#chwat | Explore Tumblr Posts and Blogs

that-ari-blogger · 27 days

Text

No Cat Can Walk Out Of Her Own Story (Once Upon A Time In The Wastes)

To those who have read my posts before, you may have picked up on my complicated relationship with the concept of genre, in that I don’t really believe in it.

Don’t get me wrong, genre is definitely a thing, it just exists from the perspective of a reader, not a writer. Genre allows audiences to categorise their preferences, and allows librarians to categorise their catalogues. But from the angle of a writer, I find that trying to stick to a genre often leads to restrictions that limit creativity.

The tricky thing is, this is my opinion. Art is not science, and does not jell at all with ubiquitous statements. There is evidence to back up my claim, but at the same time, evidence that completely contradicts it. Funnily enough, She-Ra and the Princesses Of Power count as both, especially Once Upon a Time in the Waste.

Let me explain.

SPOILERS AHEAD (She-Ra and the Princesses Of Power)

First, a few framing devices for this post.

I have been analysing the series as a whole through the lens of tragedy, which isn’t quite a genre, but it’s close enough that I feel the need to explain myself.

Tragedy is a vibe. It is an end goal for the story, a trajectory that it will try to hit. She-Ra is most definitely on this trajectory for most of its runtime, which plays into its themes of trauma and the cycle of abuse. The core question of the story is whether love will be enough to overpower that trajectory. Agency vs fate, like Romeo and Juliet.

A genre, meanwhile, is a collection of tropes, which can include a plot structure, but it doesn’t have to. They are different concepts that relate to each other, and overlap occasionally, but they are distinct.

Now, genre is, first and foremost, a literary tool. Tropes give expectations and implications, and often have meaning ascribed. So a story written in a specific genre can make use of that for its own purposes.

Part of the reason I am so chwit-chwat about my position on this is that I have a friend who excels at writing genre stories, and that has benefited their work immensely. Their ability to subvert expectations is predicated on the groundwork that they are writing within, that being the framework provided by each genre.

Cliches have a bad name, but there is genuinely a place for stories that are exactly what you expect. Not every art piece has to be thought provoking. Sometimes you just want to sit down, relax, and watch an adventure, and the Guardians of Ga’Hoole movie is engineered to suit your every need. If you want to think about what you are experiencing, read the Guardians of Ga’Hoole books, because they really play around with the genre.

So, what is my point?

Well, I will come back to this at the end of the series, but I think She-Ra is on both ends of a spectrum, it can be classified as a ton of genres, but also none at all. Once Upon a Time in the Waste is a microcosm of this.

So, I’m going to argue here that this episode is a western story. As in, the archetype with lone wanderers and such. But I’m also going to argue that it isn’t.

Buckle up, this is going to get complicated.

Westerns are technically just stories set in outback America in the late 1800s. But we can all agree that there is more to the genre than that. Duels at dawn, train heists, riding into the sunset. Think Rango, the third Back to the Future movie, and the 1960 version of The Magnificent Seven film. There is a framework to play around in.

The genre doesn’t so much carry the theme of freedom as collapse under its weight. Protagonists in these stories are usually on the run from the law, or seeking a new beginning, and plots have a tendency to bear a distinct anti-colonialist message. Mostly. The golden age of the genre was between 1940 and 1960, and modern writers have, for the most part, got better at writing this over time.

So, this episode has an implied theme of freedom, that goes with series as a whole’s discussion of agency. It also draws on the idea of a new beginning and the promise of an empty world. All it has to do is make itself clear, and it does this off the bat with two of the most western shots ever to western.

The amount that is being communicated by these two shots is astounding. Obviously, the vultures are circling Catra, and she’s watching them. Catra is aware that she is at rock bottom, and that death is closing in on her. Or at least, she thinks she is.

However, the worldbuilding element is there as well. Multiple moons instantly signals that this is a fantasy setting, and if you look closely, those aren’t actually vultures.

So, this is a western story with a bit of that fantastical flavour, right? Or is it a fantasy story with a bit of western flavour? Yes. The answer to both of those questions is “yes”.

This episode is told from Catra’s perspective, and I think there is a bit of unreliable narration going on here. Not in the sense that events aren’t playing out as we see, but in the way that the cinematography surrounding those events influences us. This might not be a western story at all, those birds might have just found a column of air, but doom and gloom is what Catra sees, so it's what the audience sees.

On a side note, Catra’s dialogue in this episode is written like she has spent the last month listening to nothing but Linkin Park’s Crawling In My Skin on repeat. I have a deep love for angsty emo storytelling, but I think it is a stroke of genius to translate that exact energy into something so aesthetically at odds with being emo.

“You know what? It doesn't matter. Nothing matters anymore. You know what I see here? All my hard work, ignored because of one mistake. My dreams, turning to dust in front of my eyes. But mainly I'm looking at that?”

This is Catra’s first little speech of the episode, and she gets a few of these. Here, she is venting at Scorpia, which I will comment on in a bit, but it is important to note that Catra fully accepts responsibility for her fate. Yes, the world was against her, but she was the one who messed up. Which is interesting.

In my reading of this story, Catra has intellectually recognised that the Horde was abusive, but emotionally, not so much. She convinced herself that if she was perfect, she could just coast above, because the moments in-between the abuse were half decent. But that wasn't possible.

I feel it is important to understand that Catra doesn’t crave safety, she craves the feeling of being safe. She is chasing the high of security, and she was able to push through Shadow Weaver’s abuse and to ignore Hordack’s obvious red flags enough to obtain that feeling from authority. The high never lasted, but she has convinced herself that she could have made it work.

Back to the western thing. Protagonists in western stories are rarely good people, although they aren’t usually villainous. They are heroes, but their defining character trait is that they were capable enough to take control of the situation. Sometimes, they will save a village from some bandits, but half the time this is to save a love interest or because they have a grudge against the bandit leader or even just because the village pays well. Morality isn’t really a thing in western films.

In other words:

“There are only two rules in the Crimson Waste. One, the strong make the rules-” (Laughing) “So, here's the thing. I've done this. The whole “threatening people” bit, the intimidation. I've been there. And I just don't care anymore. Some people have a bad day. I've had a bad life. If I want something, it's taken from me. If I win a fight, I lose the war. Threats only work on someone who has something to lose. But me? I've already lost it all. And you can't be any good at this, because you just let yourself get distracted.”

What I said about Catra from before works here as well. This also meshes rather nicely with the western protagonist. Catra has rocked up out of nowhere and demonstrated her capability.

However, that capability lies in force of personality, and in her allegiance with Scorpia, someone who exists to prove Catra wrong. Catra still has her friendship with Scorpia, and thats what this episode exists to show her.

This episode actually show Catra getting to be happy with herself and the world around her, because her worldview is rewarded. She has no higher authority, she can be mean in the way that the Horde has taught her to be, and it pays off.

Granted, it’s not exactly healthy, but it's better than what she had before.

So, Catra can feel safe, even in a place that is objectively more hostile to her than anywhere else. The ground tries to eat her, multiple times, but she is fine, she has her force of personality, and she has Scorpia.

“We make a good team, that's it.”

Scorpia makes Catra feel safe, she protects her, and she raises her up to make her own choices. The only other person that has done that, was Adora.

Before I continue, however, I feel the need to stress something. How Catra treated Scorpia up until this episode wasn’t great. It will get worse after this episode, and I will talk about that when I get there (If you know the show, you know which episode will prompt my full diagnoses), but for now, Catra hasn’t seen Scorpia as an equal until this point.

This is based on her upbringing. Whether you like her as a character or not, it is hard to disagree with the fact that Catra is mean. But that comes from a place of fear and of discomfort. Catra has no idea how to socialise with anyone, because she has never had a parental figure to show her. She was nice to Adora, and Adora left, so being nice was clearly not the right decision, in her mind.

On a similar note, it never occurs to Catra that anyone might like her. As in, she assumes at all times that people are trying to one up her or outmanoeuvre her. She was betrayed by Adora, in her mind, and Shadow Weaver never treated her with any dignity. Why would anyone help her? She has to force her way through everything.

Except, here is Scorpia. Scorpia, who offers a guiding hand to Catra to save her from the quicksand, even when it would be wiser to let Catra die and take over. Scorpia, who will follow Catra into the desert. Scorpia, who makes Catra feel safe and asks nothing in return.

The episode even gets in the duel at midday and the standoff with the bandits, with the reward for victory being more underlings. Catra builds herself a support network.

The sartorial detail of the jacket. Catra starts the episode clinging onto the cloak from the Horde. But it's too big for her. She then sheds it and steals the jacket when she starts fitting into the Horde and finding belonging. The jacket fits her perfectly, and she looks really good in it. She then offers a similar jacket to Scorpia as a gesture of friendship. "I belong with you."

“A toast to driving Huntara out of the Waste! A toast to finding all this new loot, huh? And a toast to Boss Catra, best leader we've ever had!” “Scorpia! A toast to Scorpia!”

So, about that new beginning then. I spoke at length in a previous post about how character development and allegiance relate to location. Adora changes location and can develop as a person. Shadow Weaver makes the exact same decision, and refuses to change, mostly. Now we have Catra, who has likewise shifted scenery, and she is making big strides in terms of relationships.

There are people who cheer her name unprompted, people who will keep her safe. This is everything she wants, right? Hold this thought.

Also, correct me if I’m wrong, but this is the first actively altruistic thing Catra has done. Yes, she shared the blanket, but that felt more like paying back a debt than actual kindness. This feels like growth, like Catra is finding a new place to start.

Catra's body language in this tiny scene is really well done. She starts off clutching the sword like a teddy bear, like she is taking comfort in having it. Then it falls to her side as Scorpia gets through to her and she subconsciously stops needing to have that victory.

“We've got the most important thing right here. You heard that hologram. This is the key to the whole planet. When I bring this back to the Fright Zone, Hordak will see me for what I'm worth and I'll be back on top.” “Or, you know, counterpoint, we don't go back at all.” “What? Why wouldn't we go back?” “Uh... Because you hate it there?” “I don't.” “Hear me out, okay? Within like, a day, you've defeated the gangs ruling the Crimson Waste and made yourself their leader. This is the happiest I've ever seen you. Scratch that. This is the first time I've ever seen you happy, period. So, why would we go back? Let's stay here. Forget Hordak. Forget Adora. Forget all of them. We could rule the Crimson Waste together, just the two of us. We could, you know, be happy.” “I… I don't… I have to go check on the prisoner.”

I think Catra actually considers this option. Again, the idea that her emotions and her thoughts are at separate levels of understanding comes back. But in a very real sense, this is what Catra wants, she has her life’s goal. So why can’t she stay?

For that, we need to talk about why Catra and Adora are such good foils.

Catra and Adora are the two tragic heroes of this story, but they exhibit their hamartia in completely opposite ways. For clarity, hamartia is another term for a heroic flaw, the thing that causes things to go wrong. She-Ra has a really interesting way of writing that, simplicity.

Every character in this story has a greatest strength that is also their greatest weakness. Glimmer is unyielding, which means her courage is second to none, but her adaptability is lessened. Huntara is both idealistic and cautious, when balanced these traits carry the crew, when unbalanced, these traits cause trouble.

Adora and Catra are opposites. Adora thinks incredibly quickly, which means that she is a remarkably good short-term tactician, but she struggles to think on the wider scale. Catra, meanwhile, is always planning five or six steps ahead of everyone else, but she can’t see the moment for what it is.

However, there is one more facet to these two, and it is the thing that joins them. Both Catra and Adora have a binary worldview. Something is either good or bad, someone is either a hero or a villain. Or, in Catra’s case, affection is exclusionary.

“Catra, Shadow Weaver is in Bright Moon.”

Catra is wounded by Shadow Weaver, more than she can possibly imagine. She wants to feel safe, and even while she is in the Crimson Wastes, she is not immune from her abuser’s ability to take away her security.

The news that Shadow Weaver is with Adora brings back all of Catra’s insecurities. It reminds Catra that she isn’t good enough, and that she can’t be safe. Most of all, it coalesces the two people who left Catra into one force, the Princess Alliance. Now, there is a single entity that Catra can fight, and her desire to feel safe means that she cannot think clearly until that entity is removed.

The final sequence of the episode is so unbelievably well written. The heavy breaths and deep, foreboding music drowning out everything. Pair that with the revisiting of the episode’s early shots, but this time with a Dutch tilt, and you have a sequence of a character in inner turmoil.

This could be a western story. This could be a tale of two outcasts seeking out a living in the vast wilderness, disappearing and being happy. But Catra can’t ride off into the sunset.

When Catra looks up, there are tears in her eyes, and the camera shifts to punctuate her words and decisions by zooming in, until all you can see are Catra’s eyes, and the tears that weigh them down.

Speaking of trauma, this episode is also the introduction of Mara, and that happens in a really interesting way.

The comedy of Adora's wacky expression in this shot is pulling double duty here. It's funny, but its emphasising the fact that Adora's apparent success in finding answers is being undercut.

“Of course it's on a loop. Of course it is. Because why would a hologram ever give me a straight answer? Solve a puzzle. Train. Let go. I do everything they tell me, waiting for answers, And all I'm left with is... is... Why was I taken from my family? Why was I forced to become a soldier? Why did I come here if this was nothing but another dead end?”

Aimee Carrero is officially a god, because the line delivery of this is gut wrenching. This season has seen Adora spiralling downwards, and Catra gradually building herself up. That’s why this episode cuts between them both, its juxtaposing their opposite arcs.

So, here is Adora, shouting at her last hope of answers, and getting no response.

I want to point out that the monologue is the series’ thesis statement. The cyclical thing, the agency, the trauma. This is everything rolled into one.

The loop thing is a metaphor for the whole series, a metaphor made clearer by She-Ra itself.

When Mara is introduced, she is transformed, and she is a failure. She is the warning that Light Hope gives to Adora. When we meet her in this episode, we get that same image.

“I am Mara, She-Ra of Etheria, and I am gone.”

It towers over Adora, looking down on her. Adora is beneath the vision of even a failure like Mara. At least, until she lets go of the sword.

This is Mara. She’s small, about as tall as Adora; she’s wounded and dying; and she’s sorry.

“I couldn't stop them before, but I can now. Hiding is our only option. Maybe it's been a week. Maybe it's been thousands of years. I never wanted to be a hero. I won't be remembered as one.”

Mara’s character thematic can be summed up by one word: Legacy. Not how she will be remembered, but what effect she will have on the future.

Again, she is wounded, but she has managed to lock away an entire planet. Mara saved Etheria, once upon a time. I’d put that as pretty heroic.

But this also spins the perception of Light Hope. Adora can now see the alternate side of Light Hope’s words, and she can see the lies and the mistruths. So, by leaving a message, Mara pushed Adora away from destroying the world. She created a failsafe for Etheria, by telling the next She-Ra to think and take their own agency.

Mara was living in a tragedy, her fate was to die, but she twisted it. She broke free, and she saved people. I wonder if that idea will be revisited.

Final Thoughts

This episode could have been a season.

The second and third seasons of She-Ra are short, and I think the series would have been more interesting if they had been linked. Drop a few of the episodes, relocate some others, and make the whole thing about the Crimson Wastes. You get more time to Catra’s rise, and the fall feels more impactful.

I am mostly joking here. The series we got is the series we got, and this blog doesn’t analyse what could have been.

To that end, this episode falls short for me, because there isn’t enough of it. Catra’s improvement lasts for half an episode, and I think that if it had had a little more time to breathe, the gut punch at the end would have hit so much harder.

That is my critique, it’s a good episode, but it’s paced a bit too fast for me. You are welcome do disagree in the replies.

Next week, I will be looking at the absolute highway to hell (in a good way) that is Moment Of Truth, so stick around if that interests you.

Previous - Next

19 notes · View notes