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brbabcs · 8 months

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wolves and sheep: a jimmy/kim dynamic analysis, primarily centered around the masks they wear and the roles we see fluctuating between them. (please take this with a grain of salt, these are just my personal viewpoints and what i see as far as canon goes, as well as what i've been able to knit together into what i believe to be reasonable assumptions.)

"there is no greater love than the love the wolf feels for the lamb-it-doesn't-eat." ─── hélène cixous, stigmata: escaping texts.

jimmy and kim begin in the mailroom together: one settling for the simplicity of taking bets and delivering mail, and the other paying her dues to get where she wants to be. in the flashback we see to kim and jimmy in the mailroom, we are able to get a glimpse at the ways kim has always propelled jimmy forward throughout the years. jimmy seemingly has no want to leave the mailroom at this point in time, until he witnesses howard and chuck discussing how that will be kim soon. in this moment, we see the realization striking jimmy that she will be moving forward, moving on, and by extension, away from him. by the time we see this scene unfold, we already have an understanding that later in the timeline, jimmy pursues a law degree and passes the bar. one part in want to appease and impress his brother, but in my opinion, another because jimmy’s want for kim surpassed his want to simply settle and exist in the comfortable realm he’d previously been alright with.

we see very early on in the series that jimmy has no issue with settling: running “ slippin’ jimmy “ schemes to be able to simply breeze through life but not at a particularly extravagant rate. but as we progress through the series, where kim goes, jimmy follows: no matter where it ends up. the most prominent display of this is jimmy taking the job at davis & main. we know that jimmy has no real want to play by the rules, or to suit up and work in such a setting without ulterior motivation behind it. with hamlin hamlin and mcgill, jimmy’s motivation to want to work there was driven by his want to be accepted by his brother. yet, with davis & main, we see the same drive that set jimmy in motion toward his law degree: one part about his brother, the other primarily about kim. even when jimmy doctors the documents to sabotage chuck, it’s for kim – but i would argue that this isn’t as significant as his transition to davis & main, because it still aligns with who jimmy is as a person. he cuts corners, wins by any means, and in contrast, davis & main was the opposite of who jimmy was, yet still was pursued because of his love and respect for kim.

this love and respect extends even more so when “ giselle “ and “ viktor “ come into play. these alternate versions of self that they use to con people allow jimmy’s old dream ( to work with chuck / be accepted and established as a refined lawyer ) to die, and a new one to blossom. he now sees this world of possibilities with kim, and whilst he knows that she wouldn’t ever pursue a life of conning full time with him, it’s something that he respects even more. jimmy can’t con his way in or out of anything with kim in the way he does the rest of his life, ( although at points he does try ) and it makes her all the more desirable when they con together. as these moments of crime progress from simple bar schemes into much more, jimmy is blinded by his excitement of the moments and joy of having a partner in crime that he loves so much. even still, most things that kim does are for “ the greater good, “ and gives jimmy quite a bit to admire. but as things travel down more dangerous paths, reality begins to sink in: one little moment at a time.

as we transition through the timeline, kim and jimmy have held this mischievous relationship for a while now, but as things move on, what once were portrayed as small moments of excitement and fun begin to transform into much more serious crime. jimmy still goes the extra mile for kim at any cost, but now the price to pay is much higher as the cartel becomes involved. still, jimmy is too blinded to really see what is happening within kim. even when she begins to suggest the plot against howard, jimmy is unsure, yet still refuses to see. jimmy’s hesitance is clearly shown in these moments, not fully committing or jumping into things with kim as she may have expected. regardless, we see kim propel jimmy forward once more – however unintentional it may be.

much earlier on, way back in season two, chuck warns kim in front of jimmy. he even says that jimmy has “ ruined “ kim. these words circle back to jimmy as he sees kim put the wheels in motion for howard's destruction, and cause great hesitance and truly, concern. he even says to kim that “ this isn’t her, “ but is brushed off. we see this parallel here, reminiscent of something chuck says in earlier episodes: jimmy can’t help himself. even when jimmy hesitates when going to plant the coke on howard, and kim asks if he’s alright, it is enough to make him feel justified in some sense. because kim wants this too, right? he didn’t ruin her: he’s her partner, and she is his, in every sense of the word. this hesitation is a brief flicker of recognition, seeing something he's been avoiding looking towards or at, yet still choosing to dismiss it to further justify and extend the context of their relationship. was this always somewhere in kim? maybe, perhaps. would it have happened without jimmy? we’ll never truly know. but what we do know, is that without him, she may still be the law abiding, successful and renowned lawyer he admired so deeply. instead, in the framework of this scene, we see the deep desire and want and refusal to let go manifesting in visible damage and outward effects that can no longer be denied.

i believe the moment where jimmy’s eyes are truly opened, is in the interaction with the kettlemans. ( carrot and stick: season six / episode 2. ) we see jimmy offering money to the kettlemans, and when denied, kim steps in. she blackmails them clearly, confidently, and brutally. she gets what she wants, and then leaves: with jimmy still lingering behind, before eventually following. this is representative of jimmy’s life. jimmy leads, kim follows. kim leaves, jimmy follows. as we watch this scene with the kettlemans, we see jimmy fold inward. he doesn’t speak, or even make eye contact with anyone in the room. i believe it’s because jimmy is seeing, for the first time, the effects he’s had on her without any kind of buffer or filter to deny it. chuck’s words circle back around once more, and this time there is no justification or denial in the world that can help him.

when jimmy leaves and meets kim in the car, she mentions that he gave them the money that was originally offered, ( although, now not needed to incentivise the kettlemans to stay quiet. ) and jimmy doesn’t respond: instead saying “ wolves and sheep, “ calling back to a flashback scene ( in season two ) with jimmy and his father, where a con man ( who has just conned his father out of ten dollars ) explains that there are two kinds of people in the world. wolves, and sheep. in the beginning, when this scene is shown, we are still of the understanding that jimmy turns out to be a wolf, and kim is a sheep. here, with jimmy’s eyes to the ground and kim brutally blackmailing the kettlemans, the roles have reversed. jimmy parallels his father ( referred to as a sheep ) by giving the kettlemans the money, and a sense of doubt sparks that the wolf jimmy has portrayed himself as has ever existed. when we consider his father’s endless do-good outlook, and arguably, naivety, we also have to ask: did jimmy simply wear a wolf’s mask to survive despite inwardly, being a sheep himself?

earlier in season five, we are given another glimpse at this portrayal of kim as a wolf. when lalo shows up at their apartment and tries to intimidate jimmy into saying the truth of the story in the desert, jimmy is feeble and stutters his way through his story several times. in contrast, kim steps in, and similar to the way she defends jimmy in the confrontation with chuck about mesa verde, she defends him now. she challenges lalo, looks him in the eye and even whilst knowing he’s a cartel member, still argues against him. jimmy stands in the background, quiet, as she does so: the same way that he did as she ruthlessly defended him in the confrontation with chuck, ( and similarly how we see her behave in carrot and stick ) except now, the threat is twenty times what was in her argument with chuck. now, their lives are on the line.

still, kim is outwardly fearless, going toe to toe with lalo. this portrayal of kim is something we’ve seen before, but the stakes are much higher and incredibly more dangerous. and yet, as a wolf does, she grits her teeth and stands her ground. this conversation occurs right after jimmy tries to warn kim of going down a “ bad choice road “ as he has done, and as mike has discussed with him. jimmy is shown, almost directly after the conversation with kim, that those warnings are far too late now. there is no going back. kim has made choices, the same as jimmy, and whether or not he influenced them isn’t the point anymore: the reality is that the choices that led to lalo at their door were ones that only kim could prevent the consequences of. jimmy does not save them, kim does. again, and again, in these later seasons, we begin to see that jimmy wears the mask of saul: a wolf. but underneath it all is simply a sheep refusing to accept its own existence. over time, we see that kim is wearing the mask of a sheep, while underneath there is nothing but the wolf that jimmy aspires to be.

#jimmykim #jimmy mcgill #kim wexler #mine #this is old i might rework it but #heyyyyyyyyyy #yeah i am only using this blog to really just display my unwellness about bcs and brba i guess #analysis

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codegengar · 7 months

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schoolwork has slowed (as there are no pressing deadlines until starting next week, but i have not done any catching up on the lectures i have skipped...) and i am unemployed as of this week, so i have had a lot of time to myself once again.

there is such a striking contrast, now that i think about it between last week and the past few days. although those volatile, anger filled emotions from last week were facilitated by my job, i sometimes recoil in mental shock from the state of dissociative dread i relapse into once i do not have any form of human contact (besides my partner) throughout the week.

i felt that i was actually pretty stable the last two days as i had a lot of chores to do, as well as the fact that my partner was happy with me as i let him have sex with me. for the most part, i have refused most advances (basically everyday) and i feel like it does affect how his mood. this has happened early in our relationship, but i feel a little worse as now that we cohabitate together. besides the potential to contract more utis, i just feel so ugly. i do not have any desire to engage in any sexual activity anymore. although he might argue otherwise as i still masterbate, it's more as a habit for a quick dopamine hit (like doom scrolling on social media) than something i actually wish to do. today is another day where i refused in the morning, and he did not give me an enthusiastic good bye as he left for work.

i have this aggravating tendency to have my mood be dictated by how i perceive how people treat me. so i think this set the tone for the rest of today — just feeling a bit worthless and lost. i had done a lot of chores for the last two days, so there is nothing easy to throw myself into (another task that i need to do is organize / tidy up the two desks we have, but that will take up a lot of mental energy), unless i want to do the dishes for the 6th time this week (it is only wednesday!).

i feel like i tried so hard to set myself up for success, but i just disappoint myself every time. i bought an ipad, a floor desk, new stationery... yet i am paralyzed by the very thought of being productive in any capacity — whether it be a creative hobby, chores, schoolwork, or weight loss. eating pasta at 9pm for dinner definitely did not contribute to the latter.

how can i find the motivation to live life how i want to? i have asked this in therapy and i have thought about it a lot (but maybe not as much as i should), but moving away from your toxic, dysfunctional family does not make everything suddenly better. hell, maybe i hold the delusion that by being away from them five out of seven days a week, i suddenly do not have mental illness. even bigger hell, now that i have put forth these thoughts into a physical reality, i am treating and comparing myself to the capabilities of a neurotypical person. but i can be doing better. (that's the perfectionist in me talking.)

as my university friends start to graduate one by one, the more mentally isolated i feel from my peers since i am not only older but that _i don't care about academia_. maybe if i was younger and more passionate (and less cognitively damaged) i would fair well in university... but at this point i am just going because my parents want me to be academically credited for something as if that would help me in my future (well, it is better than nothing, i guess).

side note, i just realized that my spotify wrapped is out and seeing the music artist messages really helped me a lot. i feel kind of cheated that two of my top artists french composers though. i only listened to classical piano songs to help me sleep early in the year. gymnopédie by erik satie does slap though (but does it really need to be my number one spotify song for 2023?).

i'm playing valorant with some online friends, so i'll cut these thoughts short for tonight. maybe more later.

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stopeatingwhales · 3 years

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vinyl searching (pt. 2) x graham coxon

here’s the second part, hope you guys like it! there’s something about 1999 graham that i just love so much, and i know he was struggling during this time so i wanted to write about caring for him because he clearly needed it during this time.

Pairing: 1999! graham coxon x reader

Warnings: none :)

Word count: 3.166

part one

Requested by anon x

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Me and Graham decided on meeting in a small bar on the same road, a couple hours later in the evening. Once my shift was over, I had scurred off to my little flat in order to put together an outfit that was appropriate. I didn’t want to wear something that was too overtly sexual - hell, I wouldn’t even have the courage to be able to wear something like that - so I decided upon wearing an oversized t-shirt and baggy jeans. Very 90s. However, me meeting up with Graham was probably going to be more for him than it was for me - although I was so happy that me and him finally were able to take our ‘friendship’ somewhere outside of the small record shop that he sees all my life in, it was very evident that he was in need of someone to be there for him. Now, understanding his demeanor and overall attitude to things from the multiple times that we had conversated, I had hoped to be the one that he needed. Although there was many time I could’ve attempted such a gathering previously, you never know when would be the right moment to chip in and attempt to portray the care that you have stored internally for that significant person, and how they would react to that. For Graham it was a much more awkward situation; the only times of our communication were technically only professional, from a worker providing help and service to a customer. That was how esoteric we were to one another - practically known strangers. If I had come across Graham in a supermarket and he had noticed me, chances are that we wouldn’t interact, the only communication we would be able to branch out to one another being a simple ‘Oh hi! You alright?’. You had to build a sort of relationship with someone over a period of time in order to be able to do something like I did, and that is minusing the amount of nerves you'd have, as well as the courage you’d have to give yourself.

After I had finished with my constant worrying about how this meet-up was going to turn out, I left the house to go to the bar. The walk there felt as if I had been repeating the same events that had occurred during the day, just at a different moment in time. Hardly anybody was in the streets, which was quite ordinary at this hour of day, though it always seemed as if nobody left their homes. As I walked past countless convenience stores, hairdressers and fast-food places, which proved to show there was residency above them from the brick wall built on top, contrasted against windows placed as an outlook to life, very ironically used as to convey that nobody was ever leaving their homes, it proved to me just how mundane and repetitive life had become. The distance apart between each sheet of glass to the one adjacent to it being monochrome. Constant. Unchanging. Almost how all of our lives have been built to follow a system of continuous, resolute living, perpetually ignoring how it forces our lives, that have so much undermined potential, to be wasted, to the point we are simply dependent on enjoying life as we admire it. From a window in our bedroom, to which it becomes boring - as all you are ‘admiring’ is the same sight, every single time. And though this way of living may not be satisfactory, or enjoyable in the slightest, protesting against it would not do anything. Strikes from work would not do anything; you still need to live, and to live you need to earn money, money earned from working. It’s a ceaseless cycle which destroys the mere idea of a dream, aspiration, or motivation to carry on. In turn, what is received is the attractiveness of sadness, distress, and melancholy. You cannot shame those for being addicted to something harmful; if there is no point created for their lives except to be a little pawn on the chessboard of this planet, to take a risk and rebel against it is all you can do - though it would only put you in a situation which can cause more harm than good to yourself.

Once I had arrived at the bar, I decided to wait by the entrance so there would not cause confusion for Graham as to whether I was inside the building or not. I had noticed the skies begin to significantly darken in their calming shades of blue, instigating the advent of the evening to commence, however it was not dark enough to see sparkles in the empyrean yet. Though it was beautiful to stare at the single-coloured canvas, questioning the mere idea as to how it had formed such a shade of peace, but also existentially questioning how things come to be. Nevertheless, my admiration for the skies was quickly interrupted. “Hi y/n.”

Shifting my head into alignment with his, I had been greeted by the sight of Graham, facial expression clearly evident of nervousness, though it was attempted to be masked from a small smile curving on the corner of his lip. I noticed he was still in the same clothing as he had been in our previous encounter at the record shop earlier in the day, which caused a grin to paint itself on my facial expression. “Hi Graham,” I chriped, connecting eyes with him for a second, widening my smile that was already plastered on my face. “Let’s go inside.”

Inside the bar was nothing much I hadn’t expected; smoke surrounding the atmosphere from cigarettes, and due to the time being early, the place wasn’t as crowded, but you’d assume it to be from the clouds of smoke that welcomed you once you pushed the door open - you could hardly see the lengthy oak wood table separating you from the myriad amount of drinks that could be supplied to you by a simple asking. Ushering over to the nearest booth available, me and Graham sat opposite each other. The booths were always much more comfortable to sit and relax in, the cushioning of the sofa was almost that of a pillow; it was so cozy it was hard not to fall asleep on them. It was a much better choice of seating rather than the tall timber stools attached to the bar. I never found it appealing to sit there and have a chat with someone; it felt as if my privacy had been snatched away with ears surrounding every place my eyes could land upon. It's a much more peaceful atmosphere in a booth, which I had assumed would be a preferable place for Graham, shown from his quiet demeanour. His quietness was something that engaged me so deeply into him as a person - he wasn’t the type to rush to the bar, get drunk, and go off with the first person he had seen, who he hadn’t properly connected with or perhaps spoken to at all. He was much more down to earth, potentially from the amount of fame he had gained over the past couple years; it makes those yearn for silence, and in turn changes their perspectives and outlooks on simple things like outings with friends, for some may avoid them at all costs out of anxiety and fear of being noticed. You’d think that’s the absolute of their desires, being famous, stealing the hearts of so many, but it becomes so much more than that. The press picking out every ‘flaw’ you have or things that you do, the crowds of youngsters dying to get an autograph as if their lives depend on it, the paparazzi perpetually flicking their cameras only because you trotted on the same street to go to the same shop that every normal person goes to… The amount of eyes constantly on you gets overwhelming. I empathised with those who turned to drugs and alcohol to escape horrible feelings like these. Just like Graham.

“Do you want me to get you anything?” I asked Graham sweetly, my smile still on my face.

“Yeah sure, I’ll have a beer.” He responded, our eyes glued to one another's which made me notice the eyebags that had drooped onto the top of his cheeks; it was very evident that he had attempted to nap before meeting me, which made my heart swell out of pity for him - it was obvious he was struggling to even sleep these days.

I nodded before heading to the bar and ordering our drinks. Waiting for our drinks at the bar gave me time to think over everything that was currently happening. It felt as if my entire day had vanished to this one moment where I had unexpectedly landed myself ordering beverages at a bar with the one and only Graham Coxon. It was a wonder to think about how he was feeling at this current moment. He didn't seem as if he was doing well at the moment, he always seemed so exhausted, and his social skills had become very poor over a couple of weeks. It went from him being very calm and candid in our short encounters, slyly recommending each other music with subtle hints of our liking toward each other, to him forming a much more apparent stutter in comparison to the one he already had, as well as being unable to connect eyes with me for a interminable period of time - it was evident that things were progressively getting worse for him, though I wasn’t going to force him into speaking about anything. I just wanted him to be aware that he had at least a friend there for him, potentially that being the girl that he would always see at his local record store.

Walking over back to the booth, I handed him his pint of beer. “Thank you,” he mustered, almost instantly taking a sip from it before noticing the drink I had bought for myself. “Orange juice?”

I laughed slightly at his shocked reaction as I lit myself a cigarette and took a hit from it, him definitely not expecting that of all drinks. “I don’t really like to drink, it never makes me feel that good.”

“But you smoke?” He questioned, a confused expression plastered on his face, paired with a grin.

“Smoking helps with stress, alcohol makes you drunk and gives you hangovers which simply ruin your day,” I answered back, taking a sip from my drink. “Also orange juice is literally the best juice, alcohol tastes like shit you know.”

A small chuckle escaped out of Graham’s throat, causing my eyes to land back onto him again. I gained the perception that he felt somewhat better about actually speaking with someone, which made me feel so touched and taken aback; I had genuinely felt my heart skip a beat out of sadness and yearning for him. He genuinely deserved better than what was going on with him mentally and physically, and the fact that he couldn’t even celebrate the release of his band’s 6th album was paining - he couldn’t attend a lot of the sessions, not out of detest towards any of his band members, but because he mentally couldn’t bring himself to. He was isolating himself without realising, or he may have realised, but couldn’t do anything to stop it. “I must agree on that… But orange juice is too sweet,” He replied, scoffing. “It’s definitely not that much better than a pint of beer, love.”

Shaking my head out of offense towards his last remark, I inhaled my cigarette once again before exposing the smoke from my lungs. Diverting my stare to the ashtray in the middle of the booth, I examined the built-up ash on the tip from the roll of tobacco crumble off from a single flick of the wrapped up paper. “Anyways, how are you?” I asked him, simultaneously offering him a cigarette whilst doing so to avoid any awkwardness.

After taking a cigarette from the packet I owned, then lighting it, he answered. “I’m alright. What about you?”

“Apart from being offended by you saying orange juice is gross, I’m alright too,” I joked, earning another laugh from Graham. “You seem tired.”

Sighing slightly, I watched him scan the room before answering. “Yeah, I am. What gave that away?”

“Your eye bags, you look like you haven’t slept,” I responded, hoping that what was leaving my mouth wouldn’t come across as offensive in any way. “Not in a rude way, though.”

“In all honesty, I haven’t really been able to sleep recently. Not a clue why.” He replied, taking a hit from his cigarette before copying my actions from earlier and erasing the gathered dust onto the ashtray.

“Oh, I understand that,” I said, taking a long drag of the cancer stick before replying. “Same thing happens to me when I’m stressed.”

As the night went on, we spoke about all sorts of things, trying to get to know one another much more as we were so intrigued by each other’s presence. Over time, he opened up much more, his poise changing from being a quiet, dismal, bereaved person, isolated from society, to one that seemed as if he was enjoying himself by hanging out with a friend. Seeing a beam constantly illustrated on his face made me realise this outing meant more than just ‘meeting a friend’. It was leaving the house for the first time in ages, to simply have a good time with someone. He was gentrifying the bare human emotions that he had forgotten were calloused out of anger inside himself. The atmosphere is much different when we’re separated by the till in the record store, the only conversations we could tend to have surrounding music or the weather that day. I felt so much more connected to Graham in this given moment, and knowing that he was gaining pleasure from this made me feel so much happier. Finally, he seemed content, relaxed, and much more aware of his surroundings, not caught up entirely by his mind and the evilness that he would be manipulated by. It was as if from this simple meet-up, he had realised that there was so much more to life than staying at home, pent up with his own thoughts; to his dismay. And though it can be extremely difficult to overcome the hurdles of not believing everything your brain implements to your mind, the important part was that he was making progress. By merely speaking with another person, about topics completely contrasting the negativity resident in his brain, it takes his mind off of things, and would allow the realisation that he is able to overcome these struggles, with the right support.

We hadn’t realised just how long we had been conversing for, until the room began pouring with young adults ready to enjoy a night with their friends. A quick glance at the clock gave the hour away; it was nearing midnight. The time was hardly wasted, we had both created a friendship and connection with one another which bloomed like roses during the spring seasons. Absolutely beautiful. I knew that what we had formed with each other would last for at least a significant amount of time, and I definitely hoped that it would. “Let’s get going, it’s getting a bit crowded right now.” I said, getting up from my seat - Graham nodding along and following me out.

There was a distinctive change in temperature inside the bar in comparison to the streets. The breeze was more prominent, with the skies now pitch black accompanied with the twinkle of the stars and the picturesque glow of the moon. We both began walking to the end of the street, having no idea what was about to occur, going along with it as if there was nothing else in the world except us two, as if it was just ours, and that nothing else mattered at all. This shared moment between us was the only thing able to plague our minds, for everything else that crossed our minds seemed to be insignificant, with no importance to our lives from here on, no matter how much it had afflicted our minds from apprehension hours prior to this moment. Oh, the vulnerable silence shared between us. How much importance it held towards aiding our minds, providing a certain mental clarity that was simply unheard of, as if a certain point of synchronicity in time was exposed between us, forming it as though, as banal as life is day-to-day was always, there was euphoria. Subconsciously, we were both communicating with each other in a sort of telepathy that was so rare in newly flourished relationships like ours. It was as if I had always been close with Graham, as if he was always a cogent figure in my life, that today was only just another catch-up session after not being able to talk with one another for a significant period of time. We both enjoyed ourselves, and there was no need to say anything about it. It felt as though if one of us spoke, it would erase all the memories of the occasion shared in the bar previously. Nothing could explain the elation my body was feeling at this time; from life seeming so meaningless and dull, experiencing something like this amount of joy came as such a shock to my body - it felt as if I had been drugged with so much alcohol that I was witnessing junctures that were only fragments of my imagination.

Stopping our slow pace at the end of the road, I turned my body to face Graham’s, him copying the same actions as me. Briefly, I stared lovingly into his eyes, a smile perched on my lips, him reciprocating with a beam, purely out of content, not mannerisms. Turning my head to stare at his hands, which awkwardly embraced one another, I mustered enough courage to form an embrace with both my palms - him slightly taken aback at first, to which he quickly went along with the moment. His hands were soft, delicate, and held warmth interlocked with mine. We simply stood there, hands laced together, inhaling the brisk air whilst slow waves of air gushed between us. Nothing could get more perfect than this. It was evident that between us, it was definitely more than a simple friendship, and it was obvious that both participants were not objecting against such passion to be compromised into something more. The action of holding his hand gave the notion that he was not alone in everything that he was undergoing; it was there for reassurance, as if it was me indirectly saying, I know you’re struggling, you don’t have to tell me, and I can tell you seem lonely, but I’m here for you. And I won’t ever leave, or let go.

“See you soon, Graham.”

#graham coxon x reader #blur band #britpop #nineties #imagines #my writing #fluff #graham coxon #blur #fanfic #band imagines #90s

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toadwarts · 3 years

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Safe At Last

Two humans in love manage to escape from an abusive home and right into the twisted world of Mother Miranda's village. After fleeing from mutated monsters, they meet with The Duke, who offers them board and food in exchange for their work. It is their first night in his caravan, and they discover that they may have another person to add to their romance...

Fluffy and flirtatious, this is a self indulgent and simple fic about The Duke and polyamory. It is written first person, but made so you can also insert yourself into the narrative if you so please.

Read on A03 or Fanfiction! Or you can read here, below the Read More!

I stared down at my empty bowl, reveling in the warm feeling of a full stomach. The Duke’s cooking was more than high quality--it was incredible. It had been a long, long time since either I or my partner had a meal with high quality ingredients, and not something wilted, slightly green and fuzzy at the edges, or simply scraps from someone else’s meal.

I looked over at my partner, a calm feeling unfolding in my chest. They looked right at home here in the back of The Duke’s caravan, surrounded by the wealthy man’s various wares. A content, dazed expression was fitted on their hard features, and when they met your eyes their own lit up.

“Did you like your meal?” They asked, smiling as they nodded to my bowl. It was clearly a tease, since I had all but licked it clean.

“I don’t know, did you?” I laughed, playfully knocking into their shoulder with my own.

“Yeah, I think I could eat this food forever!” They said, patting their stomach and leaning back on the elegant couch we were sitting on. “Plus, it doesn’t seem like the vampires or lycans come anywhere near here.” Their gaze flitted up to the garlic hanging overhead, then back to me. “Do you feel safe here?”

I paused. Before we had run away to find the village, my partner and I...had not had the best of lives. Trapped beneath my mother’s thumb for years into adulthood, we lived in a less than sterile and a more than hostile environment. It felt as if the trauma was as much a part of me as the bones beneath my skin.

Then of course, the village...was not as dream-like as we had hoped. We had narrowly escaped a group of lycan like creatures before stumbling upon the Duke’s caravan. He had offered us a place to stay and some food to eat in the back of his wagon in exchange for work--seeking out wares, cleaning, and just a little bit of heavy lifting. It was our first evening here and so far… It seemed too good to be true.

“I do feel safe.” I finally said, swallowing down the hard lump in my throat. “But that’s what scares me.”

They leaned back, sighing heavily. “I know how you feel. It makes me wary, but...what choice do we have?”

“He does seem nice.” I nodded in agreement. “Even if he is very interested in his stock.”

My partner laughed, their hand encircling mine as they pulled me close. “It’ll be okay. Maybe this is what we’ve been looking for! He did say he travels...so who knows where we might end up?”

“I don’t mind as long as it’s far, far away from there.” I whispered, suddenly choked up. I couldn’t believe we were really gone. That we were in this immaculate, clean and beautiful oversized wagon, with an immaculate, clean and...admittedly, beautiful oversized man. A kind man. We would never have to go back to that evil place ever again.

“Never again.” They whispered, pulling me close and planting a kiss upon my forehead. “I love you, dearest.”

“And I love you.” I returned, nuzzling into the crook between their neck and shoulder.

The back of the caravan swung open then, letting the fading light of dusk in. “Well, well, how are we doing back here, little ones?” The Duke stood before us, leaning on an ornate cane to support his heft. He was a massive man, both in height and girth, immaculately groomed and dressed to the nines. He was the finest gentleman either of us had ever seen for sure, and we felt lucky to have been found by him.

“We’re okay,” I said shyly, standing up. “The meal was absolutely perfect. Thank you so much!”

“Of course, of course!” The Duke smiled broadly. “I quite enjoy cooking, so if there’s anything in particular you have a craving for, just let me know. All I’ll need is assistance procuring ingredients, but that should be no trouble at all.” He heaved himself up the steps to the caravan, ducking through the doorway and coming inside. He had quite the mighty presence indeed, radiating a quiet elegance and strength despite his jovial tone and quaint attitude.

“Is there anything you need us to do tonight?” I asked as my partner took our bowls. My feet ached terribly from running so much , and I shifted a little from side to side. Like The Duke, I was also fat, and unaccustomed to the sort of travel and fleeing we had been facing in the days prior. I yearned to sit back down, but my politeness won me over.

“No dear, not tonight.” The Duke said. “You two just rest after everything you’ve been through. Tomorrow is an early day though, so do be prepared!” He walked over to the couch, settling down with a sigh. “I have some stock for Castle Dimitrescu, so we will be heading there.”

“Castle Dimitrescu?” My partner said, dubious. “I heard...less than good things about that place. I’ve already dealt with enough vampire hags!”

The Duke laughed heartily, as if my dear one had said quite the funny joke. “No need to fret! I have a truce with all of Castle Dimitrescu, as well as the other Lords you have heard about, so there is nothing to fear since you are now being employed by me. You simply have to look pretty and do a good job of peddling my wares.” He winked, leaning back.

My partner blushed, and so did I. The Duke was also a rather straightforward man.

I kept shifting from foot to foot, feeling uncomfortable but doing my best to not to show weakness. Before, weakness had gotten me beatings and beratings. Though The Duke seemed benevolent, I had no desire to discover if he had a dark side.

“Are you alright, little one?” He asked, eying me up and down. “Feet hurting? After a long day, I certainly know how that feels. But you’ve had many long days, yes?”

I grimaced. “Ah… Yes. They are, a bit.” I flushed with embarrassment.

The Duke leaned forward. “Why not have a seat, my dear?” His face crinkled with concern. “No reason to cause further harm to yourself. Rest easy now.”

I began to lower myself to the floor, but jumped back up when the large man’s jarring laugh rang throughout the back of the wagon. “W-What?” I said, flustered. My partner was then protectively at my side, their hand at the small of my back.

“You don’t need to sit on the floor! While it is certainly a nice one, that will only hurt your back.” The Duke said.

“But...there’s no where else to sit.” I looked around. Duke took up the couch we had been sitting on, and there was really nowhere else to go but the floor now, unless we went to The Duke’s bed further in the caravan. The thought made me flush.

“You can sit right here, I don’t mind.” The Duke patted his sides. His ample belly and the arms of the couch made for a makeshift seat for sure. “And you too,” He said, pointing to my partner. “I know you, the strong type--never wanting to rest, always pushing yourself for everyone else. Come, be comfortable, and let’s chat.”

I looked up at my partner, face red as a bushel of roses. I was delighted to see that they were too. It was rare that I saw my partner this flustered, and it made butterflies dance in my stomach.

“Are you comfortable with that?” They asked me, squeezing my hand, a knowing look in his eyes. We had talked about this sort of thing before, but nothing had ever come to reality.

I nodded, feeling like a storm of wasps was zooming around in my guts. The Duke really was incredibly straightforward, but it didn’t seem as if he had any ulterior motives. He just wanted to offer comfort and good company to both of us--and I guess it was obvious that both my partner and I thought he was pretty cute.

My partner glided forward, hand still in mine. We stood before The Duke, who had a calm and knowing smile on his face. He offered his hands to each of us, which we shyly but gladly took. We climbed up on either side of him, settling down and reveling in the softness of his sides. We sat there stiffly for a moment, feeling completely out of our leagues.

The Duke chuckled gently, his strong arms coming ‘round to encircle us. I felt myself go stiff when his hand brushed against my back, the cool metal of his rings soothing as he placed his hand there. “Is this alright?” He asked both of us coolly, looking from my partner to me. I nodded, locking eyes with my partner as he nodded too.

My partner was long and thin, a wonderful contrast when sidled up next to the massive Duke. I was short and fat, but even I felt swallowed up by The Duke’s own plush body. He felt like the world’s comfiest...well, not human exactly, but something.

“Good, good. Last thing I want is to make my newest proteges uncomfortable.” The Duke nodded firmly before beginning to rub soft circles into my back. “Now, try to relax. The two of you deserve it. “

I let myself lean into The Duke, resting my head atop his pillowy chest. I relaxed into his side with a soft sigh, relinquishing myself to his soothing touch.

“Protege?” My partner asked, their tone light. “Since when were we your proteges rather than just employees?”

“I don’t let just anyone handle my wares!” The Duke announced with a chuckle. “I could tell there was something special about the two of you. I’ve heard of the sensation of le coup de foudre.”

“Love at first sight.” My partner said coyly. “You don’t play around, do you?” They slid an arm over The Duke’s soft belly, reaching for my hand. Tenderly, I reached my own arm forward, taking their hand in mine in an embrace that came as easy as breathing to me. The feeling of my partner’s fingers squeezing mine atop the pillowy expanse of Duke’s midsection was heaven.

“Oh no, not when there’s sales to be made!” The Duke laughed brightly. “And new friends to make. Perhaps more?”

I reveled in The Duke’s scent--rich cologne intermingled with the faint touch of expensive cigar smoke. I looked into my partner’s eyes, bright as the sun itself. I let myself relax even more, cuddling up to The Duke and relinquishing myself to comfort. I was finally free, ready to face the world with the love of my life, and we had both run right into the arms of someone else with plenty of love to give. The future was surely ripe with possibilities.

Both of them smiled down at me, and I felt...safe.

Safe at last.

#resident evil #resident evil 8 #the duke re8 #the duke #duke x reader #the duke x reader #resident evil village #my writing #writing #fanfiction

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t0bey · 4 years

Note

plum drop the essay on fuyu/peko and mondo/taka paralelles !!!! i am curious

ask and u shall recieve (inserting my first ever page break because holy FUCK this got long)

oke! I guess I’ll start off with Peko’s initial conception as a character, which was the main initial comparison danganronpa intended between Peko and Kiyotaka.

I’ve noticed danganronpa has a tendency to re-use character tropes or roles after each game, tho their fates end up differently. For example, Chihiro was the smart, cute, and sweet character who ended up dying early on and had little significance outside of alter ego afterwards. Chiaki is the same, except if Danganronpa took Chihiro’s character and made her one of the main protagonists that has much more significance in the game.

The staff of SDR2 confirmed that they based Peko off of Kiyotaka, from their intense red eyes (which was intentional) + predominately b&w colorscheme, they both have swords, and their characters are tied to justice, though in different ways. Not to mention both are meant to be extremely disciplined, but ultimately struggle at socializing due to their rough backstories. But that’s where Peko’s ties to Taka as an initial concept end there, because the parallels between Peko/Taka and Fuyuhiko/Mondo are a whole ‘nother ballpark.

Before bringing that up though, we should note that while their designs are significantly different, Mondo and Fuyuhiko are extremely similar in terms of their backstory and personality (down to their ability to curse like a sailor). Both struggle with an inferiority complex (Fuyuhiko w/ how he isn’t taken seriously because of his babyface, Mondo w/ how his self esteem is really fragile and gets jealous of others when he acknowledges them to be stronger than him). Both act like tough, aggressive lone-wolfs (well, Mondo pre-sauna anyways), but have been stated to have a soft side, to the point they doubt their capabilities of being a tough leader because of it. They both even have a sibling they both believe would be a better leader than them (Daiya and Natsumi). BASICALLY fuyuhiko and mondo are the same role, being the intimidating gang leader that no one should fuck with, but in actuality has a lot of insecurities behind that facade.

Ok, ok, time to the ACTUAL relationship parallel analysis. We now know why Peko/Taka are meant to be parallels, and we can definintely make a solid claim for Fuyuhiko and Mondo. This isn’t new for Danganronpa, in their tendency to use patterns but give them a different twist depending on the game. Which is exactly what happened in regards to chapter 2 of THH and SDR2, respectively.

The games’ chapter 1s are simple: meant to introduce the characters/game/stakes. Leon and Sayaka’s deaths were tragic, but the emotional impact of them wasn’t the main priority by the writers. Only to show that this was, indeed, a Killing Game where anyone’s possible to die. But chapter 2 of danganronpa is intended to be the chapter where you’re introduced to just how emotional and tragic the games can actually be, meant for maximum heartbreak (for both the characters and the player).

Chapter 2 of THH was where the different students’s relationships between each other became more solid. Sakura and Aoi were good friends. Toko’s obsession for Byakuya first solidified. Hifumi being Celeste’s servant, etc. Taka and Mondo’s fast developed friendship is no different. After the sauna, the two clicked so much that they believed calling each other just a friend wasn’t really accurate, and settled on calling each other brother instead. While they don’t have memories of their close friendship during Hope’s Peak at this time, it’s heavily implied that their closeness during that time made them subconsciously gravitate towards each other so fast, which could also be seen with Sakura and Aoi, and how Chihiro was able to find Makoto familiar during their introduction.

Peko and Fuyuhiko’s relationship could be considered to be just as close. The two grew up together, quite literally since they were kids. Like Taka and Mondo’s relationship pre-sauna, Fuyuhiko and Peko’s relationship was somewhat strained, though it’s more deeply rooted than two extremely contrasting guys clashing over their perceptions of each other. Fuyuhiko is extremely insecure in his place as the Kuzuruyuu clan’s head, and sees Peko’s desire to protect him and carry out his commands as an unwanted crutch that challenges his desire to be independent, as well as extremely worrying considering how because of this, Peko devalues her own life and worth as a person. Fuyuhiko very much loves Peko as a person, and as such tried to distance himself from her during their time on Jabberwock Island. Though unfortunately, Peko took this as him loathing her in general, further cementing her desire to be his “tool” because if he couldn’t stand being around her, she might as well make herself useful to him.

Now. Finally to get into the explicit parallels between the relationships of Kiyotaka/Mondo, and Peko/Fuyuhiko. Peko and Taka’s perspective on their relationships is a great starting point.

Each game’s chapter 2 shows just how willing both Taka and Peko are willing to go in order to protect Mondo and Fuyuhiko. Peko’s motive for killing Mahiru wasn’t to escape, but to in her eyes save Fuyuhiko from the Killing Game, by using herself as his tool to carry out muder, and have everyone incorrectly vote for her so Fuyuhiko could get away. She was his bodyguard in the truest sense of the word. Now in THH’s chapter 2, instead of fighting against Mondo in proving his guilt, you’re fighting Kiyotaka. He refuses any evidence you throw at him, arguing relentlessly to prove Mondo’s innocence, to the point the only reason he stopped was because Mondo told him to. And you later find out, in chapter 3, that Kiyotaka felt so determined to prove Mondo’s innocence was because he felt like it was his responsibility to, as he cared for Mondo so much.

So, in a way, Taka considers himself Mondo’s bodyguard. Just without the years worth of reinforcement that you’re nothing but a tool to be used which makes you devalue your own worth as a person. (Not that his self esteem and willpower wasn’t ultimately crushed by Mondo’s execution, but that’s only because the circumstances he lost him was undenyingly brutal considering the Killing Game). While the circumstances of Peko’s desire to protect Fuyuhiko are really murky and problematic considering how she was raised, Danganronpa confirmed that she protected him so much because of her care for him, to the point she was willing to sacrifice her own life to assure that Fuyuhiko is safe. And Kiyotaka was willing to go to the exact same drastic measures, by voting for himself.

It’s also worth noting that in the stage play, he willingly accepted to be punished alongside him by doing this to make sure Mondo doesn’t die alone.

So from my own understanding, Super Danganronpa 2 took the tragedy of Mondo and Taka’s relationship, and flipped it so that while it still follows its signature use of repetitive patterns, they made the circumstances different, but just as heartbreaking. And how? Because they took the Taka of the relationship, and made Peko the culprit. It’s not the Mondo this time, which is who you’re supposed to expect to be the culprit, because of your expectation from THH’s trial 2.

Peko tried her best to protect Fuyuhiko, much like Kiyotaka tried to after he recognized the fact Mondo was the blackened. Both were, at the expense of their classmate’s and their own lives, were willing to protect them both, no matter what. Peko took a more active role in trying to do this however, which is what Kiyotaka severely regretted not doing, as stated in chapter 3.

And Fuyuhiko is what would have happened if Mondo was forced to face the consequences of his actions (in Fuyu’s case, being partially responsible for Mahiru’s death, in Mondo’s case, Chihiro’s). Instead of Taka arguing to prove Mondo’s innocence, it’s Fuyuhiko who’s doing that for Peko. A deliberate use of subverting the pattern given to us by THH’s chapter 2.

That’s the main takeaway, but I suppose I should also address the romantic parallels while I’m at it. I personally don’t like Kuzupeko as a romantic relationship, mainly because of how Peko’s self worth and personal value of herself as a person was as a direct result from being considered Fuyuhiko’s “tool” and their professional relationship as yakuza leader/henchman. Fuyuhiko does love her as a person, but that doesn’t negate the years of psychological degradation Peko endured to consider herself as a tool. Though in typical Danganronpa fashion, they choose to gloss over the problematic aspects of their relationship while heavily implying romantic subtext between them. So while I can’t say I’m a fan, I know the game/DR3 anime says otherwise.

And as for Ishimondo, I know some will disagree with me, but I definitely feel that their relationship is heavily lined with romantic subtext as well. Not much is really explicit in the game outside of Ishida and Hifumi’s romantic rivalry for alter ego (who Taka considers Mondo), but the mangas and posters definitely show their relationship that most would consider normal for couples.

But at the end of the day? Both Peko and Taka love Fuyuhiko and Mondo, whether or not you consider both, one, or none of their relationship to be romantic. They wouldn’t have put their own lives on the line if it was anything else. And it’s that emotional connection between Kiyotaka and Mondo, and Peko and Fuyuhiko that’s meant to give you an emotional punch in the gut for THH and SDR2’S chapter 2’s, because of how far the two were willing to protect them.

#ask #spaceymedicgamer #kiyotaka ishimaru #peko pekoyama #cw kuzupeko #ishimondo #danganronpa #super danganronpa 2 #DanganRonpa: Trigger Happy Havoc

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unforth · 3 years

Note

Could you elaborate on the parallels between the Scorpion and his dad and WKX and Purple Danger? I find that thought really interesting! <3

Oh my god you're asking me for meta? No one asks me for meta!!! Getting this made me so happy, thank you! And yes, I'd be delighted to!

Lemme preface this by saying: I have not read the book, and I've only seen episodes 1 through 27, and while I do know some spoilers for past what I've seen, I don't know everything, and I obviously can't speak to changes in dynamics that may happen past what I've watched.

So, I noted in this post that I felt like I'd just gotten slapped in the face by the parallels between Zhao Jing, and his relationship with Xie-er, and Wen Kexing, and his relationship and Gu Xiang. Specifically, the lines in episode 26 that caught me were these:

And the contrasts and similarities that they drew to these scene from Episode 24, which I watched yesterday:

(all screen caps are by me - I won’t have more screen caps just cause I really don’t have time to hunt them all down, I’m sorry, but the first two were easy to grab, and the second two I’d already taken cause that scene really got to me yesterday).

These lines, coming only two episodes apart, seemed like a really stark and deliberate effort to show a connection in the attitudes of Zhao Jing and Wen Kexing. They've also got some similarities in the childhood/history that got them to this point: Zhao Jing's family was fallen from grace, as was Wen Kexing's. Both are noted as seeming different from the "regular" people around them - Wen Kexing, it's explicit; with Zhao Jing, it's more how others seem to behave around him. It's harder to get a sense of Zhao Jing, since his own self-report is so dubious and the flashbacks we get to the Rong Xuan era are all given from the perspective of different unreliable narrators, whereas Wen Kexing's memories seem fairly intact (well, water of forgetfulness aside) and match the other remembrances we get of the same scenes.

With those similar, dubious foundations, they both resolve from a young age to take revenge for the perceived slights committed against them - and both have decided that regardless of who the specific instigators are for their suffering, they have no compunction about involving innocents as a whole. Zhao Jing wants the power he feels has been denied to him, and sets about conspiring to get that power. To achieve that, he sets about on a course that involves lying and using literally everyone who can help him. Likewise, while I'm still definitely missing some damn important of Wen Kexing's backstory (starting with, who protected the dog for him, and how he went from "kid getting regularly beaten by the previous ghost king" to "adult who is said to have literally eaten the previous ghost king"), he also clearly sets out to gain power through whatever means he can, and to survive, though from the get-go, his goal is essentially the inverse of Zhao Jing's: Zhao Jing wants to lift himself up, and sees nothing but virtue in doing so; Wen Kexing wants to bring everyone else down, and knows he's damned through-and-through for it.

(They're parallels, not matches, just to be clear! It's not that I'm saying everything is the same - on the contrary, it's the differences that makes it so intriguing).

Now, then, at some point relatively early in this entire process, each of these young men found a child. Given that Xie’er and Wen Kexing and Zhou Zishou are of the same generation, presumably they’re all around the same age - 27 or so - and also presumably, the previous generation were all in their late teens to early twenties when they had their own disastrous round of adventuring. So, if Xie’er is, say, 25, and Zhao Jing was probably around 20 (since he was one of the younger folks in the flashbacks), and 20 years have passed, and Xie’er was probably around the same age as child Wen Kexing when he was found? (I don’t know, and I don’t know if that’s ever established, sorry) So around 7? Then we’ve Xie’er being adopted by Zhao Jing and Wen Kexing being adopted by the Ghost King, each almost exactly 20 years ago. Presumably, also, Zhao Jing marries...drat, I can’t remember her name...was it Li Yao or something???...right around the same time - hence why Xie’er would think of her as a mother. Anyway, sorry, I’m really tired and I just lost the thread slightly, but the point is: a 20-or-so-year-old Zhao Jing finds a young Xie’er; and a few years later, a likely-early-teens-aged Wen Kexing finds a toddler Gu Xiang (because Wen Kexing is 27 now, and Gu Xiang is I’m guessing around 18, and she’s likely 3ish when Wen Kexing finds her, so that’d make her 3 or 4, and him 12 or 13).

And here’s where the parallels really show the essential differences between these men, despite the areas of commonality in the hate they hold toward the world and their desire to see the world brought low.

Because, given a small child, Wen Kexing’s immediate, clear thought is: I will never let this child experience what I have been through. Now, he’s busted, and he’s crazy, so from that point of view, he still does her harm: she thinks of murder as nothing (as does Xie’er) for example. But even in that, the motivations are different. Gu Xiang says it herself after she kills the beggar and Cao Weining confronts her about it: if a person is out to harm her, if a person even might harm her, isn’t she justified in killing him? If that isn’t the quintessential Wen Kexing lesson right there, I don’t know what is: “Gu Xiang, you don’t kill because I tell you to, and you don’t kill for fun, and you don’t kill for no reason - but the moment, the very instant, you have a reason? Don’t hesitate, because if you do, you’ll be the corpse, not them.” Everything Wen Kexing teachers Gu Xiang is with the aim of helping her survive in the cruelest environment in the world, one that has flayed him and raked him over the coals over and over and over again. Further, despite the hints I’ve seen so far that he has early allies at Mount Qingya (Tragicomic Ghost has been shown to at minimum pity him, and find him an odd curiosity), Wen Kexing entrusts no one else with the most vulnerable creature who has ever come into his life (well, aside from that adorable puppy, which I have the bad feeling is going to be shown to be horribly murdered before his eyes, possibly by his own hand to prove a point...that would be thematically appropriate...). He gives Gu Xiang the tools to survive and fight for herself, even against him, and when she even begins to suggest she might prefer to be somewhere else - when he sees evidence of her finding happiness - he does everything he can to encourage her joy, support her happy ending, and free her. Wen Kexing is Gu Xiang’s father, in every useful interpretation of the term - she may call him master, and others might call her his maid, but their relationship is tender, encouraging, mutually supportive, and loving. Wen Kexing wants what is best for Gu Xiang, even at the expense of his own comfort and happiness, because he cares for her that essentially and deeply - and she likewise goes out of her way to protect him more than once.

MEANWHILE.

Given a small child, though I haven’t yet seen any flashbacks to when Xie’er was little and I don’t even know if there are any, it’s really obvious that Zhao Jing instantly goes, “how can I best use this to my advantage?” Instead of setting about to build this child up to be a functional adult who can stand up to the challenges that threatened to crush Zhao Jing’s life, Zhao Jing deliberately sabotages Xie’er’s ability to function as an independent unit. He teachers Xie’er to kill, not to protect himself, but on command - to kill because Zhao Jing says so, who Zhao Jing says, on even the merest whim, and is so successful at doing so that Xie’er has even less respect for life than Zhao Jing does (which was never much to begin with). Further, while we know that Wen Kexing will kill to protect Gu Xiang, Zhao Jing never so much as lifts a finger to do his own dirty work, and has zero compunction about throwing Xie’er under the bus when he suits his ends. In 27, he flat out says - “if you keep acting like this, and kill the Gentle Wind Sect, you’ll ruin me - which means I can never let you stand next to me in public.” He says this when he knows that Xie’er craves his approval and that one of Xie’er’s most cherished objects in all he’s done is to reach a point where he can stand at Zhao Jing’s shoulder as an acknowledged heir and successor and proudly say, “yes, I did all those things to help my father, because I’m a good son.” Further, Zhao Jing is constantly abusive and manipulative. When Xie’er does what Zhao Jing has trained him to do, on command (like a dog? more parallels??), Zhao Jing praises him, touches him kindly (and when else do you think Xie’er is ever getting touched kindly? Nothing like the casual and appropriate physical intimacy with which Wen Kexing and Gu Xiang shoulder bump and interact) and tells him how precious he is. The instant Xie’er steps a toe out of line, Zhao Jing denigrates him, threatens to take away that which Xie’er most wants (acknowledgement), scolds him, calls him a fool, says he doesn’t understand. Zhao Jing calls Xie’er his son, and insists that Xie’er call him yifu, and the world may even see that way - though they hardly can, since Zhao Jing refuses to be publicly associated with Xie’er - but they couldn’t be less related when compared to Wen Kexing, who allows all to see him call Gu Xiang his servant even as he flagrantly, publicly, repeatedly treats her as his child - culminating in the speech he gives Cao Weining when he gives permission for them to wed.

Everything Wen Kexing does, as fucked up as some of it is, is done with the aim of building Gu Xiang up into a strong, independent, functional adult who is less stained than himself and capable of pursuing happiness in the world.

And everything Zhao Jing does, all of which is equally if not more fucked up than what Wen Kexing does, is done with the aim of tearing Xie’er down, making him a powerful tool - a trained dog, if you will - and a dependent person who can be deployed on an enemy and must be kept permanently off-balance so that he never ever is an independent, functional adult - and, to help ensure that, he deliberately orders Xie’er to commit depraved acts that guarantee that Xie’er is more stained than himself, and therefore incapable of finding happiness in the world.

Anyway, I could probably go on, but I gotta leave to drive my kid to school and run a couple errands, but, in conclusion: when Zhao Jing said, “the world has failed me, and I shall do the same to the world,” and it became clear to me that he and Wen Kexing essentially share (or at least shared) the same core goal, I was struck by a lightning bolt about the parallels and contrasts between them as people, and them as father’s, and here you go.

Hope this is coherent, I’m really sleepy and in a rush. :D And I hope it answers your question!

(Also dear everyone: if you reply to this or add to it in reblogs I ask that you please respect that I’ve only seen to episode 27, and not rip me apart for things I haven’t seen yet, and try to avoid giving me spoilers? I know a few - or at least I think I do - like I know all the Major Character Death stuff - but I’m sure if you’ve seen the whole series you can spot places where you, dear reader, know things I don’t, and I’d ask that you not ruin those places for me, because I’m watching as fast as I can - about one episode a day - and I’d rather find out for myself. Thank you!)

#unforth rambles #unforth metas #meta #word of honor #word of honor spoilers #word of honor meta

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jeannereames · 3 years

Note

Hi, Dr. Reames! I just read your take on Song of Achilles and it got me thinking. Do you think there might be a general issue with the way women are written in mlm stories in general? Because I don't think it's the first time I've seen something like this happen.

And my next question is, could you delve further into this thing you mention about modern female authors writing women? How could we, beginner female writers, avoid falling into this awful representations of women in our writing?

Thank you for your time!

[It took a while to finish this because I wrote, re-wrote, and re-wrote it. Still not sure I like it, but I need to let it go. It could be 3xs as long.]

I’ll begin with the second half of the question, because it’s simpler. How do we, as women authors, avoid writing women in misogynistic ways?

Let me reframe that as how can we, as female authors, write negative (even quite nasty) female characters without falling into misogynistic tropes? Also, how can we write unsympathetic, but not necessarily “bad” female characters, without it turning misogynistic?

Because people are people, not genders, not all women are good, nor all men bad. Most of us are a mix. If we should avoid assuming powerful women are all bitches, by the same token, some women are bitches (powerful or not).

ALL good characterization comes down to MOTIVE. And careful characterization of minority characters involves fair REPRESENTATION. (Yes, women are a minority even if we’re 51% of the population.)

The question ANY author must ask: why am I making this female character a bitch? How does this characterization serve the larger plot and/or characterization? WHY is she acting this way?

Keep characters complex, even the “bad guys.” Should we choose to make a minority character a “bad guy,” we need to have a counter example—a real counter, not just a token who pops in briefly, then disappears. Yeah, maybe in an ideal world we could just let our characters ��be,” but this isn’t an ideal world. Authors do have an audience. I’m a lot less inclined to assume stereotyping when we have various minority characters with different characterizations.

By the same token, however, don’t throw a novel against the wall if the first minority character is negative. Read further to decide if it’s a pattern. I’ve encountered reviews that slammed an author for stereotyping without the reader having finished the book. I’m thinking, “Uh…if you’d read fifty more pages….” Novels have a developmental arc. And if you’ve got a series, that, too, has a developmental arc. One can’t reach a conclusion about an author’s ultimate presentation/themes until having finished the book, or series.*

Returning to the first question, the appearance of misogyny depends not only on the author, but also on when she wrote, even why she’s writing. Authors who are concerned with matters such as theme and message are far more likely to think about such things than those who write for their own entertainment and that of others, which is more typical of Romance.

On average, Romance writers are a professionalized bunch. They have national and regional chapters of the Romance Writers of America (RWA), newsletters and workshops that discuss such matters as building plot tension, character dilemmas, show don’t tell, research tactics, etc. Yet until somewhat recently (early/mid 2010s), and a series of crises across several genres (not just Romance), treatment of minority groups hadn’t been in their cross-hairs. Now it is, with Romance publishers (and publishing houses more generally) picking up “sensitivity readers” in addition to the other editors who look at a book before its publication.

Yet sensitivity readers are hired to be sure lines like “chocolate love monkey” do not show up in a published novel. Yes, that really was used as an endearment for a black man in an M/M Romance, which (deservedly) got not just the author but the publishing house in all sorts of hot water. Yet misogyny, especially more subtle misogyny in the way of tropes, is rarely on the radar.

I should add that I wouldn’t categorize The Song of Achilles as an M/M historical Romance. In fact, I’m not sure what to call novels about myths, as myths don’t exist in actual historical periods. When should we set a novel about the Iliad? The Bronze Age, when Homer said it happened, or the Greek Dark Age, which is the culture Homer actually described? They’re pretty damn different. I’d probably call The Song of Achilles an historical fantasy, especially as mythical creatures are presented as real, like centaurs and god/desses.

Back to M/M Romance: I don’t have specific publishing stats, but it should surprise no one that (like most of the Romance genre), the vast bulk of authors of M/M Romance are women, often straight and/or bi- women. The running joke seems to be, If one hot man is good, two hot men together are better. 😉 Yes, there are also trans, non-binary and lesbian authors of M/M Romance, and of course, bi- and gay men who may write under their own name or a female pseudonym, but my understanding is that straight and bi- cis-women authors outnumber all of them.

Just being a woman, or even a person in a female body, does not protect that author from misogyny. And if she’s writing for fun, she may not be thinking a lot about what her story has to “say” in its subtext and motifs, even if she may be thinking quite hard about other aspects of story construction. This can be true of other genres as well (like historical fantasy).

What I have observed for at least some women authors is the unconscious adoption of popular tropes about women. Just as racism is systemic, so is sexism. We swim in it daily, and if one isn’t consciously considering how it affects us, we can buy into it by repeating negative ideas and acting in prescribed ways because that’s what we learned growing up. If writing in a symbol-heavy genre such as mythic-driven fantasy, it can be easy to let things slip by—even if they didn’t appear in the original myth, such as making Thetis hostile to Patroklos, the classic Bitchy Mother-in-Law archetype.

I see this sort of thing as “accidental” misogyny. Women authors repeat unkind tropes without really thinking them through because it fits their romantic vision. They may resent it and get defensive if the trope is pointed out. “Don’t harsh my squee!” We can dissect why these tropes persist, and to what degree they change across generations—but that would end up as a (probably controversial) book, not a blog entry. 😊

Yet there’s also subconscious defensive misogyny, and even conscious/semi-conscious misogyny.

Much debate/discussion has ensued regarding “Queen Bee Syndrome” in the workplace and whether it’s even a thing. I think it is, but not just for bosses. I also would argue that it’s more prevalent among certain age-groups, social demographics, and professions, which complicates recognizing it.

What is Queen Bee Syndrome? Broadly, when women get ahead at the expense of their female colleagues who they perceive as rivals, particularly in male-dominated fields, hinging on the notion that There Can Be Only One (woman). It arises from systemic sexism.

Yes, someone can be a Queen Bee even with one (or two) women buddies, or while claiming to be a feminist, supporting feminist causes, or writing feminist literature. I’ve met a few. What comes out of our mouths doesn’t necessarily jive with how we behave. And ticking all the boxes isn’t necessary if you’re ticking most of them. That said, being ambitious, or just an unpleasant boss/colleague—if its equal opportunity—does not a Queen Bee make. There must be gender unequal behavior involved.

What does any of that have to do with M/M fiction?

The author sees the women characters in her novel as rivals for the male protagonists. It gets worse if the women characters have some “ownership” of the men: mothers, sisters, former girlfriends/wives/lovers. I know that may sound a bit batty. You’re thinking, Um, aren’t these characters gay or at least bi- and involved with another man, plus—they’re fictional? Doesn’t matter. Call it fantasizing, authorial displacement, or gender-flipped authorial insert. We authors (and I include myself in this) can get rather territorial about our characters. We live in their heads and they live in ours for months on end, or in many cases, years. They’re real to us. Those who aren't authors often don’t quite get that aspect of being an author. So yes, sometimes a woman author acts like a Queen Bee to her women characters. This is hardly all, or even most, but it is one cause of creeping misogyny in M/M Romance.

Let’s turn to a related problem: women who want to be honorary men. While I view this as much more pronounced in prior generations, it’s by no means disappeared. Again, it’s a function of systemic sexism, but further along the misogyny line than Queen Bees. Most Queen Bees I’ve known act/react defensively, and many are (imo) emotionally insecure. It’s largely subconscious. More, they want to be THE woman, not an honorary man.

By contrast, women who want to be honorary men seem to be at least semi-conscious of their misogyny, even if they resist calling it that. These are women who, for the most part, dislike other women, regard most of “womankind” as either a problem or worthless, and think of themselves as having risen above their gender.

And NO, this is not necessarily religious—sometimes its specifically a-religious.

“I want to be an honorary man” women absolutely should NOT be conflated with butch lesbians, gender non-conformists, or frustrated FTMs. That plays right into myths the queer community has combated for decades. There’s a big difference between expressing one’s yang or being a trans man, and a desire to escape one’s womanhood or the company of other women. “Honorary men” women aren’t necessarily queer. I want to underscore that because the concrete example I’m about to give does happen to be queer.

I’ve talked before about Mary Renault’s problematic portrayal of women in her Greek novels (albeit her earlier hospital romances don’t show it as much). Her own recorded comments make it clear that she and her partner Julie Mullard didn’t want to be associated with other lesbians, or with women much at all. She was also born in 1905, living at a time when non-conforming women struggled. If extremely active in anti-apartheid movements in South Africa, Renault and Mullard were far less enthused by the Gay Rights Movement. Renault even criticized it, although she wrote back kindly to her gay fans.

The women in Renault’s Greek novels tend to be either bitches or helpless, reflecting popular male perceptions of women: both in ancient Greece and Renault’s own day. If we might argue she’s just being realistic, that ignores the fact one can write powerful women in historical novels and still keep it attitudinally accurate. June Rachuy Brindel, born in 1919, author of Ariadne and Phaedra, didn’t have the same problem, nor did Martha Rofheart, born in 1917, with My Name is Sappho. Brindel’s Ariadne is much more sympathetic than Renault’s (in The King Must Die).

Renault typically elevates (and identifies with) the “rational” male versus the “irrational” female. This isn’t just presenting how the Greeks viewed women; it reflects who she makes the heroes and villains in her books. Overall, “good” women are the compliant ones, and the compliant women are tertiary characters.

Women in earlier eras who were exceptional had to fight multiple layers of systemic misogyny. Some did feel they had to become honorary men in order to be taken seriously. I’d submit Renault bought into that, and it (unfortunately) shows in her fiction, as much as I admire other aspects of her novels.

So I think those are the three chief reasons we see women negatively portrayed in M/M Romance (or fiction more generally), despite being written by women authors.

------------------------------------

*Yeah, yeah, sometimes it’s such 2D, shallow, stereotypical presentation that I, as a reader, can conclude this author isn’t going to get any better. Also, the publication date might give me a clue. If I’m reading something published 50 years ago, casual misogyny or racism is probably not a surprise. If I don’t feel like dealing with that, I close the book and put it away.

But I do try to give the author a chance. I may skim ahead to see if things change, or at least suggest some sort of character development. This is even more the case with a series. Some series take a loooong view, and characters alter across several novels. Our instant-gratification world has made us impatient. Although by the same token, if one has to deal with racism or sexism constantly in the real world, one may not want to have to watch it unfold in a novel—even if it’s “fixed” later. If that’s you, put the book down and walk away. But I’d just suggest not writing a scathing review of a novel (or series) you haven’t finished. 😉

#misogyny in m/m romance #how to avoid misogyny writing women characters #writing complicated women characters #asks #writing life #writing advice

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atlasfoundation · 2 years

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heyy thanks for answering. If you don't mind, do you have some headcanons between white fox and shang chi? I know they hanged out in Shang chi's infinity comics but not much more beyond that, and even then it was in a more superficial level. Plus, they both seem to care about Lin Lie, although in different ways I think.

Also, I saw some previews of the marvel voices pride comic that has an adventure between kamala and shang chi, but I don't think i've ever really seen them talk before. How do you think a friendship between the two would work out?

Also, in general if anyone of them would change their thoughts on Shang chi after he's taking over his father's organisation

For Ami Han and Shang-Chi - I guess she would bring him back to his classic spy days lol. Honestly I think she’d always be closer to Leiko like I don’t really see them hanging out outside of their trio. I guess they are both motivated by their loneliness in the world, which they could bond over. Shang-Chi was Lin Lie’s teacher and he definitely treated him as a student more than a friend lol. Lin Lie is motivated by his desire to save his father while Shang-Chi is motivated by his desire to kill his father so there’s a bit of disconnect 😂. Ami Han sees him as a closer friend, probably first and foremost bc they’re closer in age (early 20s, while Shang-Chi is presumably ~30), but also probably feels elements of her own childhood trauma playing out at him losing his family. They’re also both directly tied to a complex mythological legacy, which Shang-Chi wasn’t back in 2019 but is now with the introduction of Jiang Li so maybe his interactions would change in the future.

Quick correction, it’s marvel’s voices: identity**. The writer has expressed that they wanted to explore how these characters are different especially pertaining to their families, which obviously reminded me of Totally Awesome Hulk #15

The same writer also wrote a story for Kamala in last year’s Marvel’s Voices Identity, specifically comparing her experiences as a Pakistani American contrasted with that of a Pakistani hero.

Shang-Chi’s status as an asian american vs asian is often contradicted by different writers - even Greg Pak has switched between the two in different comics. This is as his relationship with “home” and “family” is very different to other people’s like Kamala’s which is what I think the writer wants to explore - but importantly Shang-Chi is empathetic and caring. Yes they’re different, but I don’t think that really matters to Shang-Chi - they probably won’t be close friends because uhhh he’s 30 and she’s 17, but I would love to see him develop into like an older-brother-type figure that the Protectors can call on

Shang-Chi’s organisation is very similar to Jimmy Woo’s, which is to say the Protectors will trust him as long as he’s as vague about his personal life as Jimmy is about his 😂😂😂 Amadeus will probably be pissed at some point lol

#asks

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mc-critical · 3 years

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One of my most favourite confrontations between Mahidevran and Hürrem in the series is the one after Mahidevran sent Olga to Süleiman in episode 61. It's both fun, yet filled with meaningful character dialogue, managing to successfully deliver a thematic message that eventually finds its retroactive way, despite of it all seeming like a yet another smackdown fest by Hürrem at first.

The scene begins with their typical confrontational energy, the rivalry chemistry immediately paves its way forward. Hürrem is ready to face her for what she did and Mahidevran, while not being interested at first, goes with her flow regardless, setting the mood for what follows.

Hürrem: You've sent a concubine to his majesty.

Mahidevran: I'm replacing Valide. Pleasing his majesty is one of my duties.

Hürrem: Let God not give you other worries. Do you want to cover the lack of your femininity this way?

Mahidevran seems very engrained in her role as the head of the harem and connects it with her own desire to take revenge for her wounded pride and for all the pain they caused her. The first excuse she finds for sending Olga to SS refered to the rules and tradition that give her that right, but we know by context that there's something else going on, this was both a move driven by her vendetta and a provoked move - she decided to do this after Hü told her she's the one ruling the privy chamber and perhaps Mahidevran accepted it as a challenge to her power, because, honestly, I doubt she would've attempted such a thing if she weren't provoked like this. Hürrem, on the other hand, gives her own "interpretation" as to why Mahidevran took action. To be blunt, it sits wrong with me right from the start, because it demonstrates a huge amount of internalized mysoginy on full display and it's sad, in a way, that this is what the system encourages at the moment - you're nothing if you sleep alone in your bed, if you don't have the sultan's back. There's a glimmer of possibility Hürrem said it only to render Mahidevran vulnerable and one could understand where she comes from, since she has experienced quite a lot of similar offenses from that same person. And when a confrontation of the like occurs, her first instinct is to think of a comeback, to pull rank and highlight why she's better than her like she does in all their encounters in this batch of episodes. That hardly excuses or whitewashes this statement, though, because for a person who has been shown to fight the system and call out prejudice (even though it was mostly only she was subjected to it or it was about something that concerned her specifically), seeing that she had absorbed some of it and applies it without a second thought leaves a sour taste for me.

Mahidevran: Worry about your own problems, Hürrem. Did you really think his majesty couldn't be with other women?

Hürrem: This is impossible.

Two major beliefs of Mahidevran and Hürrem's characters come on the surface: they drive the dialogue and help the rest of the scene unfold the way it did. Mahidevran brushes off Hürrem's last statement and brings back tradition to the forefront, which begins to highlight a belief of hers that she shared with Valide, that there is a constant cycle in the harem that no one, not even Hürrem, is capable to entirely break. To Hürrem it's impossible for SS to ever have other women at this point, it's something unthinkable for her already. She feels she has fully broken that cycle.

This scene, unlike the confrontation in episode 58, has well done retroactive irony while serving the context of the episode it's in in a plausible enough way that doesn't seem showed in just for the sake of it. The context of the episode puts Hürrem in the right by showing Olga returning from SS's chambers almost immediately after Hürrem says: "This is impossible." and it's the place where this plot-line transitions to another one, leaving the rest of the confrontation to hang in the balance for a while. Maybe SS had truly given up taking other women ever since the wedding, as shown by this and SS refusing another concubine sent by Valide in the wedding episode.

However, we know that this stops being the case later on and whether it's through the decision to bring in yet another drama tool, yet another annoying stretched narrative opposition in the face of the concubine arcs, it's a fact and we could say that this scene ends up being a good enough framework to set us up for it, intentionally or not.

Mahidevran: Then why is there a concubine in his chamber?

Hürrem: What concubine? Maybe that one?

This, to me, is a demonstration of how the tables can turn in the harem at literally any moment. Meryem Uzerli's little amazing, subtle facial expression says it all. When Mahidevran asks the question, we see for a very split second that Hürrem's wondering how to refute her until the concubine appears in the heat of the argument due to sheer luck. Like, if she had already returned to her rooms before the scene occurred, it would've gone much differently! This isn't all that important here, but I love how Meryem showed a slight probability for Hürrem to lose the argument, which contrasts with all her confident remarks before and after this moment. It's just very neat stuff.

Hürrem: Many girls were introduced to his majesty. Among them, there was even a princess. Where are they now? Look around you. You will not see anyone but me.

Speaking of confident remarks, there comes another one of Hürrem's that no matter how many concubines came, they all went and now there is no one other than her. This line further sets a consistent trend of ambiguity, because she's right in the context of the episode and it encapsulates the resolution of these particular plot-lines of Hürrem and Süleiman in the season and we can get behind her words overall both in the arc and in rewatch, in spite of the retroactive irony, but she's wrong in that it's the end of her harem fights, very far from it, as season 3 and season 4 prove. She hasn't completely won yet, even though she sets the impression that she has.

What I also find interesting in this scene is the back and forth throwing of past - present - future between the two sides. They make a perfect showcase of what these characters represent, their states, their losses, their desires, their hopes, dreams and philosophies. Here, in example, Hürrem makes a reference to a part of her obstacles in the past, acknowledging that they were there regardless, but then she immediately goes back to the present with "Where are they now?". Nowhere in the scene she considered the possibilities of the future, the sheer probability that it all may change one day (as it happened, in many ways, through Firuze), focusing on the currently undeniable truth the present day presents.

That same throwing back and forth continues, but with another note which instantly places the two women against each other again:

Mahidevran: I was also loved once, Hürrem. Mustafa is the fruit of that love. Ask Gülfem Hatun if you want. She will tell you how much she suffered because of me.

Hürrem: You always tell this story.

Unlike Hürrem, who only references the past, Mahidevran laments it and takes pride in it, it being the highlight of her once beautiful life. But we know what went down afterwards, adding in the possibility that maybe, it would all be temporary and what one may have now, may change, because Mahidevran was also in Hürrem's position once. Hürrem however, calls out her fixation on the past, in a similar fashion to how she has done it before (E59: "Are you being proud of your past now? Let me remind you: You're still a slave."), what she had doesn't matter, it's the now that is important to Hürrem, which is a solid thematic note to her character arc.

Though, we have this line of dialogue in response:

We here notice that no matter how long it took for them to do it, Mahidevran and Hürrem actually had parallel arcs, in terms of letting go of the past. This line makes for such a striking revelation of Mahidevran's emotional state from her perspective that only continued what episode 46 hinted at and episode 55 directly started. (E55: "I ripped out the love I had of your father of my heart, I threw it into the sea! He doesn't matter to me anymore. Now you are the only one in my heart.") It's rather surprising that she says these words now - Mahidevran's rule of the harem is arguably her at her worst, doing what she does out of the last ounces of her wanting payback for the sad, bitter years. It's precisely what she lost that motivated her, that was a sure part of the reason she sent Olga to SS and yet, we have that honest confession, that grasp of acceptance. Mahidevran's battle with SS was lost very early on and it took her very slow and gradual development for her to accept it and by E61, she was doing the last steps to do so. She tries hard to convince Hürrem that no matter how hard she tries, there is a cycle in this harem that cannot be changed, Mahidevran has come to terms with it, so Hürrem has to do the same. In a way, she was probably trying to say that they both have been fighting a losing battle and she expresses a small amount of sympathy over it, too - she knows what it's like and it's hard, but it's like some unwritten law that it's not worth it in the end and that everyone gets affected by it, without exception. That's how she begins to look upon her present and show a hint of the future.

Out of the particular context, this line could be a very nice stronger endorsement of the franchise's themes, because, truly, no one ever got a good, triumphant, heroic ending. And it was like a cycle: everyone had to face the feelings of sorrow, grief and loss, everyone had to suffer in this time period, everyone dies. Gülfem called Hürrem's life a fairy tale in E134, but that "fairy tale" came to an end after her death. And if we leave that aside, there is hardly a breather episode even for the biggest of victories, no matter how many victories you've won, they would always "have their end", the narrative would always condemn them one way or another.

Mahidevran: One day a woman will appear and would destroy your indestructible love!

The future is finally put on the front with the scene overall and with Mahidevran herself. It's a continuation of her belief that Hürrem would be "detroned", regardless of all. Thing is, she also doesn't consider her own future, only the one of her rival's. She believes in her own victory that is opposed in the present, but would surely come in the future, a belief she holds until the end of the series. Even though I doubt the writers planned Firuze's existence right back then per say, this line sounds like such foreshadowing to her in retrospect, which makes Mahidevran both right and wrong with this quote. Firuze caused an actual continuous rift between Hürrem and Süleiman, making her doubt his love in ways she hadn't before. Nazenin comes into the picture, as well. But no one truly succeeds to properly destroy the love between Süleiman and Hürrem and they managed to prevail, despite of all the narrative opposition. She still stayed the most dear woman to SS's heart, no matter what. There is a slight possibility of Mahidevran judging the situation one hundred percent to herself here, claiming rather that the appearance of another woman would make Hürrem fall out of love with SS and destroy that, instead, just like it was with her, but since Mahidevran called the same line back during the Firuze episodes, I think she was referring to the rift Firuze would cause and how would Hü fall deeper and deeper.

Hürrem: Mahidevran, don't think of me as your equal.

This line is very telling in that Hürrem considers herself different than everyone else. It has always been a part of her character, perhaps a running reminder of her unprecedented elevation in the system she's telling us about through words. And most of the interpretations I've encountered of this line are exactly this: it is epic, badass, it is delivered in such a shading sassy way that could only be respected or applauded. However, it is just as possible for this infamous one-liner to be presented as the culmination of not only her persistent insistence to assert herself as different and special, but her continuous unwillingness to be compared to anyone else in the harem. And usually she's compared to guess who? Mahidevran. She doesn't want to even think of the possibility to be compared with her by this point (starting from E40 where after she was freed, she said: "Now I'm not equal to you." right to Mahidevran's face and continuing forward into S03 with: "I told you not to compare me to others, to Mahidevran never!" -it was something like that), but at first, which is now probably buried deep within, she feared becoming like Mahidevran. She repeated "I'm not Mahidevran!" when she was out of favor like with the Russian concubines, Mahidevran's words that she would make the same mistakes she did echoed in her head during the Isabella arc in episode 31 and earlier had a nightmare of Süleiman giving the emerald ring to Mahidevran instead of Hürrem in a completely parallel scene. (there's also the other nightmare where Mahidevran was taunting Hürrem to tell her about Leo.) Hürrem dreaded all of those things happening and tried her very best to avoid the very thoughts of it. Now, in a season nearly full of victories in her part, she had gained the belief that whatever happens, she'll always stand above the others. She wants to give off the vibe that no one would ever stop her. She has broken so many traditions and the narrative is currently rooted at her favor, all well and good, right? This line could be a mask, in a way, hiding the fear of being rejected just like the others (that doesn't completely disappear, seeing her suicide attempt in E72; also E106's menopause plot.) and striving to leave it behind her, now reaching its peak by putting not only Mahidevran, but the rest of the women into the picture, without a second of realization of the implications it causes, because well, who else was given such special attention by the Sultan? Who else was freed, who else had such a marriage, who else got out of death's door so many times, who else overcame everything, who else had a chance to "rain as fire" over all her enemies? Even though the quote applies on a much grander scale in execution, in later seasons and the way it got called back to in MCK, I feel, in this particular context, it refers to the harem and Süleiman specifically - his majesty doesn't need any other women, there is no such woman that could take away what Hürrem has and even if they stand together, they wouldn't stand a chance, because Hürrem is that massive and powerful.

The retroactive irony hits hard and here: she's right in the events of this particular episode, but the subsequent events definetly tell a different story. Hürrem's influence and power is acknowledged, especially in her last episodes, but that she's the only one capable of having such power is not necessarily true, given the existence of the SOW, some members of which reached more highs than she did, due to the evolving extent of power they could exercise in the system.

Mahidevran: Your arrogance will end you, Hürrem! One day when you're suffering in pain, I'll remind you this!

Hürrem: Mahidevran, you're not here anymore. You'll be leaving soon!

Mahidevran: You're not powerful enough for that!

The focus on the present and future is back with this quick, but substantial exchange. Mahidevran seems to count completely on what will happen in the future in the first line, while Hürrem accounts for both the present and the future, seemingly in accordance, and Mahidevran brings the confrontation back to the present, for what Hürrem talks about is currently unattainable. These lines look like a brief summary of what was established before about the beliefs of both characters: they both desire the end of one another - for Mahidevran it would happen eventually, because Hürrem would end herself in her eyes and Mahidevran would live for this moment and even witness it (and while she didn't witness it exactly, she lived and outlived them all, because there would be no death for her until they get what they deserve, a belief that carries on the strongest in season 4); for Hürrem it has already happened, but it would keep going, fueling her will to get rid of all her enemies and being in conjunction with the ongoing plot arc itself, for her attacking her enemies in all fronts in ways she hadn't before. The last line of Mahidevran's stops the dialogue between both of them for good (followed by Hürrem's smug grin), resting back on her current position, that is also how her whole set of dialogue began in the first place. Even though there was a hint of realization that she has been fighting a losing battle a while before, the part of hers that would prefer not going to the sanjack than give up now, is directly reflected on. It sets more of a parallel between how both of them are, because Mahidevran told Hürrem that arrogance would end her a few seconds ago, but now she's the one that demonstrates this same arrogance herself, starting to underestimate her own opponents yet again, simply because she rules the harem. Claiming that Hürrem doesn't have the power to send her to the sanjack by force, is true, actually, because Ibrahim interfered at the last moment, but this way Mahidevran seems to brush off Hürrem's victories completely, somehow convincing herself that she's forgotten how far has Hürrem gone and just like her rival, thinking of herself as unstoppable. (that goes on the season finale, too, where she says: "If you're powerful enough, face me by yourself!".) This attitude more or less cemented her downfall in this arc, as it would cement major flaws of Hürrem's in the future.

And then they're stopped by... Süleiman himself and I love that, because they have to stop because he comes, they have to stop because he's watching them and give him the necessary respect. Symbolically, it could be a showcase of him being the decider of everyone's fates and them having to accept his will at the end of the day.

And after he leaves, of course, Hürrem and Mahidevran prepare to carry on with their bickering, as they usually do. While that's the end of the whole confrontation, their expressions tell us it's not over yet.

It's particularly interesting, even as a confrontational scene alone: it's longer than many of the confrontational scenes between them, it speaks more volumes about the opposing sides than any other of the kind has dreamed to. While I love Mahidevran and Hürrem's chemistry, I wish there were more scenes like this one, more nuanced interactions than vitriol and constant, almost formulaic smackdowns. Because, to me, this whole confrontation, while simple at hindsight, raised the bar to what could we have had. The rivalry of the two ladies is fascinating on a thematic level and not exploring its depth further, would be a myriad of wasted opportunities.

This scene did right all you could think of: composition, soundtrack, attention to detail, chemistry, dialogue and opposing two sides on a respectful, unbiased, while narratively provoked, way. I adore the way it aged: as I said, it created a perfect blend between context of the episode/plot arc and retroactive irony and the mix of cause and effect of soapy intrigues, character exploration through lines and all the coming thematic stuff, while being filled with dynamic and fun energy. And it's absolutely sublime for it.

#i planned to only use images at first #but since Tumblr now allows only up to 10 #I had to quote most stuff #magnificent century #muhte��em yüzyıl #mahidevran sultan #hurrem sultan

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harostar · 3 years

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Love to see clowns like you fail to grasp the necessity and meaning of media criticism like that. Hbomb was unduly charitable to RWBY and its fans. My very important opinion of it is that both are trash garbage. Imagine dragging someone for making money off of literary criticism and accusing them of hating the stuff they put so much work into analyzing. Just say you want to suck the cocks of authority and capitalists and go

Aww, I’m sorry that I hurt your feelings. I mean it’s very clear that I upset you, especially since you took the time to write me about your Very Important Opinion.

Media Criticism can indeed be a very important aspect of consuming and engaging in media. But when doing so, the goal must not simply be “Let me shit at length on this thing I do not like” and it should not be driven by a desire for Clout or making money from people hating something. Criticism is important because it provides an opportunity to learn from a work, to understand it and how it relates to us personally, to the world we live in, and to how we can improve going forward.

Because just shitting on something and going “This is trash” isn’t Criticism. It’s whining and bitching about something you don’t like. The goal of Criticism is growth, it should ALWAYS strive to inspire improvement and find ways to do better. That’s why we call it CONSTRUCTIVE CRITICISM. For example, when using a negative of something you should also contrast it with a positive, such as “X work did this poorly and Y work is an example of handling this better”. Because the point isn’t just to dunk on something for being bad, but to see where improvement can be found even if it has to be with another work.

Which is honestly one thing I have issue with involving a lot of Youtube Critics. All they do is complain and dunk on things, without remembering the need for CONSTRUCTIVE information.

In terms of Hbomb, well. The post I assume upset you so much was pretty clear about WHY he’s getting taken to task. Not just because he’s put out a critical video trashing RWBY, but because he is blatantly and provably engaging in LIES. His central argument involves claiming to be a fan of Monty’s work, when it is DEMONSTRATABLY NOT TRUE. He is lying to his audience, framing his entire argument around something that is not true and wrapping himself up in a false narrative.

RWBY started out as the passion project of a group of friends, including Monty. It literally started with them getting people they knew around the RoosterTeeth offices to work on the show. The majority of these people had little to no experience, ESPECIALLY the cast which you can absolutely tell early on. They literally recruited and cast people that worked in the offices to voice the characters.

The narrative of “Miles and Kerry are greedy and ruining MONTY’S VISION” is.....complete bullshit. This was a group of friends that worked on this project together, that suffered a terrible and sudden loss but decided to carry on the work. You can absolutely see how CRWBY struggled to continue on without Monty, and how Volumes 3 - 5 stumble as they found their footing again. Volumes 1 - 3 are janky products that run on pure PASSION as opposed to being anything objectively polished or good. Since then, CRWBY has slowly but steadily improved over the years.

They have GROWN. They started out as people that had almost no budget, very little if any experience, and have grown along with the show they clearly care about. To compare this current volume to Volume 1 is an incredible testament to their growth, to their constant efforts to improve and refine their craft with each new volume.

I accuse Hbomb of hating it because he openly does, and has for a long time. He never liked Monty’s work or RWBY, and his decision to do a video about it was motivated by making money from it. From the strange Hatedom that RWBY has, people that devote so much time and energy and even money into hating something instead of just......not watching it and moving on to things they do enjoy.

He held a poll, and when he mentioned he didn’t like RWBY, the Hatedom swarmed in to have him make THAT VIDEO.

He started from a place of Bad Faith, intending to capitalize on a vocal group of people that hate the work and parroting a Conspiracy Theory. He presents a false narrative to his viewers of having been a fan of Monty’s work, but oh how Miles and Kerry and RT BIG MONEY have ruined Monty’s genius dream.

Only.....look at the screenshots in the other post. Hbomb consistently and openly never liked Monty or his work. He mocked and belittled Monty literally from his initial work.

He knowingly and intentionally sold a lie to people, solely to profit from their hatred. He’s dishonest and therefore has zero credibility as a Critic.

#rwde

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scoutception · 3 years

Text

Yet again ranking the 5 animes I’ve watched most recently

After losing the will to just sit down and watch it for quite a while, I’ve finally gotten through 5 anime series yet again, and, as is tradition for me by now, I’ve decided to just type out my thoughts and rankings of them, with my first two posts of this nature being here and here. As usual, this is just my personal thoughts, and the only other thing worth noting before I start is that, unlike last time, I do think everything listed here is at least decent on its own. With that, I’ll just get to it. 5. Robotics;Notes

Number of episodes: 22. Language options: dub and subs available. Streaming availability: Funimation. Robotics;Notes is an adaptation of a visual novel, which I actually just wrote a review on, which can be found here. Long story short, it’s the third entry in the Science Adventure series, the same series Steins;Gate is part of, unknown to most people, with Robotics;Notes technically being the sequel to it. Originally aired in 2012, the same year as the visual novel was released, and made by Production I.G, Robotics;Notes is in an interesting middle ground between the acclaimed and popular Steins;Gate animes and the downright awful and obscure Chaos;Head and Chaos;Child animes, and until 2020 was the only option those who didn’t speak Japanese had to experience it at all. Since I went into so much detail in said visual novel review, I’m mostly going to focus on how the anime holds up both by itself and as an adaptation. Ever since its creation nearly ten years ago, the dream of the Chuo Tanegashima High Robotics Research Club has been to finish Gunbuild-1, a lifesize recreation of Gunvarrel, the titular mecha of an insanely popular anime that’s credited with starting a “robot boom” within Japan, and the club’s current president, Akiho Senomiya, the little sister of the club’s founder, Misaki Senomiya, is extremely determined to see this dream achieved. Unfortunately for her, the club has fallen on hard times, with its funding being cut, its advisor being completely unreliable, and the few other members it has, namely Kaito Yashio, Subaru Hidaka, Junna Daitoku, and Kona Furugoori, aka Frau Koujiro, being quite difficult in their own ways, and often more than Akiho can handle. While Akiho puts her all into finally bringing the club to greatness, the otherwise apathetic Kaito finds himself involved with a mysterious AI called Airi, who exists within the augmented reality app IRUO. Airi’s creator, the deceased Kou Kimijima, turns out to have also created several AR annotations scattered throughout Tanegashima, titled the Kimijima Reports, which warn of a grand conspiracy that will utterly devastate humanity if unopposed. I’m not the most unbiased viewer, since I had played, and enjoyed, the visual novel months before watching this anime, but generally, it’s actually an enjoyable time. Some of Robotics;Notes’ biggest strengths were always its cast of characters and lighter tone, and for the most part, the anime preserves both well, keeping it mostly silly, but endearing early on. The artstyle actually matches up fairly well with the VN’s CGs, and the dub, which I watched just to spice things up, since I already knew the Japanese voice cast was quite good, is overall solid, with Clifford Chapin as Kaito, Lindsay Seidel as Akiho, and Monica Rial as Junna especially sticking out to me. As an adaptation, on the other hand, it falls short in quite a few places, namely when it comes to characterization. While obviously, no adaptation could feasibly fit in every detail from its source material, the Steins;Gate anime managed to preserve almost all of its cast’s characterization, whereas in Robotics;Notes, several characters lose prominent details to their backstories or personal conflicts, or act differently in scenes unrelated to that, making quite a few of them come off different. While instances of the latter case, such as Junna coming off as less shy and hesitant, don’t necessarily worsen anything for the most part, the former definitely does, as it makes the affected characters much less developed and interesting. Nobody suffers from this worse than Kaito himself, who loses most of his backstory, motivations, and arc, to the point of one of his best moments being changed from something intentional to completely accidental, with the end result making him come off as a completely different character, and an inferior one, at that. Additionally, around episode 16, the anime starts diverging pretty significantly from the VN, and not in ways that are improvements, to the point it even leaves a few otherwise preserved scenes in earlier episodes without context. Overall, I can imagine the Robotics;Notes anime still being a decent, if unremarkable watch on its own, and was certainly an interesting and fun way to reexperience the story, and definitely fares better than many visual novel adaptations, but I can’t quite say I’d recommend it. If Robotics;Notes interests you, the visual novel is very much preferred. 4. Nichijou

Number of episodes: 26. Language options: dub and subs available. Streaming options: Funimation. Here we have one of the most acclaimed anime comedies out there, an adaptation of Keiichi Arawi’s surreal sketch comedy manga series, produced by Kyoto Animation, a name that’ll be showing up here again later. Nichijou mainly focuses on two different trios of characters. There’s the ordinary high school girls Yuuko Aioi, a rather dim and reckless girl with terrible luck, Mio Naganohara, the most relatively normal one of the cast, whenever she’s not having explosive freak outs that involve beating people up, and Mai Minakami, a stoic girl who enjoys messing with people just for their reactions. On the other hand, there’s the far less ordinary Shinonome Laboratories trio of Professor Shinonome, an 8 year old girl who happens to be capable of building incredibly advanced machines, Nano Shinonome, a robot built by the Professor who desperately desires a normal girl more than anything, and Sakamoto, their pet cat who, thanks to a special scarf also made by the Professor, is capable of talking. The series focuses on their would-be ordinary lives, were it not for the seemingly daily chaos they get involved in, from witnessing the school principal wrestle a wild deer, to being trapped in an elevator for hours, to the school science teacher attempting to capture Nano for study. It also follows the antics of several other side characters, such Koujiro Sasahara, the seemingly upper class student who is actually just the son of a family of farmers, to Misato Tachibana, a very typical tsundere towards Sasahara, whose tsun side manifests as assaulting him with military-grade weapons, to little effect, to the equally quirky teachers of their school. Needless to say, it’s a very silly and chaotic series, and that’s exactly what makes it so memorable. The humor is pretty hit and miss in the first half of the series, but from episode 14 onwards, they thoroughly master it, with every episode having at least a few scenes that got me laughing. Beyond the silliness, though, the series actually has a lot of heart to it. There’s a few moments that change up the status quo, or even develop the characters just a bit, and some scenes are surprisingly sweet, if still played for laughs more often than not. There’s also a lot of continuity, which in later episodes often provide the punchlines to some of the best gags, which definitely encourages watching the whole series. The Japanese voice acting is fittingly crazy for each character, and the animation fits perfectly, as while the character designs are quite simple, there’s many would be mundane moments that have contrasting overly impressive and exaggerated animation that makes them very memorable. All in all, Nichijou is a very enjoyable series once it finds its groove, and about the only reason its not higher on my rankings is just because pure comedies aren’t really one of my favorite genres. Still, if you ever want a good laugh, you can’t go wrong with this. 3. Soul Eater

Number of episodes: 51. Language options: dub and subs available. Streaming availability: Netflix, Funimation. Soul Eater is yet another adaptation, this time of a manga by Atsushi Ōkubo, produced by Studio Bones, who also did the Fullmetal Alchemist animes, and is quite similar to the original FMA series in that it outpaced the manga and, rather than simply overloading itself with filler, decided to go in an entirely different direction by the end. The Death Weapon Meister Academy is a school founded by Death himself, dedicated to the training of Meisters, who wield Weapons, humans with the ability to shapeshift into weapons, for the purpose of destroying Kishin Eggs, evil beings who have consumed the souls of others, and pose the risk of transforming into extremely dangerous demons. Any Meister who can collect the souls of these corrupted beings, as well as the soul of a Witch, can transform their Weapon into a Death Scythe, the personal arms of Death. Among the students of the DWMA are seven Meisters and Weapons who stand out in particular: the teams of Maka Albarn, a kind hearted and responsible, though temperamental, girl, her Weapon, Soul “Eater” Evans, a laidback and snarky wannabe “cool” guy, Black Star, a prideful and loudmouthed ninja who’s seemingly always out to make a spectacle of himself, regardless of how it hampers him, his Weapon, Tsubaki, a humble and levelheaded woman, Death the Kid, the son of Death and one of the top students in the cool, held back only by a crippling obsession with symmetry, and his Weapons, Liz and Patty Thompson. While these seven gradually come together as a team, a Witch named Medusa begins to put an ambitious and destructive plan into motion, one involving her “child”, Crona, and the strange, insanity inducing black blood that courses through their veins. Soul Eater has a lot going for it. A likeable and crazy cast of characters, even the side ones, like the maniacal Doctor Stein, or the surprisingly goofy and casual Death, or the tragic Crona, or the hilariously egotistical Excalibur, to a lot of fun action scenes, to its great animation and overall unique visual design, including the sun and moon having giant, creepy laughing faces. It has a lighthearted, comedic tone that doesn’t detract from the serious moments, and the main characters get some pretty good development as the series goes on. The dub is also great, with Laura Bailey as Maka, Micah Solusod as Soul, Brittney Karbowski as Black Star, and Todd Haberkorn as Death the Kid especially sticking out to me. In general, I don’t have a lot of significant criticisms, besides how the story is handled once the villainous organization Arachnophobia is introduced, which is also about where it begins to deviate from the manga. Most of the villains part of it never really feel like a threat, and the story becomes much more simple and typical compared to how the manga went, and when the ending arrives, it just kinda, happens, with several notable subplots just kinda left unfinished. It definitely feels like an underwhelming ending, and is a big reason why I place this lower on the list, but Soul Eater is still a pretty entertaining watch that’s worth a try if you want a decently lengthy, but not horribly long shonen. 2. The Melancholy of Haruhi Suzumiya

Number of episodes: 28. Language options: dub and subs available. Streaming availability: Funimation. Here we have the big one, an extremely memetic and famous series by Kyoto Animation, based on a series of light novels by Nagaru Tanigawa, a series that was finally completed back in November 2020 after its start in 2003. Kyon is a lazy and down to earth high school student who wishes for little more for himself than an uneventful, normal high school life- a hope that’s abruptly shattered when, on a whim, he becomes involved with Haruhi Suzumiya, an eccentric, hyperactive, and thoroughly self centered girl, who claims to have no interest in ordinary humans, and instead wishes to discover things thoroughly unusual, such as aliens, time travelers, or espers, and forces Kyon to form a club, the SOS Brigade, with her to achieve this. Haruhi quickly pulls three other students into the brigade, those being Yuki Nagato, a stoic and quiet bookworm, Mikuru Asahina, a shy and passive girl often subjected to humiliation and abuse by Haruhi, and Itsuki Koizumi, a calm transfer student who acts extremely subservient to Haruhi. While Kyon initially writes off the club as an unreasonable use of his time, his fellow members reveal an unexpected truth to him: the subjects of Haruhi’s fascinations actually do exist. Yuki is an alien, of a sort, created and controlled by an entity known as the Data Overmind, Mikuru is a time traveler from some point in the future, and Itsuki is an esper, and member of an organization of similar people. All three of them have been sent to observe the oblivious Haruhi, who appears to have the unconscious ability to change reality itself according to her desires, and is at threat of remaking the entire world if not placated. With Haruhi apparently having taken a unique interest in Kyon, he finds himself taken along for all sorts of supernatural adventures spawned from Haruhi’s whims. There’s a lot I could go on about regarding Haruhi, but in the interest of not turning this into a full on rant, I’ll keep shortish. It’s more or less an insane mishmash of several different genres, from slice of life, to science fiction, to fantasy, just depending on what each individual story feels like being. The episodes are mostly adapted from the early light novels, mostly the multiple stories from the third and fifth novels, The Boredom and The Rampage of Haruhi Suzumiya, respectively. It’s not often you’ll have any idea just what to expect from each individual episode, which makes the series very chaotic, but interesting. The characters are likeable and memorable, including the side characters, and the sheer ridiculousness of what goes on makes for many amusing moments. At the same time, the series is surprisingly complex, with many possible interpretations of its characters and the events they go through, furthered by the antics Kyoto Animation pulled when it was originally airing, such as airing the episodes out of chronological order, meaning the plot would often jump from the middle of an arc to something else. The end result is a very unique and enjoyable product, helped by the fantastic dub, with the actors capturing each character perfectly, from Crispin Freeman as the grounded and snarky Kyon, to Wendee Lee as the aggressively energetic Haruhi, to Stephanie Sheh as the gentle, yet secretive Mikuru. That said, there is one pretty disappointing part of it all, and that’s the second season, mostly thanks to the infamous Endless Eight arc, an eight part arc that’s more or less the same things happening over and over, with only the first and last episodes having anything noticeably different. Regardless of its own uniqueness, more than half the season is taken over by this, and something that may have worked if cut down to three or four episodes instead singlehandedly killed off the series’ goodwill. About the only redeeming factor of the second season is the five part adaptation of The Sigh of Haruhi Suzumiya, which has some of the funniest moments in the whole series. Overall, Haruhi is still a very fun series, and I’m really gonna have to watch its movie, The Disappearance of Haruhi Suzumiya, one of these days. 1. Trigun

Number of episodes: 26. Language options: dub and subs available. Streaming availability: Funimation, Hulu. Finishing off this list is an adaptation of a manga series by Yasuhiro Nightow, produced by Madhouse and another adaptation that overtook its source material. Compared to how Soul Eater handled it, however, Trigun went down much, much better, to the point Nightow himself had nothing but praise for how the anime turned out, and the series is generally considered one of the best animes of the late 90′s. On the harsh desert planet of Gunsmoke lives a wandering gunslinger known as Vash the Stampede, the “Humanoid Typhoon” with a large handgun known to leave tremendous destruction in his wake, who amassed a bounty of $$60,000,000,000 after destroying the city of July, leading to an endless trail of bounty hunters out to collect the price on his head. In the middle of all this, Meryl Stryfe and Milly Thompson, two representatives of an insurance society which is often forced to pay for damages caused by Vash, track him down for the purposes of minimizing the chaos he causes. Upon catching up with him, however, the duo discovers that, contrary to his reputation, Vash is a kindhearted goof, and self proclaimed hunter of love and peace, who absolutely refuses to ever take another person’s life, even at great personal risk to himself. Vash continues his travels carefree, helping out whoever he can, with the occasional assistance of Meryl and Milly, as well as a traveling priest known as Nicholas D. Wolfwood, only to one day have an encounter with a mysterious and cruel man known as Legato Bluesummers. Vash soon learns that Legato has hired a group of assassins known as the Gung-Ho Guns to kill Vash, and leave a trail of bodies wherever they go, seemingly for the sole purpose of tormenting Vash. As Vash hunts down Legato, he is gradually forced to face his past, and consider whether he can truly stay committed to his pacifist ideals. In general, Trigun is just a very, very well made series. It has a likeable and developed cast of characters, with special mention going to Vash, who is a very compelling and sympathetic character, and Wolfwood, who makes a great foil to Vash with very interesting development of his own, with characters outside of the main cast being memorable as well, from Legato himself, to even some of the more minor villains, such as the varied members of the Gung-Ho Guns, or Brilliant Dynamites Neon, who makes an inexplicably strong impression for a one off villain not even important to the overall plot. The space western setting is quite good, and the designs are great, with many villains having distinctive looks that further help them make an impression. The action is great, and the animation is also quite good, and has that 90′s anime charm. The dub, while a bit rough around the edges, is generally solid too. From Lia Sargent as the ditzy but kind Milly, to Dorothy Elias Fahn as the hotheaded Meryl, to Jeff Nimoy as the weary Wolfwood, to Richard Cansino as the calculating and disturbing Legato, with special mention needing to go to Johnny Yong Bosch as Vash. Despite it actually being his first voice acting role ever, he does a great job in portraying the many sides to Vash, and absolutely sells many of the biggest moments in the story. Speaking of which, the series started quite lighthearted and wacky, with the first four episodes actually being filler, but gets gradually darker as it goes on. The earlier episodes are still quite enjoyable on their own, though, and manage to slowly reveal new aspects to Vash in each one, before finally setting his nature in stone in episode 5. What really sells the series and makes it so memorable, however, are the themes it explores, of the practicality of unwavering pacifism, and whether taking a life, whether for heinous crimes committed without remorse, or with the purpose of protecting others, is ever justifiable. While quite a few series have touched dilemmas like this before, what makes Trigun stand out with it is the emphasis placed upon it throughout the whole series, with many episodes touching upon it in some regard. It genuinely fairly looks at the different sides of it all, and the consequences of each, with many emotional moments coming from it as a result. While the manga did ultimately take a very different turn from the anime, the anime actually preserves several of the most important plot moments, and manages to come to a satisfactory conclusion of its own regarding the themes. Ultimately, Trigun makes for a very fun and interesting watch that I highly recommend. And with that, my ranking is complete. With the exception of Robotics;Notes, I can pretty confidently recommend every show on this list. Got some more shows I plan to get through soon, so another ranking like this may be soon in the making. Either way, till next time. -Scout

#anime #trigun #nichijou #haruhi suzumiya #the melancholy of haruhi suzumiya #soul eater #robotics;notes #long post

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vasiliquemort · 3 years

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Can I have some more Margot headcanons ? 💖 I'd love to know more about his domestic and practical skills ✨ Love the Huldra boy 💞

Yes! Yes, yes, of course - as much as you like!! *--*

I love to talk about my sweethearts so much - and, as always, I tried to answer both the question, and a little (or maybe not a little;зз) more, parts about different things - about household talents, about personal habits, about temperament and motivations, about the past, about the future.

I sincerely hope you’ll enjoy it - thank you so much for making me so happy today, you are just a treasure!

Please, bever hesitate to ask more - about anyone, anything, short ideas, or full drabbles - it's always an absolute delight for me~~

Margot is one of those people who seem to be visually restless - but in reality he carefully controls everything that concerns his personal interests. He has many rudiments that would help him cope with home economics - he carefully and enviously observes Edwardis and his place in the coven, memorizing and using everything he can learn.

He is thorough and attentive in everything that his hands touch - it is important for him to control his life, to be confident in his place, but he tries not to let anyone observe his personal affairs - in a closed society of northerners, everyone follows their own corner carefully and zealously like a kite. Margot himself is gentle, but at the same time carefully keeps his distance when it comes to something that is important to him - usually he tries to remain invisible and does not like when someone is watching him, so you will rather notice how he escapes from prying eyes than the very process of his studies.

Margot was once an early riser - but in the constant fog and darkness of Nimrode, his sense of time faded away, he feels constantly sleepy and like a ghost. He quickly gets lost and needs the attention of other people - as a huldra, he is hardy and can go without sleep for a long time, but the longer he is deprived of rest and comfort, the more complex and animal his temperament and train of thought.

Margot does not like public signs of affection - for him all forms of adoration are much more difficult than it seems. He is calculating, but always invariably affectionate in the eyes of the archon - but it is much easier for him to give attention and affection than to accept, he is distrustful and feels uncomfortable if he is singled out or shows special attention in front of other people, although he always allows himself to emphasize his place and privilege.

He knows how to cook - but to a greater extent, cooking does not give him any warmth, for him it is just a daily need. He knows what it feels like to be hungry in the north, and he is amazingly smart and careful when using his own supplies or helping with food issues in the coven.

Usually Margot always dines quickly and alone, but the situation is completely different if the Archon invites him to their place - for the northerners this is a form of intimacy and courtship, and in this case Margot will treat the process completely differently. When he stops feeling cut off from society cooking for him becomes a form of intimacy - he is especially talented in simple but tasty pastries, and he knows how to make warm teas and uzvars in a special way.

Do you want to cook together?.. Oh wow. For Margot, this is something very special - be with him, show that you care and consider him a part of your life, and although he will not give any special look (the more you push him closer, the more cautious and outwardly detached he becomes), he will remember this for a long time. If you do something together - cooking, doing greenhouse work or handicrafts - he becomes surprisingly quiet, but especially cozy and warm at such times. He stops flirting or touching at all, but there is something gentle, very familiar and close in his stealthy gaze and soft, calm face and hand movements.

Margot has restless hands - when he is being watched, he carefully restrains himself, but as soon as he relaxes, they flutter like birds when he talks. Alone or in moments of rest, he always does something with his hands - he often spends hours knitting with threads and vines, weaving, sorting and tying herbs, at the same time he completely ignores embroidery (considering it a pointless killing of time) or cooking (he.. he does not like to waste food if he cooks only for himself)

He doesn't need help. No. Just, please, do not touch him when he is doing something on his own - if he loves you enough not to consider your actions a mockery, he will still refuse - he sees a meditative and calming meaning in many things, do not take it away from him. He likes to spend time in silence and in his own thoughts, when he does something for himself, for his home, every action seems to be a ritual, with a special meaning in his eyes. If he is not alerted, it will be much more difficult for him to switch - but he will be infinitely happy and grateful for your company and the feeling of security and warmth that you generate in him.

Margot is a solid contrast, as soon as you begin to get to know him better - he is amazingly sociable and attentive, he has a bright, changeable temperament, but he prefers to spend time alone and always carefully chooses words and monitors his actions. He is not at all like Tizian - he does not like to play with other people's attention and feelings in the open and he lacks that passion and brightness of temperament, and although he is soft and sympathetic, he tries to remain invisible in the eyes of the majority.

Oh, and, of course, Margot is very calculating in everything he does or says - everything has a special meaning, a special idea, he knows how to achieve someone else's sympathy, imperceptible but murderous, methodically and persistently. Tizian is his opposite, although they understand each other too well - it is much more common for him to play his own games with the public, he is exponentially pleasant and easy to love, but with whom he wants to conquer, he is amazingly open and honest - in his true character there is all the necessary simplicity and passion, while Margot is quieter and more affectionate inside than it seems, and it is much more difficult for him to reveal himself without expecting a blow.

Margot is amazingly well versed in trade and many types of handicrafts, and he lives with a special, very important idea of him and his full, like a cup, home. He is not very worried about his own comfort - he easily gets used to many things, but he desperately and passionately needs a family and the fact that all his loved ones lived in pleasure and prosperity. His understanding of prosperity is far from luxurious, through, but he is attentive to many little things - and he does everything on his own. He is versed in weaving and sewing, in caring for many plants and host animals, in the preparation of wines, cheeses, tea, food for the long winter, he knows how to take care of the house - with simple and affordable materials, but he carefully whitens the walls and looks after the wood, knows how to properly build a roof and lay a stove.

There are a thousand things that he learned from people from his very youth - in the meadows and mountains of soft, gentle Galicia, but he still feels defenseless and weak under the cruel, crushing storms of the islands of fog, for them they are wild beasts that he inexorably wants to conquer, but so far I have to carefully, daily and tirelessly follow.

He is a huldra, a child of the forest, but he desperately and with horror opposes the animality, the unconsciousness of his nature. The spirits of forests and lakes are close and dear to him, he understands and hears their whispers, when he walks past the windows at night, they call and want to take him with them - but there child of the forest loses himself, he feels like a ghost, led by the unconscious - and there he cannot have family or desires, the future does not await him and he, like Mavkas and Leshyns, is lost in eternity and immutability of roots. He can teach the archon his talents how to talk and honor the old gods - their mother will push them if necessary, but Margot always turns away and refuses to look the ancients in the eyes longer than he needs. He will easily lead a person out of the darkest forest, teach how to survive in wilds months or even years - but he himself will prefer to live in a human society, in the tight quarters of the south or the thick walls of the north, so as not to lose himself, in order to feel real, true and living.

I see that Margot's main instrument of conquest is his touch and the feeling of comfort next to him. He does not know how to strike brightly and outright with charm or words, but he goes to the Archon methodically, persistently - it will seem to them that they are holding him at arm's length, but as soon as he leaves, they are cold and their life seems to be falling apart. It is amazingly easy and pleasant to get used to warm and gentle hands, to unchanging tea and well-fed food, to the tranquility and safety of their home, to infinitely caring and attentive eyes.

Margot is considered beautiful - someone who is very invisible at first, but who is absolutely pleasant to look at - he has bright eyes and an delightful, soft smile, his skin is chapped from frost, yet with a warm blush, and his voice is iridescent like a stream. He likes to grow his hair, imitating secunds - but he invariably puts it in buns and tied up braids, he dresses in his own neat and simple way - over time he wants to get lost less and finds things that emphasize the maturity of his character and the desire to show his place among people.

He is not capable of magic in the usual sense of the secunds - but he has a huge storehouse of weapons that he can use for his own sake. Potions and poisons (Burn other people's lungs with vapors? Secretly deprive sleep and mind with amok’s mist and anxiety poured into the cup?), charms and runes, and hordes of fellow spirits, into whose eyes he peers and sees their insides, as in the palm of his hand. Margot has powerful patrons of islans, revenge for him is methodical and similar to a ritual, but even so - his temperament is explosive, and his hands are a stone if he feels in danger. He hides under his own gentleness, indicative of defenselessness among magicians and sorcerers, but this way it is easier for him to get close to someone who came to ruin and desecrate his nest - Margot, like the other huldras from legends, will easily roll the iron into a hook and break a man's spine like a twig.

#secunda #visual novel #ask #margot #headcanons #margot x archon #margot x reader #imagines #dark fantasy #gothic #requests #domestic #tizian

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goneseriesanalysis · 3 years

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Drake Merwin

I am soo sorry, this is super late but I got incredibly distracted with reading and forgot that literally anything else existed. Drake was a really hard character for me to analyse because his characterisation was just so disappointing to me - but luckily my intrinsic desire to have everyone hear my opinions prevailed, and so here it is. I hope you enjoy!!

Spoiler Warning: Major spoilers for Gone, Minor spoilers for the rest of the series and the monster trilogy

Old Opinion: I had a sort of morbid obsession with Drake and thought he was a top-tier villain

New Opinion: So far Drake is tied with Astrid for most-changed opinion. His character has almost no-depth and could be placed in almost any story without changing a single thing about him - and it would make sense. I found myself desperately trying to make him more interesting than he is in an attempt to justify younger me’s obsession - but alas I was unsuccessful. He had a lot of potential, but instead he ended up as a copy-paste villain with no realistic motivations and no real intrigue.

1.) DRAKE’S APPEARANCE:

Drake is, I think, the character who is best (as in most thoroughly) described in the first book. Not only do we get an idea of his actual appearance beyond the vaguest possible descriptions (sorry to Sam, Caine, Diana and every minor character) but we also get some idea as to the effect his appearance has on other people.

In Chapter 14, when we are first introduced to the Coates kids, Drake is described as, “a smiling, playful, mean-eyed kid with shaggy, sandy-coloured hair.” I actually really like this description. Contrasting “smiling” and “playful” with “mean” really brilliantly sets Drake up to be a complex villain – the kind of villain we all love to hate, who cracks a joke while slitting your throat. It has the implication of a layered personality but sadly, this is not the villain we get. In fact his character in the first chapter compared to the character we get as the book continues is so drastically different that it almost seems like mg did a complete 180 on his character. An original description is supposed to give us some indication as to what a character is like – their personality and role in the story, and we know that mg can do this really well. (Sam’s non-descript description setting him up to be the underdog, Quinn’s mismatched attire hinting at his inability to fit in, Astrid’s colour scheme reflecting her innocence and religiosity), and so it seems particularly odd, not to mention disappointing, that Drake’s description gives us…nothing. No real indication as to who he is or his purpose other than to hint to him being an antagonist (which we already guessed from his affiliation with Caine.) I could go on and on about what a waste Drake’s character was, but I’ll save it for a later paragraph.

We will then skip ahead to Chapter 37 where both Howard and Lana describe a similarity between Drake and Pack Leader:

“The one time she had seen Drake Merwin. He had made her think of Pack Leader: strong, hyper alert, dangerous. Now, the lean physique looked gaunt, the shark’s grin was a tight grimace, his eyes were red-rimmed. His stare, once languidly menacing, was now intense, burning hot. He looked like someone who had been tortured beyond endurance.”

“The two of them, two of a kind, it seemed to Howard, stared holes into each other.”

This is a much better example of mg using descriptions to establish the purpose of a character. By drawing a comparison between these two, mg sets up Drake’s later role in the books, where he replaces Pack Leader as the gaiphage’s right-hand man. This almost leads me to believe that mg had decided very early on that Drake was going to desert Caine and this is possibly why he seems so out of place and underdeveloped as Caine’s underling in the first two books. Mg had already moved on from this side of his character…and it shows. Lana’s description of Drake also works as a basis for showing the reader how he has changed since losing his arm (before gaining his whip) and acts as an insight into his current mental state – which is important as we don’t get much introspection during Drake’s POV’s. But, I still have a few issues with this. First of all, his “lean physique”. Now this isn’t really a problem all by itself, but unless I have forgotten what 14 year olds looks like (which is a possibility though I doubt it) I don’t think that they should be muscly with minimal body fat. And Drake is not the only character he does this with. Quinn gets extremely muscly later on in the books (I’ll admit that there is a plausible reason behind this so this example isn’t terrible but it’s mentioned like every 5 sentences) and in Fear Caine is described as having wash-board abs. Why are we sexualising children?? Children should be pudgy and awkward and still growing into their bodies, not lean and muscly!! The attractive, damaged man who hates women for no reason at all is also a really really really common trope and tbh I’m just so bored of it. It’s not relatable (at least it shouldn’t be) and it’s just really unimaginative – although it does help us to understand Drake’s character as we’ve seen him before so many times in all types of media. My second issue with this description is the way it really really highlights how much of a waste of character Drake was. The potential of a high-school bully with a skewed world-view due to the death of his father and the later abuse of his mother at the hands of his replacement father figure trying hard to impress the charming “leader” with unimaginable power (that he so desperately wants) only to be undermined at every turn by a girl who teases him by pointing out his flaws and insecurities taking his anger out on everyone around him (especially women) as a way to cope with his childhood traumas then turning into a heartless monster who not only enjoys others pain but lives for it after being “tortured beyond endurance”, was astronomical. But we don’t get that. Instead we get a cheesy, one-dimensional cartoon villain. The change that his body and mind go through after his maiming should have been pivotal to his character, but that just doesn’t come across in the writing. :/ But more on this later.

And last but not least, the whip-hand, which is very important to Drake’s character. It turns his actual body into a weapon and his excitement over this is indicative of his sadistic nature. Again, I think this is an example of a wasted opportunity. I would have liked mg to have gone in to depth about how Drake’s body undergoing this change affected his psyche (and I’m not counting his one-off line in the monster trilogy). I think it could be argued that Drake’s “change” is a metaphor for him going through puberty. Him gaining the whip that ultimately turned him into his very own weapon shows his transition from a child [a little messed up but still just a kid] into a monster, someone who is capable of committing atrocities without a second thought. It would have been particularly interesting for Drake and Orc’s final battle to put some focus on the fact that they both suffer through monstrous physical changes that can be used to represent their shift from children to young adults but whereas one relishes in this, one is completely disgusted. The whip-hand is described as being an “impossible blood-red snake” and then that “It was stretched. Like it had been turned into dark, blood-red taffy. It wrapped twice around his body.” – Both of these occurring in Chapter 39. I don’t have much to comment about this – other than that I think red is great colour choice for Drake, thematically at least.

I know this point was mostly about what Drake could have been as opposed to an actual analysis of his appearance, but I’m just so tired of the attractive misogynistic villain that seems to appear in every single piece of media. His characterisation really bummed me out and put me into a slump so instead of analysing his appearance I decided to roast him instead. But, onto actual analysis now (I am going to further expand on some of the points I made here I promise).

2.) DRAKE’S PERSONALITY AND CHARACTER

I mentioned in the previous point that a lot of Drake’s characterisation seems like an afterthought at best and one of the things that made me think this, is the inconsistencies with his character and the most obvious example of this is the discrepancies with his birthday. In chapter 20, Diana says that his birthday is “April twelfth, just one minute after midnight.” But, in Chapter 33 we get the line “Sooner would be better,’ Drake drawled, ‘what with me having a month.” This is a really small nit-pick, I know, but it just really bugs me that mg overlooked something as simple as a birthday – especially when birthdays are such an important plot point in this book. But anyway, moving on. I promise this whole review isn’t going to be negative.

Backtracking now to Chapter 14. Drake’s character here seems to differ quite drastically from his later characterisation. He seems here to be an example of the laughably evil trope, he has a kind of dry sarcastic humour that is quite fun and seems to lighten the tone of the story a little bit. Rather than showing us the boringly disgusting misogynistic villain that Drake turns out to be, we instead see a funny, charismatic character who seems to prefer picking on those who already have power – as is seen here:

“Drake paused halfway, turned back, and spoke for the first time. In an amused voice he said, ‘Oh, um, Captain Orc? Have your people – the ones who aren’t injured- line up outside. We’ll work out your… um, duties.’ With a grin that was almost a snarl, Drake added a cheerful, ‘Later’.” – Chapter 33

Now I understand that the reason we don’t see the real Drake here is because Sam is obviously not yet aware of his true personality – my issue lies in the fact that based on just this small excerpt here, I expected so much more from his character. We get hints of his sadistic nature here, with him joking about Cookie’s horrific injury and clearly taking joy in exerting power over Orc, but it is evenly balanced by the fact that he’s kind of amusing and we don’t really like Orc at this point anyway. Can we see that something isn’t quite right with him?? Yes. But do we kind of like him anyway?? Well I did. At this point. I would have really loved it if mg had carried on this idea of Drake abusing those who already have power – him enjoying to take down bully after bully so he can be King bully, instead of him picking on people who he perceives as weak and vulnerable. Mg relying on misogyny as a motivator is just really disappointing to me because there is no depth to it, and it’s pretty lazy. He hates Diana because she is a woman and he sees women as beneath him?? Weak. Over-used. Dull. He hates Diana because she has power over Caine in a way that he never can, which makes him feel insecure in himself and the fragile sense of stability and power that he has struggled to cultivate within his damaged psyche?? Yes pls. Not only would this have made Drake a much more engaging character, but it would also have made his desertion of Caine in hunger much more impactful. And while I think there are aspects of this within his character, which I will go into later, I wish there had been more of it. Again, I’m sorry that this has become more of a “what could have been” rather than an analysis but there really is just so little to analyse without just pointing out obvious facts and statements. There’s no spice here :/

Moving on now to Chapter 16, where we as an audience, as well as the characters within the book, begin to realise what Drake truly is – an unhinged madman. We are told by Sam that Drake has been abusing his power as Sheriff – which particularly stands out as, so far at least, Drake is the only member of Coates who has shown this kind of behaviour (Caine is actually a pretty sound leader until he loses his shit and attacks Sam). And this is the first major distinction that we get between Caine and Drake and their capacity as villains in the story. Caine is a bad person who will do bad things to achieve his goals, he is power-hungry and ambitious but he is not needlessly violent. Everything he does he (in his own mind) is able to justify as it helps him to achieve his vision. Drake, on the other hand, doesn’t really seem to have an end goal. He is violent for the sake of being violent – he is a sadist who enjoys the suffering of other people as we see here, “Drake was more than a little scary. Kids who defied Drake or any of his so-called sheriff’s had been slapped, punched, pushed, knocked down or, in one case, dragged into a bathroom and given a swirlie. Fear of Drake was replacing fear of the unknown.” Now, we still don’t get to see the full extent of Drake’s madness here. Most of the crimes listed are pretty mundane bully things – they’re still wrong, but they aren’t life-threatening. He hasn’t bashed anyone’s head in with a baseball bat. While Caine is playing with politics, Drake seems unable to move past his role of high school bully. If he had played it right, the role of Sheriff would have been perfect for him. I mean, how many actual police officers get away with literal murder in the name of “upholding the law”?? But he is unable of seeing the bigger picture, unable to grow and fit the new world order as Caine does so naturally, and so, instead of properly taking on the role of Sheriff and building up his own authority in this way, he turns back to his tried and tested method – hurt them and they’ll fall in line.

I particularly enjoy this as I think it explains, a little bit more, why he hates Diana and Astrid so much. Now I know the bottom line is simply that he is a violent misogynist – but that doesn’t explain why he hates Diana and Astrid specifically. Is it because they’re both attractive women and he is unable to distinguish sex and violence in his head?? Partly yes, but then Taylor is also described as attractive (and most people find her annoying) and yet he doesn’t seem to hate her to this extent. I think the real reason he hates these two specifically, more than anyone else, is because he simply cannot understand them – and that scares him (although he is unwilling to admit it). Drake only knows how to gain power through violence – he sees this work at home, he used it on Holden, he used it to gain his reputation at Coates and, although he has the ability to gain authority in other ways, he continues to use this method even now in the FAYZ. Diana and Astrid cannot do this, they are not fit to fight, they are not able to use violence to assert their status – and yet they both have more power in the FAYZ than he does. They make him question his whole world view and, as he cannot or will not adapt to the new hierarchy of the FAYZ, he resorts to trying to destroy them, in order to return the world to what it was before. His hatred of others gaining power through (what he sees as) unconventional means is then further established with his dislike of actual powers and the people who have them:

“I’m sick of all this powers crap. You saw what we did to freaks at Coates?? Who do you think it was that took care of that?? All these kids with their stupid so-called powers. Starting fires and moving stuff around and reading your mind and all?? Who do you think it was grabbed them one by one in their sleep and beat them down and when they woke up their hands were setting in a block of cement??

[…]

That’s right. And I didn’t even have a gun then. It’s not about who’s got powers, morons. It’s about who’s not afraid. And who’s going to do what has to be done.”

We get told by Diana that it was Drake’s idea to cement the kids in the first place (and a bad one at that) and I really think that is all the evidence you need to see that Drake’s hatred and fear all stem from his complete inability to adapt. He is trapped in a cycle of abuse that started with his father, a police officer who teaches him how to shoot people (however unwillingly) and is then continued by his step-father (an actual abuser) rendering him incapable of recognising any kind of authority if it is not gained from violent means. And so of course he hates the powers – none of the kids gained their powers through suffering or through causing suffering. They didn’t earn their authority in any valid way, according to him. (This is also another reason why I think Drake was so ecstatic at gaining his whip-hand. He suffered for it and therefore, in his twisted mind, he earned it. It is physical proof of his supposed power over these kids.) It’s tragic really – but mg then goes on to make him so disgustingly unsympathetic that his story loses its meaning. I love mg’s writing but Drake’s character truly was butchered for shock value and plot convenience and it makes me so sad.

Ok back to Chapter 16. Here, not only do we hear about some of the things that Drake is capable of, but we see them as well. His beat-down of Orc is the first indicator we get that Drake is someone we should really be afraid of. Heads up, this is a long quote:

“Nobody move,’ Drake said. Orc pushed Edilio off and jumped to his feet. He started kicking Edilio, landing size-eleven Nike blows into Edilio’s defensive arms. Sam jumped in to help his friend, but Drake was quicker. He stepped behind Orc, grabbed him by the hair, yanked his head back, and smashed his elbow into Orc’s face. Blood poured from Orc’s nose, and he howled in rage. Drake hit him again and released Orc to fall to the concrete. ‘Which part of “nobody move” did you not understand, Orc?’ Drake demanded. Orc rose to his knees and went for Drake like a linebacker, Drake stepped aside, nimble as a matador. He stuck his hand out and said to Chaz, ‘Give me that.’ Chaz handed him the bat. Drake hit Orc in the ribs with a short, sharp forwards thrust of the bat. Then again in the kidneys and again in the side of the head. Each blow was measured, accurate, effective. Orc rolled over on to his back, helpless, exposed. Drake pushed the thick end of the bat against Orc’s throat. ‘Dude. You really need to learn to listen when I talk.’ Then Drake laughed, stepped back, twirled the bat in the air, caught it and rested it on his shoulder. He grinned at Sam.”

“Sam had gone up against bullies before. But he’d never seen anything like Drake Merwin. Orc outweighed Drake by at least fifty pounds, but Drake had handled him like a little toy action figure.”

Orc has already been established as the top bully in Perdido beach – we’ve already seen that our main character is afraid of him – and for good reason. And so for Orc to be defeated so casually and so easily is shocking. It lets us know that the old world order has collapsed and old fears are fading away with it, with new, much more threatening adversaries taking their place. I actually think that this scene was exceptionally clever of mg. Drake is attacking someone who has already been set up as an antagonist, at the same time rescuing Edilio, who the reader has been conditioned to like. But, through context clues, we know that this is not a good thing. It sets up the villainous nature of the Coates kids, Orc’s redemption, Drake and Orc’s rivalry and Sam’s fear of Drake. And it feels natural, even after re-reading the book multiple times. It’s scenes like these that really remind me how great of a writer mg is.

Another thing I really wanted to talk about here IS Drake and Orc’s rivalry because, yet again, I think mg missed a huge opportunity with this. Drake and Orc are very similar before, and in the early days of the FAYZ. Both have abusive fathers (a step-father in Drake’s case but still), both enjoy asserting their power over people through violent means and both are put in positions of power that they are unable to fully take advantage of – Sheriff and Sheriff Deputy. And even as the books continue, similarities can still be found. They both suffer mutations that turn their bodies into grotesque weapons, dehumanising them and alienating them from their peers and That Scene in Plague tells us that Orc and Drake sometimes have similar “desires”. Their stories are constantly intertwined, with them being played off of each other from the start and Orc becoming Drake’s jailor later on (and in turn Drake sort of becoming his). Their differences come from their reactions to the horrific acts of violence they have committed – and of course why they do them. I’m going to make a whole separate post on this because it’s long enough to be a standalone, but my I just wish mg had played up both their similarities and differences more. It would have made Drake so much more interesting.

We also get more hints at his sadism in this scene. He is later unbothered that Betty has been hurt and it seems that the only reason he attacked Orc was because it gave him an opportunity to assert his dominance over him. All in all, this is one of my personal favourite scenes in the book as it establishes characters, themes and relationships very well. I just wish some of these had been developed further – but mg dropping certain aspects of the story does seem to be a common problem.

The final thing I wanted to talk about in regards to Drake’s personality and character is this line we get in Chapter 23, “It was small, just two bedrooms, very neat, very organised, the way Drake liked things.” This was another thing that irked me slightly. It’s such a small aspect of his characterisation but it reinforced the idea that drake is just another cookie-cutter villain with no real personality, nothing that makes him stand out in the sea of white male psychopaths with a hatred for women. His whole character could be replaced with any other misogynistic psychopath at no detriment to the story. My immediate though when reading this was that even the smallest aspects of his character can be seen in other, more developed villains – this line in particular is hugely reminiscent of Patrick Bateman. Nothing seems to be his own. No aspect of his character is even remotely unique. (I think this may also be why some young fans develop an obsession with him. His character is comfortable because we’ve seen it so many times before.) He is so entirely replaceable and replicable - only reason he isn’t completely forgettable is because you are constantly plagued by the horrific things he has done. Mg sacrificed depth and development for shock value and it’s so disappointing

3.) DRAKE’S PAST

Onto Drake’s life before the FAYZ. Not only does Drake receive some of the longest and most POV time in this book, he is also the character whose life before the FAYZ we learn the most about (with the possible exception of Sam). This is especially shocking to think about seen as Drake is arguably one of the most underdeveloped characters in the whole book, but anyway. There are two scenes I’m going to talk about here, both occurring in Chapter 23, with the first being his dad teaching him how to shoot. I apologise in advance for the long quote:

“His father had taught him how to shoot, using his service pistol. Drake still remembered the first time.

[…]

He remembered the way his father had taught him to grip the butt firmly but not too tight. To rest his right hand in the palm of his left and sight carefully, to turn his body sideways to present a smaller target if someone was shooting back. His father had had to yell because they were both wearing ear protection. ‘If you’re target shooting, you centre the front sight in the notch of the rear sights. Raise it till your sights are sitting right under your target. Let your breath out slowly and squeeze.’ That first bang, the recoil, the way the gun jumped six inches, the smell of the powder – it was all as clear in Drake’s mind as any memory he had. […]

‘What if I’m not shooting if I’m not shooting at a target?’ He’d asked his father. ‘What if I’m shooting at a person?’ ‘Don’t shoot a person,’ his father had said. But then he relented, relieved no doubt to find something he could share with his disturbing son. ‘Different people will tell you different techniques. But if it’s me, say I’m doing a traffic stop and I think I see he citizen reaching for a weapon, and I’m thinking I may have to take a quick shot? I just point. Point like the barrel is a sixth finger. You point and if you have to fire, you shoot half the clip, bang, bang, bang, bang.’ ‘Why do you shoot so many times?’ ‘Because if you have to shoot, you shoot to kill. Situation like that, you’re not aiming carefully for his head or his heart, you’re pointing at the centre of mass and you’re hoping you get a lucky shot., but if you don’t, if all you’re hitting is shoulder or belly, the sheer velocity of the rounds will knock him down.”

Ok so the first thing I want to analyse here, is how important this memory clearly is to Drake. He remembers it fondly, in immense detail and seems to call back on it when he needs to clear his head (notice how this memory is placed while Drake is trying to figure out what to do, not while he is doing it.) It seems that rather than just using this memory as a source of useful information, it is also a source of comfort to him. Now there are some things that I really wish mg had told us that would help to analyse this scene better, like: How old was Drake when this memory took place?? How old was Drake when his father died?? How did his father die?? But alas, we don’t know these things (at least not that I’m aware of, and not within this book) so I’m going to try and do the best I can with the information that we have. Now, in Light, Drake makes it seem like his step-fathers behaviour has been significant in forming his worldview – which makes sense, trauma does that. But he spends half of his time away at Coates, which says to me that for this behaviour to have had such a profound effect on him, his step-father must have been around for a while. Right?? I’m gonna take a guess at 3-4 years at the least. Give Drake’s mother about a year to meet and start dating this man after the passing of her husband – this means that Drake would have been around 9/10 at the latest when this scene took place. That’s pretty young. Like, this is a formative memory and from the way it’s written, it seems like this may be some of the only bonding that Drake and his father ever did together. No wonder Drake has such an unhealthy obsession with guns as is seen with these quotes:

“He started from Astrid’s house, which was already beginning to smoke. He worked his way methodically, a hunter, looking for any movement. Each time he spotted someone walking or running or biking, he would take a look at them through the rifle scope, line them up in the crosshairs. He felt like God. All he had to do was squeeze the trigger.” – Chapter 23

“Drake kept all three guns loaded all the time. They were set out on the dining room table, a display, something to be gazed at lovingly.” – Chapter 23

“Drake could not leave the gun alone. He kept thumbing the safety on and off. He rolled down the window and aimed it at stop signs as they passed, but did not fire.” – Chapter 31

Drake shooting Sam and his gleeful reaction – Chapter 34

For him, guns are the ultimate symbol of power and authority. He was introduced to these weapons of incredible power at such a young age – of course he loves them. That being said, it seems that Drake has always been “disturbed” so I suppose we can’t fully blame his father and step-father for his mind-set – and I have to say I don’t really like this. Drake’s issue as a character is that he is completely de-humanised by all the horrific things he does. By having it seem like Drake was irredeemable from the off-set, it just adds to this idea and again removes any possible depth or character development. Imo it would have been much better to present Drake as becoming the way he is AFTER his father’s death. It would bring a sense of tragedy to his character – the way he uses his father’s advice to hunt down Astrid would seem less like a by-product of his sadism and more like a misguided attempt to feel connected to his deceased father.

However, flawed though it is, this scene does give us some insight as to why Drake is the way he is – through the characterisation of his father. Admittedly we don’t get much, but one line really stood out to me, “Because if you have to shoot, you shoot to kill.” Ummm..sir?? I don’t think that’s how police officers work. Isn’t your goal to incapacitate – not to just kill on sight?? The fact that he not only stands by this rule himself, but also gives this advice to his CHILD is disconcerting. Drake is not only receiving this harmful rhetoric from his father figure but also a police officer. Someone who is meant to uphold the law. I think this links back to my earlier point on how Drake only recognises authority if it is gained by violent means. While we get no indication that his real father was ever violent to Drake or his mother, he openly tells Drake that when he is upholding the law (in this hypothetical situation) he does it by using force. That is a dangerous thing to tell a child, especially a child who you already think is disturbed. This twisted-take on a father-son relationship nicely sets the precedent for Drake’s warped perceptions, I just wish it had been developed further. And this leads us nicely into the next scene – the shooting of Holden:

“He remembered with vivid, slow-motion detail the time he had shot Holden, the neighbour’s kid who liked to come over and annoy him. That had been a bullet to the thigh, with a low-level calibre gun, and still the kid had nearly died. That ‘accident’ had landed Drake at Coates.”

Again, first and foremost I just wish we had a little bit more information. It is not clear whether this situation occurred before or after his father’s death – which seems like a pretty important detail to me. Although, we don’t actually find out that Drake’s father is dead within this book, and this omission again makes me feel like mg adding that detail was little more than an after-thought. It feels like in Light he wanted to quickly try and make Drake more of a sympathetic character and so he added in an abusive step-dad to try and tone down or at least explain Drake’s violence and misogyny. It seems like Drake is a plot-point first and a character second and the lack of detail here really highlights that for me. What purpose did these scenes really have in the story?? They did very little to flesh out his character, they introduced no new themes or relationships. It seems like mg just wanted to let us know – “Hey! Drake knows how to use a gun. That’s gonna be important later.” That being said, there are a couple of other things I would like to quickly mention. Firstly, I think the fact that Drake did not aim to kill Holden, even though he could have, is meant to be indicative of his change between then and now. It’s done to tell us that Drake wasn’t always this bad – there was at one point some hope. For this to have the desired effect though, I really think mg should have waited until after Drake lost his arm to straight up try and murder Astrid and Little Pete. Like, you can’t tell us that Drake was a little messed up but still redeemable before his maiming and then go and have him try to kill a random girl and her five year old brother. Because that’s more than a little messed up (and that’s not even mentioning the cementing). And it also contrasts the idea that Drake has always been disturbed. An idea that was introduced to us not even a page ago!! The other thing I wanted to pick up on, which I actually quite liked, is the ambiguous “who liked to come over and annoy him.” Because this is Drake’s point of view – so “annoy” could mean anything. Was Holden actually just an annoying kid?? Was he just trying to be Drake’s friend?? Or was he actually a bully and Drake doesn’t want to admit it?? I guess we’ll never know.

4.) DRAK’ES MOTIVATIONS

For this point, I wanted to focus on three particular motivators: Caine, Diana and Astrid. These are the three people, I believe, who provide, either consciously or unconsciously, the motivation for his actions within the FAYZ. I’ll start first with Astrid and Diana, the two people who Drake hates the most. Throughout this book it is clear that Drake has no real goals – he has no desire to be in control like Caine, no desire to re-invent the world like Albert. All he wants is to cause pain, with his preferred targets being these two. And, as I’ve said before, I think this is partly because he hates the authority that they have within the FAYZ – which stems from manipulation and intelligence rather than violence.

In Chapter 20, Drake explains his hatred for Diana, “Drake had made the time to check out Diana’s psych file the day after the FAYZ came. But her file had been missing by then. In its place she had left Drake’s file lying open on the doc’s desk and drawn a little smiley face beside the word ‘sadist’. Drake had already hated her. But after that, hating Diana had become a full-time occupation.” What I take from this scene, is that Drake’s loathing stems from Diana’s ability to get under his skin, to make him feel inferior – to annoy him. (Perhaps Holden had a similar talent). I’m going to assume that his prior hatred of her can be boiled down to his misogyny and his disgust at Caine’s weakness for her, both of which have been explicitly stated in the text. His hatred after this though, comes from a pretty mundane incident. I mean all she did was get there quicker, and do exactly what he was going to do to her. And so I think this loathing is less about what she did and more about his own personal reaction to it. Diana was able to weaponise Drake’s own anger against him – to make him feel inferior and powerless. She challenges Drake’s fragile perception of authority and takes a diagnosis that he seems to not only be ok with, but is actually proud of, and makes him feel embarrassed. His whole perception of power is rooted in the idea that his ability to inflict pain on others with no guilt or remorse is what makes him better, it is what gives him his power. But she takes this idea and belittles him for it and so his initial reaction is to attack. This is an idea that is again seen with Astrid. Astrid intentionally tries to make Drake feel inferior by bringing up his biggest insecurity, Diana’s treatment of him “Doesn’t it bother you that Diana treats you like some wild animal she keeps on a leash?” And she does escape him – twice. Her and her autistic brother (and we already know how Drake feels about autistic people). She also proves herself to be more intelligent than him, in their little argument over the r-slur. Drake only gets violent after he realises that, in an intellectual sense, she has more power than him. It seems to be his defence mechanism just as much as his pleasure – and therefore Astrid and Diana’s power over him motivates him to use it.

Now onto Caine. Caine and Drake’s relationship is, for me, one of the most interesting aspects of Drake’s character and while I’ll only be mentioning it in its capacity as a motivator here, I have a whole post planed out for it. Drake seems to simultaneously hate Caine and admire him. He is constantly looking to impress him and the only time we ever see Drake think about betraying him in this book is when Caine gives his attention to Diana rather than Drake. And, because of this, I can kind of understand why people ship them (although I personally dislike the idea of Drake being gay). A lot of the time this motivation is completely unprompted by Caine himself, like in these quotes:

“Drake cursed and, again, for just a moment, felt the almost desperate fear of failing Caine. He wasn’t worried about what Caine would do to him – after all, Caine needed him – but he knew if he failed to carry out Caine’s orders, Diana would laugh.” – Chapter 23

“I got him’ Drake announced. ‘I got them all.’ ‘Yes, you did,’ Caine said. ‘Good work, Drake.” – Chapter 34

In Chapter 23, it seems that both Drake’s need to impress Caine and his need to prove to himself that he is better than Diana are his main motivators for his extreme attack on Astrid. I think it’s important to note that he only planned on trying to catch her, until Caine told him to kill her. His sadistic nature is brought out in full because he needs to prove himself to Caine. But why does he?? If he is planning on taking over from Caine in the end, why does he have a “desperate fear of failing Caine”?? Sure, part of it is his desire to prove himself to be better than Diana. But even this has roots in his absolute need for Caine to take notice of him. Drake is drawn to Caine because of his power and authority over people. Caine seems to be the closest thing that Drake can get to an equal, someone who shares the same motivations, ambitions and worldview (of course Caine and Drake do not share these things, but Drake doesn’t realise this…yet.) He seeks validation from Caine because he wants to have these things in common with someone – yet another motivation for his hatred of Diana as she constantly gets in the way of this.

We also know that Caine is, at least, partly aware of his effect on Drake. He is paranoid that Drake will turn on him (because Caine sees being equal to someone as relinquishing power) and he is able to manipulate Drake’s misguided feelings when he wants to – most notably in Chapter 36:

“It’s not Diana or Chunk or even me,’ Caine said. ‘It’s none of us, Drake. It’s Sam. It’s Sam who did this to you, Drake. You want him to get away with it? Or do you want to live long enough to make him suffer?”

This is such a clever moments as it sets up Drake’s whole character in Hunger, and it’s false. Because yes, Sam is the one who burned Drake’s arm and Drake has every right and reason to hate him. But it was Caine who abandoned him to save himself. And it was Caine who refused to let Drake die, even though he was begging for it (and let’s face it, he didn’t refuse to kill him out of any affection – it was a selfish decision.) But Drake is so desperate for that equal, for that validation that his worldview is correct and is shared by another person, that he just idk forgets?? He never brings up this conversation again and just accepts Caine’s word as gospel. I have so much more to say about their relationship but, as I said, I’ll save it for a later post.

5.) DRAKE’S MENTAL STATE

And finally, we have Drake’s mental state. Now I’m not going to try and give him an official diagnosis or anything, but I wanted to make a small point specifically about his mental state after his maiming. I think we can all agree that what Drake went through was pretty horrific, and while I personally struggle to feel any amount of sympathy for him due his own list of horrific crimes, the change he goes through after this is extremely significant, or at least it’s supposed to be. I think mg wants us to believe that Drake’s descent into madness was directly cause by the loss of his arm, and that before that he did have the chance to be redeemed. I think whether you buy into this depends on how forgiving you are, but I want to focus more on the actual proof of change that we see.

I’ve already talked about the physical changes he goes through, and the implications of this so I’m going to focus solely on his mental state during and partly after the whole ordeal. I think the first and most important thing to talk about is the fact that Drake didn’t actually want to survive:

“Don’t cut off my arm,’ Drake cried. ‘Let me die. Just let me die. Shoot me.” – Chapter 36

He would rather die than lose his arm (his gun arm to be specific). Now, while I don’t doubt that the burning was indescribably painful, I’m still not sure that the majority of people would beg for death. Especially when an alternative (in this case losing his arm) is presented. Not to mention, he doesn’t actually talk about the pain when begging for his death – what he talks about is the loss of his arm. Of course it could be argued that the reason he didn’t want his arm to be cut off is because he knew it would mean more pain, but I don’t think that this is the case. Rather, I think that Drake is so scared of losing the power that he has, that he would genuinely rather die. This 14 year old boy is so messed up that his own death is preferable to the idea of no longer being able to hurt people. And so when he gets his power back, he doubles down. He has realised by this point what he truly wants, that he would rather die than be rendered powerless, so he begins committing more heinous acts (like attacking the prees). Pair this with the amount of pain that he went through, which most definitely will have had an effect on his already damaged brain, and you can see how a high-school bully became what he did. The groundwork for an interesting and though-provoking character was right here. I think yet again the problem with his character is the execution. Interesting aspects of his personality are dropped in favour of plot convenience and shock value and it cheapens his character as a whole until all the intended nuances are lost and over-shadowed.

I’m really sorry if this is a bit all over the place and not quite as polished as my other posts. I found Drake so difficult to write about and so my thoughts kept going haywire. Thank you so much for reading (and being patient with my brain). I hope you enjoy!!

#the gone series #Drake Merwin #character analysis #gone

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honeyby · 4 years

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Blake’s Words and Character Arcs

Blake describing her friends as the embodiment of certain words is one of my favorite moments in the series. We get to see how she views them, even after everything that happened. Ruby is purity, Weiss is defiance, and Yang is strength. They are the perfect words for these three characters, and part of that is because those traits are such a big part of their personal arcs. And all three of them are challenged on those traits throughout the show (particularly in volume 4).

Ruby’s word is purity and it fits her right away. She’s the youngest and least experienced in how the world works. Her mother is dead, but she was still very young when that happened. There’s an innocence about her in the first three volumes that everything will be okay as long as she has her friends. She knows there’s darkness in the world but she believes light will prevail!

Then comes the end of volume 3, where she sees first hand the brutality of Salem’s forces. She watches two of her closest friends die, sees Beacon falling from the attack and wakes up to find her sister depressed and angry and her other teammates scattered to the wind. The good guys...lost. How can anyone come out of that and still embody purity? She’s seen the worst the world has to offer. But she keeps going. She decides to do what she can to stop the people responsible for Beacon. Ruby watches her friends grieve and pushes down her own grief so she can fulfill her mission.

She doesn’t let what happen make her jaded. Ruby continues to place her faith in her friends and believe that there is good in the world and that that good is worth protecting! She’s willing to give people the chance to help them even when they no one else will (we see this with Raven and Cordovin). Ruby isn’t purity because she’s never been exposed to the darkness of the world. She’s purity because she has but still chooses to believe in the good in people.

As she learns more about her silver eyes it only becomes more apparent. Maria tells her that her eyes exist to protect life, which mirrors Ruby’s general attitude. There’s a beautiful moment in volume 4 where she decides not to focus on the people they’ve lost but instead on the people that they haven’t lost yet as her motivation. She may have lost some friends but she’s going to do everything in her power to make sure they don’t lose anyone else. It all culminates in the moment where she uses her eyes on the Leviathan, failing when she focused what they’d lost and only succeeding when she focused on the good memories that she wanted to protect. She’s able to think about the good times with Pyrrha and Penny and Yang instead of what they lost, to think about her mother and the joy that brings her even though she’s gone. Ruby can find that silver lining no matter how bleak things seem and that ability is her greatest strength.

For Weiss and Yang (and Blake when we get to her) we can actually start at their trailers. Weiss’s fight is a direct result of her defying her father’s wishes. She’s at Beacon because she chose to be, not because she was told to. And yet, defiance is also something Weiss struggles with early on. She’s the most by the book member of team RWBY and by far the least likely to break the rules. Her early non-trailer defiance comes more in her rejection of being who her father wanted her to be.

Weiss makes more progress in volume 3 when she decides to forge her own path and ignore her father. She sacrifices herself to take out Flynt, refusing to let him attack Yang. When Velvet is in danger from the Paladin it’s her sheer determination to stop it that allows her do what she hadn’t been able to do before. She knows it would be safer to stay at the docks but finding Pyrrha is more important. There’s not just one singular thing she’s defying in volume 3; she just continually refuses to back down.

Like the others however, volume 4 challenges her growing defiance. She finds herself going right back to Atlas and the place she fought so hard to escape. Suddenly she’s faced with all these expectations and not-quite demands again and doesn’t feel like she can say no. Much of the defiance she’d gained disappears, and we don’t see it again until she snaps at the party. When Jacques puts her under house arrest she has two options: slip back into the obedient little girl in an attempt to regain her status or reject him and his orders so that she can escape. she chooses the latter, and in her defiance she finally manages to summon on purpose. She could’ve just as easily given up and been obedient but she chooses defiance.

And after she leaves it’s there in full force. She refuses to cower before Vernal and Raven and doesn’t hesitate to talk back to them. When facing Vernal she rejects being labeled by just her name. Come Atlas she’s openly defying her father at every opportunity and questioning Winter’s acceptance of the fate Ironwood has thrust upon her. When she’s face to face with Winter after Ironwood has deemed her and her team traitors she doesn’t hesitate to side with her team. Weiss knows who she is and that person is someone who won’t stand by when Ironwood wants to leave Mantle to die, even if it puts her at odds with Winter who she still deeply cares about. She’s done filling the role others expect her to play.

Yang’s word, strength, is evident from the moment we meet her. She walks right into a club full of armed goons and goes straight up to the guy in charge, knowing she can take them all if she needs to. And she can! Physically she’s the strongest on the team, but when Blake calls her strength she’s not talking about just physical strength. She was old enough to really remember Summer, found out shortly after that her birth mother had given her up, and dealt with a lot of feelings of loneliness as a child. Someone else who went through what she did might’ve turned out cold and distant but Yang is full of warmth and love, and able to use her own experiences to relate to others.

Her emotional strength is also very clear when Blake hesitates to believe her after the Mercury incident. She’s hurt of course, but she’s able to see that Blake has a very good reason for her reluctance and is able to give her that reassurance. It’s one of the biggest ways she and Adam are different. Adam seeks power, but Yang has a strength of character he never demonstrates. Adam relies on control and manipulation for his power where Yang is open and honest and gets her strength from her desire to protect those close to her.

Like the others, Yang’s strength faces a massive challenge in volume 4. Physically she’s dealing with the loss of her arm, but it’s her mental struggle dealing with her PTSD/general fear of getting back out there and dealing with Blake leaving that’s her biggest obstacle. She’s made good progress on the former by the time we see her in volume 4. Like with Weiss, she finds herself at a crossroads early on: does she stay home and keep recovering or does she try to find Ruby? She knows Ruby isn’t alone and she knows that Qrow is with her or at least near her. She doesn’t have to go find her. Ruby understands that Yang needs time to take care of herself. But having that goal, having someone out there she could find gives her a reason to try.

So she takes that first step and decides to work on getting back out there. It’s a step even a famed huntress like Maria wasn’t able to do. Yang’s not completely better at the end of volume 4 or even several volumes later, but by finding the strength to start fighting again she starts really healing. She’s able to find and face Raven and is able to get the relic from her by being not physically but mentally stronger. When Blake comes back she has the strength to forgive her even if things are awkward for a while (especially noteworthy after Ghira’s comment that there is strength in forgiveness). She’s able to open up about her fears about Adam and eventually face him even though it terrifies her. Her strength, particularly mentally, is even more apparent now than it was when we first met her.

Blake may not have given herself a word but I believe there’s only one word that suits her: bravery. It’s a huge contrast to how she sees herself for a lot of the show which in turn makes it a powerful choice for her. In volume 2 she expresses that she feels she runs away too much between leaving Adam in the black trailer, running away after she outed herself as a faunus, and just the very nature of her semblance. It’s only compounded when she runs after the fall of Beacon. Her tendency to run away and struggle with bravery is something she spends the next two volumes working on, much like how Ruby, Weiss, and Yang also deal with having to navigate their purity, defiance, and strength in the context of a post fall of Beacon world.

The biggest thing is that Blake’s view of herself isn’t accurate. A lot of it is a result of the way Adam treats her. He frames her parents as cowards for leaving the White Fang, makes her believe she’ll always run when she finds him at Beacon, and refers to her as a coward multiple times just in what we see. But the people that love her know that none of it’s true. Ghira sees how brave it was for her to face the White Fang time and time again. Yang sees her as someone who won’t back down from a fight. Ruby and Weiss know she had a good reason to leave, and Yang does as well when she’s able to distance herself from how hurt she was. And they’re the ones that are right, not Adam.

Blake cites running from Adam as one of the things that makes her a coward, but leaving is one of the bravest things she’s ever done. She pulled herself out an organization that turned into a cult-like terrorist group and managed to escape someone that abused her for years. She doesn’t hesitate to confront the White Fang any time she can and infiltrates a meeting like it’s nothing. When she first runs into Adam at Beacon she, despite the absolute fear she must be feeling at seeing him so unexpectedly, stands her ground. Even right before she runs she stares him down all in the name of protecting Yang and drags her through the Grimm infested Beacon to get her to safety.

And even when she runs and heads home, she’s still far braver than she gives herself credit for. It’s been years since she’s seen her parents and she’s so scared they’ll reject her but she still decides to face them. And they accept her back because they love her and know that she’s so much better than she thinks she is. While she’s not initially ready to fight the White Fang in Menagerie because she still needs to deal with her trauma, she makes it very clear that she’s not done fighting. Even after everything she’s been through she never lacks the courage to do what she thinks is right. And when the time comes she’s able to convince the faunus of Menagerie to come to Haven with her courage. She understands their fear, how it’s easier to stay home and say nothing than it is to stick yourself out there and put yourself at risk for complete strangers. It’s not the exact fear she struggles with, but she still gets it. Blake doesn’t know if her speech will work, but she’s willing to face Adam and the White Fang alone if she must.

And in Haven she does face him. She sees him for the first time since Beacon and she’s able to triumph. Blake is done with running away, done with letting Adam manipulate her and make her feel small. She’s able to face her team, knowing they had every reason to reject her but that wasn’t going to stop her from trying. And they welcome her back with open arms. When she faces Adam for the final time she’s able to stand side by side Yang and triumph, even if she’s so afraid that Yang will believe what Adam says about her. She’s worked so hard to undo what he did to her and makes it clear that she’s done with running and Yang understands that.

Blake’s struggle with bravery and viewing herself as a coward is just such a big part of her character arc, the same way maintaining purity despite the darkness in the world is for Ruby, the way fighting to stay defiant and to be herself despite familial expectations is for Weiss, and the way regaining the strength she never really lost is for Yang. She faces more challenges with it thanks to her history with Adam, but she also expresses her bravery constantly even in the smallest of ways. Blake lets people in despite her fears of hurting them, is able to express how Adam made her feel and face him multiple times, and never backs down from a challenge. If there were a living embodiment of the word bravery in RWBY it would be Blake.

#rwby #blake belladonna #ruby rose #weiss schnee #yang xiao long #i don't know where this came from #i just got an itch to talk about it and all these words appeared #i have a lot of feelings okay #i just love blake okay #she deserves the world #all of the girls' character growth makes me emotional #conciseness? i don't know her

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