart can stand to lose someone.
Did you know--wild cats are social? They have a reputation for being loners, but mountain lions, they're social. They don't do well being alone. They don't actually hunt solely alone. That's the important bit here. They seem independent, sure, but actually...
Anyway. This is Bdubs's fault. For making her a furry, apparently.
She watches Grian and Etho scheme together and sits back and breathes and tells herself that Etho isn't going to stop being afraid anytime soon. That if push came to shove, he, at least, would retreat back, and that maybe the two of them could convince Grian to retreat too. Safe from hunters. Safe from red.
Maybe safe from hurting each other, too.
(She's not so sure about that part.)
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