#(they are very fundamentally different relationship arcs and i get that)

[floralovebot]

yknow i think a really fundamental misunderstanding current dc writers have with garth is that he genuinely wasn't a child soldier like dick or wally. sure he definitely comes from that era and there Are undoubtedly aspects of his character arc and relationship with arthur that are similar to the classic mentor/mentee relationship, but their core relationship didn't start with that. arthur originally only brought garth along because they were just besties. arthur was living it up homeless style with this random orphan he found and they got into some hijinks together. then shit happened, he becomes King, but he's not going to abandon garth so he continues to bring him along.

part of garth growing up was him having to take things more seriously and learn to handle hero shit. like. he was really just randomly thrust into that world because arthur Became a big hero, not because arthur intentionally took on a protégé.

so when i see dc writing rebirth garth or even yj garth as this Cool Kid who was taken under arthur's wing and trained to become a Cool Hero, it's just,,, it's a Huge misunderstanding of garth himself but especially their relationship. his daddy issues are amplified because he always saw arthur as this cool older man who took him in as a son, not as a student. unlike a character like dick who has issues with bruce because bruce himself treats him as both a son and student, garth really became the student in response to arthur's duties, after they already had an established relationship. and even then, garth was never meant to be arthur's protégé in the way the other kid sidekicks were.

like. garth became arthur's sidekick because he wanted to be there. he wanted to be with His Dad and help him on these important missions. he didn't want to be alone anymore, and if that meant risking his life for arthur then fucking whatever, he'll do it. while arthur did take on the role of mentor and garth was very much his sidekick, garth was never the Child Soldier or the Protégé like the other sidekicks. like i'd say that's actually a huge part of his character arc. current dc writers will Never be able to capture garth in the right light if they continue to paint him as the same kind of sidekick the other titans were.

#sorry im in a very garth mood i will be exclusively talking about garth for like the next week at least #ajhladg #anyway #like im sorry but you can't turn the aquafam into the batfam you just can't #they have a fundamentally different relationship #like that was also a huge aspect of garth's relationship with the other titans #because they thought he was a coward and not cut out for the hero life #and that's because he literally Was Not trained for this! arthur took him in and it Just Kinda Happened #his training really consisted of him following arthur and arthur teaching him shit in the moment #and later on arthur does get more serious about it but again very big difference from the other titans #like literally garth has more of the classic mentor/mentee relationship with atlan than with arthur #garth of shayeris #a huge part of garth's character arc is him feeling like he doesn't deserve to be a hero because he Wasn't trained like the others #he didn't have as many skills didn't have the same confidence etcetc #the other titans were intentionally taken in to be a protégé or became one very Very early on in their life #garth was just going along for the ride man #like i think a really important aspect of his relationship with arthur is that garth never really saw him as A Mentor #he saw him as a dad and role model who occasionally taught him how to do cool shit #arthur was the one who pushed that mentor/mentee relationship and it blew him up in his face because that Wasn't them

[jimin-nothing-stronger]

I feel like post-S2 Crowley and post-S2 Fleabag would both benefit from running into each other at a coffee shop (or like. a bar) and having a nice long chat about Some Things.

#the ​(it’ll pass / i forgive you) parallels are Too Much #possibly i will write some more serious meta about this at some point but for now i am just going to Be Sad About It (TM) #(they are very fundamentally different relationship arcs and i get that) #(but also i feel like crowley and fleabag both need a support network at this stage in their lives) #good omens #fleabag #good omens 2 #good omens spoilers #good omens s2 spoilers

[glamaphonic]

i did this for rick so as promised my personal headcanon on the trajectory of michonne's feelings for rick

the most fun thing for me about this is that even though i would say that michonne is generally quite emotionally astute, it actually takes her way waaaaay longer than rick to be able to recognize what's going on between them

rick and michonne are so similar in terms of the things that drive them, that move them, that are most important to them (as gimple said: they have the same soul) and her entire approach to their relationship is basically tied into the fact that she and rick had inverse experiences at the very beginning of the apocalypse. he set out to find his family and did. whereas michonne had her family and lost them.

so she closes it all down, decides to just go away, but she can't really escape who she is, so she helps andrea. and this starts the recurring pattern in michonne's character arc where she repeatedly comes to these decision points where she has to make a choice between giving in to the nothingness or being herself (someone who is loving, compassionate, a protector) and every time she makes the choice to be true to herself, it invariably leads her to rick and their family

so from the moment they meet in s3 she is also viscerally drawn to him the same way he is to her, and like him there is no way she's in a place to even begin to process this. but she sought him out specifically because she was making that choice, to look for connection and community, and she sees who he is pretty much immediately, and so extends him this profound trust over and over again because who he is, what she sees in him, is fundamentally why she wants to be a part of that community.

in 4a, michonne's trauma has her turned every which way. she's already grown attached to rick and to carl and her reaction to this is to keep one foot out the door; to not be fully present for the community. to try to keep her distance even though while she's away she's still obviously thinking about her grimes boys all the time, i.e. bringing them back gifts, etc. and then the prison falls and it seems to justify her caution.

in 4b, she comes to one of those decision points and when she chooses to seek connection and community, it returns her to rick and carl. in my other post i note that this is where rick claims her as a grimes, but this is also where michonne fully commits. she claims them too. she accepts that they are hers. and of course we all know, and danai has even pointed out, the exact moment michonne fully falls in love with rick, when it clicks somewhere inside of her that it's only ever going to be him. but she's still nowhere near ready to consciously face that.

in 5a and through to 5b, just like rick she's not spending time examining what they've become. it just is. that's her family. they belong to each other.

towards the end of 5b, when rick starts to Realize, michonne doesn't because she instead actively sublimates the fact that she is in love with rick, that she has regained what she lost during the turn, into her general dedication to community. she puts everything into trying to shepherd their community without acknowledging her personal stake. which is what leads us to:

the end of 5b and through 6a during which michonne has to have 3 or 4 different people pretty much say to her face HEY YOU GET THAT YOU’RE MARRIED TO RICK AND RAISING CHILDREN WITH HIM RIGHT? YOU GET THAT BEYOND FOSTERING A COMMUNITY ON A MACRO LEVEL YOU HAVE A WHOLE ASS HUSBAND AND TWO KIDS? YOU GET THAT YOU DESERVE TO EMBRACE THIS THING THAT IS FOR YOU SPECIFICALLY AND LIVE A FULL LIFE?

but that final wall is so hard to get past because that wound is so deep, she has to sit with all of that for a good long while (she's working up to it), and it still takes carl basically openly declaring that she's his mother and rick actually making the move before she finally lets herself see, in that moment, what was already long since there.

and it's just very delicious to me personally that from 4a on rick was hers for the taking, honestly. all she had to do was say the word, but she wasn't ready to take him until that moment on the couch.

#talmbout #richonne #twd

[bluespiritshonour]

Why is it always Robin has to prove himself to Batman? Be it any Robin. And no, I'm not talking about characters, because Bruce—Bruce is like “Everyone must prove themselves to me but I'm not answerable to anyone” that motherfucker. Very IC.

I'm talking about stories, about narratives—why does every Robin-centric narrative has a “prove themselves to Batman” arc—but Bruce's arc never involves proving himself to anyone?

Why, after the events of the Tower of Babel, Bruce didn't have to work to gain the Justice League's approval? Why didn't he have to work to redeem himself, dammit!

Yes. He had to reveal his identity. But then, it wasn't his idea. It was Clark's. It's fundamentally different from Dick unmasking in front of the Titans: Dick feels in his bones that it isn't fair that he's the only one masked and the Titans are up for mutiny, so he made an executive decision.

It didn't even occur to Bruce to do it. Dammit, the fucker wasn't even trying to get back into Justice League. Clark had to persuade him. And no, I don't mean he should have gone and begged them to let him in. He doesn't need them.

But let's be honest: none of the Leaguers need the League. But humanity does. That's why they put their differences aside and band together.

Bruce is selfless when it comes to sacrificing his family a la Batman : Ego. Oh!—it's Bruce's children that are dying in Batman's mission. Isn't he so noble?—the picture of tragedy? The greiving father? The man who can't even have a steady romantic relationship because Batman wouldn't let him? So selfless—until he isn't. Until the JL—in other words, a planet full of people—need him to swallow his pride. Then, he isn't selfless anymore.

He's selfless when he's a father sending his children to war for the greater good—but he's not selfless when it's time to swallow his pride, to take the risk of trusting someone even after being traumatised and betrayed—for the greater good. (And honestly his trust issues seem narcissistic when surrounded by people like Dick, Alfred and freaking Commissioner Gordon!)

You know who does it? Dick Grayson. That's who. The “trust no one” maxim has been drilled into him by Bruce, but even then he chooses to trust. Not because he's stupid, but because it's a requirement. He totally expects to be stabbed in the back; he isn't naïve. But he'd rather be betrayed than have someone be barred from help because they seemed suspicious. It's canon in Titans. He says it in words, look it up. To Brother Blood, I guess.

Bruce didn't have to work to get on the League's good side. He just had to reveal his ID to regain trust and that, too, was Clark's idea.

And that's not an attempt at redemption, because if it was, then why did Clark have to do it too? Clark didn't do anything to deserve it. But Bruce forces him to and Clark agrees: for the greater good that the League trusting each other would ensure.

Clark Kent, who chooses to forego a mask so that people trust him. Literally, it comes down to that. Who has to built his whole civilian life around the fact that he shows his bare fucking face to the whole world.

And honestly, if I were to throw genre convention aside and read the text the hard way, Bruce doesn't seem really all that bothered with keeping his ID a secret. He's nothing compared to Clark. I mean. Come on, look at the number of people who know Bruce's ID and the number that know Clark's and tell me. Fucking tell me who's more serious about that stuff.

Bruce's entire existence hinges on other characters’ kindness, in and out of universe. In-universe there's this massive brigade of people who know his ID and keep it a secret. Out of universe, writers who show him to be the best even though Clark, Diana, Dick are all more worthy than him.

This is what you get when you let little incels run creative industries.

What did Bruce ever have to do to redeem himself to anyone? Literally anyone? Bruce would let Gotham burn if it meant he keeps his colossal pride intact. But oh, send his children to die: woe is him, this greiving father, so tragique—would absolutely do that.

He isn't even a hero. You know the impact of Batman: Ego and BtAS pales when put next to his very selfish acts when it comes to himself.

Because always—ALWAYS—the uwu factor in Bruce's stories aren't personal.

Not like it's in Clark's who has to face xenophobia because he's an alien. He's natural existence—his powers that are a part of him existing—being called a threat. He still helps.

Not like Diana who comes to the Man's World and decides to stay behind despite it being, well, a Man's World. That would never really respect her as much as it respects a man, any man, even though she's a literal Goddess. Coming and staying in Man's World for her means loneliness. Being immortal and watching every friend she ever made become a memory. But she chose to do it. Because at the end of the day, it's not about her. It's about helping people.

But for Bruce, in true male-is-default fashion, it's about losing people. People he loves.

His parents' death, Jason's death and so on and so forth. I'm not saying losing someone is not painful. I'm just saying it's always about his manpain.

Making the victim's pain his.

#it's three in the morning and im fucking feral i have to travel tommorow so god help me #bruce wayne #clark kent #dick grayson #diana prince #batman #superman #wonder woman #robin #nightwing #dc #ash rants #anti bruce wayne #batman is a power fantasy #but not for the underdog the way superhero comics are meant to be #hes a power fantasy for the powerful #jason todd #honorary mention #m gonna sleep now #bye

[williamrikers]

On the subject of consent in recent BLs

In this analysis, I will take a look at several love scenes in recent Thai BLs, how they frame consent and the sexual agency of the characters, and why those matter.

(KinnPorsche deserves its own post: I’m sure people have already written in detail about how much emphasis is placed on issues of consent/non-consent throughout the show and how fundamental consent is to the relationship arcs of both KinnPorsche and VegasPete, and I won’t belabor the point here. Also, special shout-out to The Warp Effect for what it brought to the conversation about gay sex, but TWE isn’t technically a BL so I decided not to include it in this analysis.)

I am going to take a closer look at the following shows in this essay: Not Me, The Eclipse, A Boss And A Babe, Step By Step, and La Pluie.

Not Me and The Eclipse predate the other shows by two years/one year respectively, but I feel it is valuable to include them here because both show very explicit negotiations of consent that I feel are spiritual successors to the wonderful scenes we’ve been getting in the other three shows.

Why am I even writing this? There used to be an unfortunate tendency in the genre to have a power imbalance between the “seme” and the “uke” character, which translated into the seme deciding when to have sex and what kind of sex to have—and even though recently, several shows have done good work in dismantling the seme/uke dynamic and questioning the associated stereotypes, it cannot be denied that the archetypes are still an important part of most BLs, and even in cases where the tropes are played with and questioned, understanding those subversions still requires a knowledge of and familiarity with the original tropes on the part of the audience.

However, gone are the days of Until We Meet Again and Dean’s “I’ve waited long enough, make sure you’re ready.” (I enjoyed UWMA a lot but that was. Yeah. Not Great.) Now, we see characters actually talking about and negotiating their limits, and doing what feels good to them.

Let’s start from the very beginning. Not Me was an absolute trailblazer in this regard, and not mentioning it here would be a gross oversight. The first time Sean and White have sex, it happens in their version of the beach episode. (Which, in Not Me, is the two characters briefly living in a tent inside an abandoned building. This show is the best.) Sean and White are removed from their usual environment and protected from the outside world by two barriers: the walls of the old house and the tent that’s literally enveloping them and giving them a space that is unequivocally theirs, shared, in which neither one of the characters has any sort of power over the other. And what happens in that space when they’re about to have sex is extremely interesting: the first thing Sean asks is whether White is afraid of him, which White denies. The following exchange goes like this: White: "So, what are we doing?" Sean: "What should I do to you?" White: "That’s up to you." (Watch the whole scene here.)

I find this exchange incredibly meaningful because this already turns the seme/uke dynamic that can be found in a lot of other shows on its head. OffGun as a branded pair can easily be stereotyped into the seme/uke dynamic just because of their physical appearances, and clearly spelling out that both characters have agency in this scene is incredibly important.

And then it gets better! Sean assumes that White is sexually inexperienced (which is not true but the fact that White was actually in a relationship with a woman back in Russia never comes up again after the pilot episode, so maybe the show expects us to assume this, too), and suggests they try different things and White can tell him what he likes and doesn’t like. Compared to the stuff we’re getting now, this scene isn’t very high heat at all, but it’s one of my favorite intimate scenes ever because them asking each other “Do you like this?” after every kiss, every touch, is so incredibly unique and transports a wonderful sense of figuring out sexual pleasure together, as a couple.

Sex in Not Me is not something one character does to another, it is something that is discovered and shared together, and we even get an afterglow scene in which they gently tease each other about their fast beating hearts. (And don’t get me started on the importance of White choosing to ask Sean whether Sean is okay with White not being like Black in that moment right before they have sex, because he doesn’t actually want to have sex with Sean as Black! He wants to discover and share intimacy with Sean as White, as himself, not as his brother! The layers!)

Anyway, I think that scene paved the way for a lot of the conversations around consent we’re now getting in BL, just because it is so explicitly, unashamedly putting forward a definition of sexuality that has nothing to do with one character actively giving and the other passively receiving, but frames intimacy as something that is built together. (More on giving and receiving later!)

Now, moving on to The Eclipse. I decided to include the first time Akk and Aye have sex for a different reason: while we don’t really see them actually talking about consent, we see them practicing non-verbal consent. Let me explain. Akk’s and Aye’s whole thing is teasing each other. At first, Aye is usually the one doing the teasing, but Akk gets the hang of it towards the end of the show and teases his boyfriend right back. When they’re in Akk’s childhood bedroom together, Aye clearly alludes to the fact that he thought they might use this opportunity to have sex for the first time, which Akk pretends not to understand, all while alluding to it himself. I love this guy. (Watch the whole scene here.) Anyway, Akk says he wants to sleep, lies down and once again, tells Aye jokingly he just wants to sleep, clearly expecting Aye to do what other BL protagonists do at that point and not take no for an answer (sidenote: I HATE the “saying no as foreplay” trope with a passion and as far as I’m concerned it should die already).

However, Aye is not like other BL love interests, and he backs off. He stops touching Akk, lies down with his back to Akk, showing Akk that he takes him by his word: if Akk says he wants to sleep, Aye is going to let him do just that. So now, it’s on Akk to say that, no, that’s not what he meant, can Aye please come back to cuddle. And then Akk is the one to escalate from cuddling to kissing, which is extremely important: we know that Aye has been ready to have sex with Akk since forever, it’s Akk who’s been having hangups about intimacy this whole time.

They don’t put consent into so many words on this show, but Aye shows Akk that he respects his limits and that Akk only has to tell him he doesn’t want to do something and Aye will take him at his word.

So, these are, to me, two foundational scenes of establishing consent: one that shows consent as something that is established verbally, as an ongoing conversation, and one that shows consent as something that is established physically, by showing your partner that you respect their choices and limits by way of simply acting accordingly.

Now, let’s get into the fun part: scenes we got so far in 2023. I’m writing this post on the 13th of June, and I’m sure this year still has some great things in store for us, especially because Step By Step and La Pluie are both ongoing and neither of the main couples are actually together yet at time of writing. However, they’ve both already given us AMAZING scenes on the topic of consent, so I feel it is worthwhile to write about those already.

I want to start off by talking about A Boss And A Babe.

Let me just preface this by saying that the intimate scenes in ABAAB are some of my all time favorites in BL ever, because in them, sex is something that is just so normal. When Gun and Cher have sex, we don’t see them very passionate, excited, reluctant or wide-eyed innocent (which are some of the emotions traditionally associated with sex in BL). On the contrary, in every single scene that shows them being intimate, both characters are incredibly calm. They’re certainly happy to be with each other, but in a subdued way. Someone described their second intimate scene as them seeming like they’ve been married for a few years. They’re both just… incredibly normal about having sex with each other. It’s simply something they like to do together. It’s a part of their romance but it’s not more or less important than any other aspects of their lives.

And consent is at the very heart of it.

When Gun and Cher have their first time, we see Gun explicitly asking for consent two times: first, “Can I kiss you?”, then, “Can I do more?” The second one even comes with the promise that if Cher says no, Gun will immediately go to sleep without mentioning it again. And then it is on Cher to say yes, to pull Gun close and kiss him to show him that he is comfortable with taking things further. (In the show, these two questions were shown apart from each other, I cut together a version of the whole First Time Scene in its entirety, watch it here.)

Now, things get more interesting: the second intimate scene shows Cher initiating the encounter (watch the whole scene here). Cher pretty consistently falls into the uke category, both physically and as far as characterization is concerned, but he’s certainly not shy in the bedroom. And this time, he’s the one who asks for consent from Gun: Gun asks “You’re starting it?” and Cher’s response is “Can I?” Despite him being framed physically lower than Gun, basically at Gun’s mercy, he still seeks confirmation that Gun is okay with the way things are going. Not to overstate it, but to me, this feels revolutionary. Once again, we’re being shown that sex is something two people do together, as a shared activity, and that the “seme” character isn’t expected to just be up for it. He, too, has the right to say no.

On this show, sexual agency is taken extremely seriously, and it is clear that both Gun and Cher give each other space to decide what they’re comfortable doing. This is shown in non-intimate scenes as well: there are so many moments on ABAAB in which the characters negotiate physical touch and closeness, asking each other for hugs before actually hugging each other, Cher leaning on Gun’s shoulder in the car but not allowing Gun to touch him because that’s not what he’s comfortable with in that moment, and so on. (The only exception to this otherwise pretty consistent rule is the kiss in the car scene, which I’m still extremely confused about because it seems to go completely against Gun’s character. Who knows what happened there.)

Of course, the fact that so much emphasis is placed on negotiation and consent isn’t surprising on a show that has such obvious kink undertones and whose Our Skyy 2 entry basically consisted entirely of Dom/sub roleplay at work—I’m just saying, I think someone on the writing team is way into BDSM and knows all about the importance of enthusiastic consent from all parties involved, and I would like to send them flowers.

Step By Step hasn’t really reached the point where we can analyse the dynamic between the main couple (although we can take some educated guesses based on the interactions we’ve seen so far). However, last week’s episode had an extremely important scene between Pat and Put: Pat wanting to have sex with Put, then changing his mind mid make-out (watch the whole scene here). I really like the way this scene was done. No matter how shitty Put treats Pat at times, in this instance, he immediately understood and respected Pat’s change of mind without Pat even saying or explaining anything—at the end of the episode, Put says to Pat that Pat should tell Put when he feels ready to have sex. (We already know this will never happen because of course, Pat and Put are not endgame, but I do appreciate the sentiment.)

BLs rarely include a whole storyline in which the protagonist is in an actual, serious romantic relationship with someone other than his endgame love interest (hi Moonlight Chicken!), or if they do then just to up the angst factor. In this case, however, I feel that this scene raises our expectations for Jeng even further: if the guy who is definitely not a romantic match for Pat treats Pat with this much respect in the bedroom, then Jeng has to do at least that and then some. I do feel confident that Jeng won’t disappoint in this regard, but it’s fascinating to see a show frame this kind of respect as the absolute baseline minimum, with the endgame love interest expected to do even better.

Now, the one you’ve all been waiting for. The one that made me write this whole essay in the first place: La Pluie.

Oh boy. Where to start.

A week ago, we got an incredible make-out scene on Saengtai’s floor, which ended in Patts stopping the encounter because he could tell Tai wasn’t really comfortable taking things further—@bengiyo talked about that scene in detail here. And then, three days ago, La Pluie gave us the most unique, trope-defying, timeline-changing blowjob scene of all time, and I want to talk about it.

Tai and Patts are making out on their bed, Tai is not ready to go “all the way” and stops Patts from undressing him. We see a very realistic frustrated reaction from Patts, who nevertheless immediately stops and accepts Tai’s wishes—it is clear that Patts does not expect things to go any further at this point, and that he won’t pressure Tai into anything.

And then, Tai offers to blow him.

(Unfortunately, this show is only on iQiyi so I can't link to it, but you can get a good impression of the scene here.)

I mentioned the concepts of giving and receiving earlier: other people have said this more eloquently than me, but there is a tendency not only in BL but also in wider society to view sex in terms of giving and receiving, with a lot of expectations and stereotypes attached to the roles during different sexual acts. On other shows, that blowjob might be framed as a consolidation or an apology, something that the giver does out of a sense of obligation without enjoying it much. Not so on La Pluie! Tai is shown incredibly happy and satisfied afterwards, both when they’re sleeping next to each other, as well as on the morning after (see also @ginnymoonbeam's post about that here). Tai offered to blow Patts because he simply wanted to, not motivated by guilt or anything of that sort. And he genuinely enjoyed it! In the post I linked above, @bengiyo points out that La Pluie consistently centers queer desire, or more specifically in this case, male desire for a male body; much in the same way that the camera fucking loves Force’s body on ABAAB: the sensuality of the skin, the hands, the abs, the flat chests, the broad backs and shoulders of these men is explicitly emphasized, and Tai’s desire for a dick in his mouth is made absolutely crystal-clear. Of course, since this is a TV show and not a porno, we only see Patts’s thumb in Tai’s mouth instead of his dick, but the imagery, the implications, are clear as day.

And it is such a gentle framing, too: Patts caresses Tai’s lip lovingly, Tai opens his mouth slowly, seductively, then faces Patts’s crotch with a soft look on his face. We do get a clear sense of this encounter as tender, and gentle, and most of all, desired. Tai’s queer desire is at the heart of this scene, and at the heart of the afterglow scene as well. He wanted this man’s dick in his mouth, openly suggested it, showed Patts he was sure about his decision after Patts asked him whether he was, and ended up clearly happy and satisfied with the sex they had. This post, also by @bengiyo, goes into more detail on that.

This, once again, shows us sex as a conversation rather than a series of predetermined acts, shows us sex as a shared activity, as something that can be wonderful and intimate and make people happy without following what society views as “the correct steps”. I think this is extremely important because one part of queer identity is figuring out one’s own relationship to sexuality, one’s own desires and needs, and BLs that ignore this aspect fall a little short in my opinion. Sure, those men are kissing, but do they experience queer desire? Do they experience joy in their queer desire?

For me personally, a show that does not shy away from these questions is a lot more meaningful than a show that does, and consent is at the heart of it all. By framing sex as a conversation, as something that is built and shared together, the shows I looked at here are actively positioning themselves against the idea that there should be predetermined roles for partners during sex, and instead suggest that queer joy can be found in communication and consent. Understanding sex and intimacy as something that is built together, with both partners as equals in conversation, is just as radically queer as a man waking up with a smile on his face after giving his soulmate a blowjob the previous night.

And quite honestly, a male character who clearly, passionately, unquestioningly communicates that he wants a dick inside of him—that is incredibly sexy. But maybe that’s just me.

#*mine #not me the series #the eclipse #the eclipse the series #a boss and a babe #step by step #step by step the series #la pluie #la pluie the series #i said ''is anyone going to write a 3k meta analysis on this topic'' then didn't wait for an answer

[comradekatara]

hey, so. people on twt (ugh, I need to delete that account) started to compare Zuko and Azula’s relationship to Sokka and Katara. So, I jump in like “they are not comparable in any way” then people are like “Sokka and Katara do have issues even though it’s not the same as Zuko and Azula” (even though the original tweet did imply that but, whatever). and I’m all like “sure, they both have trauma from their upbringing and they fight like siblings and that trauma probably has effected their relationship but it’s still no way like it’s being compared… they love and care for one another” and then they’re coming back like “it’s not the same but they still have issues” and citing the southern raiders (which I have my own opinions about and I feel like people totally miss read that scene) but all in all to say; I’m annoyed because I feel like people are being disingenuous and I feel like your thoughts would be interesting

okay yeah obviously I don’t know what the full arguments were (and I never will because I loathe twitter. I mean X sorry) but i can definitely talk about this more generally. I mean they are the central sibling pairs configured in a similar way for obvious reasons. they are definitely comparable.

sokka and zuko have superficial similarities as older brothers who feel undervalued, struggle to live up to a harmful patriarchal standard of gender (specifically masculinity/manhood) as shaped by imperialism/colonialism/war and the expectations their fathers placed on them to “be a real man” within a very limited framework, and ultimately find their worth via other avenues beyond the limited scope of patriarchal imperialist logic. azula and katara have superficial similarities as younger sisters who are placed on a pedestal by their culture community, are the best benders of their respective elements and outclass all the older more established (male) masters who dismiss and look down on them for being teenage girls, and who feel a deep sense of grief due to the loss of their mothers that informs everything they do and fundamentally who they are as people. and then obviously the REAL foils who are foiling are katara and zuko, and sokka and azula. these pairs are each very obvious mirrors, both in terms of their personalities (as developed differently by their respective environments) and their arcs. zuko is fire nation katara. azula is fire nation sokka. so obviously their relationships are similar in this way. they are narratively constructed as parallels.

that said, I think the key primary difference between these sets of siblings is that zuko and azula are directly opposed due to being pitted against each other by ozai’s abuse, whereas sokka and katara are extremely codependent, to the point that sokka’s entire identity is shaped by his role as katara’s brother and protector. so if you read zuko as a foil to sokka (which he certainly somewhat is, but is not the primary foil to sokka) you’ll get confused because he doesn’t live for others and he doesn’t look out for azula at all. but azula, like sokka, does define her identity through her loyalty and her ability to best serve others, so she does try to help zuko as best she can, which is obviously hindered by the incredibly limited of scope of what she considers “helpful” (much in the same way that sokka’s protection of katara is often limited by his own narrow worldview and unhealthy sense of duty as it corresponds to his identity). azula wants zuko to be a “perfect prince” in the way that she is a “perfect princess” because she refuses to acknowledge how specifically harmful that paradigm is to both of them until it is too late. so her intentions are actually good (don’t @ me), but she’s just deeply misguided and her level of cognitive dissonance is off the charts generally (again, much like sokka).

meanwhile katara and zuko, despite loving their families a lot and feeling defined by their families in many ways, are still very self-focused. which isn’t to say that’s a bad thing or that they’re selfish (they are both defined by an incredibly passionate and outspoken sense of justice for others, of course), but rather that they understand that what they want is to further their own interests for their own benefit even as they are seeking justice for the entire world. (in katara’s worlds: “me. me, personally!”) but like. if anything, the fact that azula and sokka never think in terms of the ego but only in terms of servitude to the point that they are actually detached from their own humanity is deeply unhealthy and awful, which is why so much of sokka’s arc is about getting him to understand his intrinsic worth as a human being and the value of accepting help, and azula’s tragedy and downfall is precipitated by her acknowledgement that she has been deliberately isolated her entire life and now she is alone and utterly helpless.

I do see katara and zuko as quite heroic, inspiring characters, to azula and sokka’s quite tragic, heartbreaking characters (especially azula of course, but like. I don’t think sokka’s deep-seated, copious issues have somehow been magically resolved just because “the boiling rock” is his apotheosis. you get it). but katara was always the “valued” sibling whereas azula began as the valued sibling and zuko rose above her by disrupting/transcending the paradigm that valued her only to end up in the position that she felt teleologically entitled to (not to say that she thought she would become fire lord, but that he does become the most powerful player in the fire nation, at least in name). and a large part of that is the fact that katara and sokka grew up in extremely different conditions than azula and zuko did, even if both their worldviews are informed by imperialism and patriarchy in some way. so katara was valued as a sort of cultural artefact who represents the last hope of a dying people, whereas azula was valued as the obedient daughter of a powerful abusive patriarch. it’s still a way of ascribing “value,” but the criteria are completely different in both cases. which is why I still think that azula and sokka are functionally more similar, because even if azula is valued, it is with the expectation that she function in the same way that sokka is expected to function, as a depersonalized vessel for the good of their people.

so there are similarities for sure, but also those similarities are constantly being complicated through locating their respective cultural contexts as they informed their upbringing, psychologies, and sibling relationships. I will say that it’s true that both of these relationships are unhealthy (to an extent), and both sets of siblings parallel each other in very significant ways, but the ways in which their relationships are in fact “unhealthy” are nonetheless almost diametrically opposed.

#f1reladymai #asks #I need to someday make a post that’s just. EVERY PARALLEL across all four of them #a chart even #analysis #katara #sokka #azula #zuko #azula&zuko #katara&sokka #azula&sokka #katara&zuko #azula&katara #sokkaxzuko #and yeah the southern raiders scene is…. interesting #I’ve talked abt it before #but I don’t even think it’s katara’s ‘cruelest’ moment #I still think bullying a girl she just met for being blind is the worst thing she ever said 😭😭😭 sorry #also I just realized you implied that zuko and azula don’t love each other???? um. yeah they do. what

[straightbaittournament]

may the best bait win! propaganda under the cut:

ichigo and rukia:

Oh man, where do I even begin? So, for some context, Bleach starts when Rukia (a shinigami) gets critically injured saving Ichigo from a monster, and she transfers her powers to him so he can finish it off. Instead of transferring half her powers as planned, however, she transfers all of them, which forces Ichigo to take over her job as a shinigami. During this time period, Rukia... lives in his closet. Yeah. The entire first arc of the manga is dedicated to their relationship, and while a lot of it is playful banter, Rukia's presence in Ichigo's life fundamentally changes it for the better. Rukia then gets kidnapped by the rest of the shinigami who aren't at all happy she gave her powers to a human, and the main plot ensues from there. Throughout the story, Rukia and Ichigo constantly save each other when they're at their worst. When Rukia thinks she deserves to die, Ichigo is there to tell her she deserves to live. When Ichigo is in a funk about his superpowered evil side, Rukia is there to snap him out of it (something his canon love interest explicitly realises she was unable to do). They share a sun/moon motif for crying out loud, and yet like that last sentence said... they don't end up together, but with other people instead. Yeah. No shade to the canon ships, but Ichiruki is peak straightbaiting, honestly. They have a lot of banter/chemistry, fundamentally change eachother's lives for the better, save each other when they're at their lowest, and have a very deliberate sun/moon dichotomy... but they both end up paired off with different characters instead asdfghkl

house and cuddy:

The show spends 7 seasons hinting that House is going to end up with Cuddy, and then writes her out in season 7. In the finale, he has a flashback of people who impacted his life and she doesn’t even show If House and Wilson can’t be together, then House and Cuddy should

#bleach #house md #ichiruki #huddy #ichigo x rukia #rukia x ichigo #kurosaki ichigo x kuchiki rukia #kuchiki rukia x kurosaki ichigo #doing the x ship name format feels so dated nowwww #poll #polls #poll tournament #straightbait tournament round 1 #gregory house #lisa cuddy

[bookshelfdreams]

There were two great posts about Izzy yesterday, and I would like to expand on and add my 2 ct to the things said in them a little. One, by @celluloidbroomcloset (with additions by several others), about how Izzy immediately falls back into old patterns of manipulative behaviour after his supposed redemption in 02x07, only this time with Stede as the focus of said behaviours instead of Ed. The other, by @batsarebetterthanpeople, about how Izzy's behaviour in 02x06 and onward is more akin to the development a homophobe coming around to a queer loved one, than an arc of queer self-discovery.

Izzy's story isn't about himself. I think this is the first, fundamental mistake people make when engaging with it. He's not a protagonist; he doesn't exist in the story for his own sake. So when ofmd asks "How to reform a toxic person? What does it look like and is it even possible?", the starting point isn't one of empathy with Izzy.

It's one of empathy with Ed. ofmd is asking these questions not because it wants to understand Izzy better. What it wants to explore is the possibility of Ed having the relationship with Izzy Ed wants. Whether Izzy can be brought around to understanding Ed's wants and needs, whether he can understand the hurt he caused him.

This is a fundamentally different approach to how these stories are usually told. Usually, we start out with the unspoken assumption that the toxic person is well-intentioned, good at heart, and whatever pain they caused our protagonist is more akin to a misunderstanding than deliberate harm. Yes, they may have have caused hurt, but if you just see things from their perspective, you'll understand that they only had your best interest in mind, and that will enable you to forgive them.

Obviously this can't not veer off into victim blaming. "The abuser had a good reason for what they did, and therefore, it's your own fault. Or at the very least not theirs."

ofmd fundamentally rejects this. It is very careful to never let the bullies and abusers have a valid point. Abusers are abusive because they get something out of it. To truly reform an abuser, they would have to be willing to build a life for themselves that is a lot less comfortable. Where they have to consider other's feelings, communicate and compromise, meet other people on equal footing, instead of putting themselves in a position of authority. It means letting go of patterns of behaviour that they have so far been quite successful with*.

And Izzy - tries. He is interesting because part of him clearly wants to leave the toxicity behind. He gets to see what positive relationships, human connection, being part of a community look like; he's offered an outstretched hand, and, after biting it a few times, tentatively starts to take it.

But he can't quite get there. The temptation to fall back into what he knows is too strong. celluloidbroomcloset's post linked above talks mainly about 02x07, so I'm not gonna repeat all that, but I'm going to add two little scenes from 02x06 that further cement this. In the beginning of the episode, Izzy finds Ed as he's standing on deck, watching the sea, and the conversation that plays out is a clear mirror to, almost repeat of the Frankfurter clouds scene from 01x04. Ed tries to share an observation with Izzy in an attempt to reach out to him ("Something's wrong. Feels like a storm's coming but I can't see it."), which Izzy, of course, immediately dismisses ("Or maybe you're just a mopey twat and there is no fucking storm").

The second scene is, when Izzy is the only one discouraging Ed from following Stede to his cabin after he kills Ned Lowe. Discouraging support, discouraging connection and emotional honesty; Izzy will continue to try to isolate Stede.

Now, I do not think this, or the things happening in 02x07, are put in there deliberately to show that Izzy has ulterior motives. Rather, they are an illustration of how deep these maladaptive patterns of behaviour go. Izzy isn't able to fully admit to himself the extend of the harm he caused and this is what prevents him from truly changing his behaviour - even when he has just experienced the benefits of a loving, supportive community!

All of this is the explanation to the answer the show gives to our starting question: Is it possible for Ed to have the relationship with Izzy that Ed wants? And the answer is: No. Just because growth is possible, doesn't mean it is enough. Doesn't mean anyone's entitled to forgiveness. Sometimes, the only compassionate thing to do, is to take yourself permanently out of the other person's life.

But Izzy did learn, and he did grow. It's just that the purpose of said growth wasn't to heal him; it was to enable him to understand the hurt he caused to Ed. That doesn't have to mean people like Izzy can never be reformed, it just means that this isn't a story about the reformation of a toxic person. It's the story of leaving this toxicity behind.

And this is why Izzy's heartfelt apology followed by his immediate death is a positive ending. It represents the conviction that no relationship is so broken it can't be mended, but also the assurance that no relationship is so important it can't be ended.

Ed gets to hear the things he needs to hear most - I am sorry, I was wrong, you didn't deserve this - and then Izzy disappears from his life, and with him, all the toxicity he represents.

They can part on good terms, but part they must. So Ed can go into the rest of his life, unburdened.

*read Lundy Bancroft's "Why does he do that", seriously. The whole thing is on archive.org.

#overall izzy is treated with so much more grace and kindness than the other toxic assholes on this show #because sometimes youre fond of them. right. you DO want to make it work its just not always possible #honestly i think some people just have a very hard time wrapping their head around the fact that izzy is just a narrative device #anyway! #our flag means death #izzy hands #edward teach #thoughts

[gffa]

There's an interesting quote from an interview with Tini Howard (one of the two architects of this storyline) that just collided in my head with everything I've been trying to articulate about the bigger arc of this storyline: “It's not really an event about whether or not [Bruce and Selina] can get together. Once you agree that you like someone, you get down to ideology. You can't just love someone because they're beautiful and they stun you. What if you're different people? What if you believe different things? [In] comics, it is like [they] kiss, and they're together.” Howard also emphasized the importance of agreeing to disagree when it comes to interacting with loved ones, both romantic and platonic. “As someone that's been married to my best friend for 15 years, that's not the truth. A big part of being with someone you love is learning to disagree. When you're a superhero and a powerful stakeholder in Gotham, those personal things can have major effects on the world around you.” But what's interesting is that I think it applies to his kids just as much as it does to Selina, because I think this storyline's heart is all about Bruce Wayne's mental state. That's the framework, that's the beginning, and I'm assuming it's going to be the end, too. The story has been set up very clearly about how he's been running through too hard a gauntlet with no rest in between for too long, the opening pages of this event make a very heavy point about how Bruce is already running thin, the establishing storylines before this are ones like Failsafe, Red Mask, Insomnia, etc. I would even argue (and have) that there's a lot of connections going on with other storylines that were about Bruce's relationships with his family that are informing this one--like, the breakup between Bruce and Selina is right there when Selina says, well, if Gotham being saved is all that stands between us, now it's peaceful, let's head to the church then, in pointing out that Bruce doesn't want Gotham saved as much as he needs to be the one saving it. There's so much deeply personal stuff Bruce has been facing and he's always struggled with caring about others and letting them in, not just afraid that he'll lose them again, but that he'll be hurt by them again, that he'll fight with them again. And it's not that he's never clashed with viewpoints, like he and Dick alone have gotten into a whole bunch of knock-down-drag-out fights about how they clash with each other.

But I keep coming back to Bruce's mental state and the ultimate purpose of this storyline, because it's not really about Selina's plan at all, it's always been about Bruce's mind and mental health falling apart in a deeply horrific way and how even his loved ones are being stripped away from him, because he cannot compromise. That one of the core problems with Bruce as a person is that I'm not sure he really learned how to get along with someone that he fundamentally disagrees with--because, when he lost his parents at such a young age, there wasn't time to see them as people he could disagree with, they're forever idealized in his head. With Alfred, they had disagreements, but fundamentally, Alfred saw how much Bruce needed this and Alfred was so often water bending around Bruce's immoveable rock. Dick was one of the biggest challenges, because they did have fundamental disagreements that led to massive fights. Jason and Tim and Damian all have their disagreements with him as well. Which is why I think Jason plays the role in this that he does--why Bruce is suddenly bringing up Jason's murders again, because it's the narrative bringing up that Bruce has been struggling to reconcile fundamentally disagreeing with someone on such an important thing, a core thing about himself, and when this much stress is piled onto him, he breaks and does something truly terrible.

It's why Selina had to be the one to come up with this plan (no matter how silly it might seem, no matter how much it's not really that much sillier than costumed vigilantes fighting crime as a reasonable solution to how to help society), because Bruce doesn't really know how to disagree with her on this fundamental a level and still have a relationship with her. It's why Dick has to be the one that fights him as one of the most central pieces of the story that really makes shit hit the fan, because Bruce has come to depend on Dick (as an adult) to be the one to save him, to pull him back from the darkness, and when it's Dick that "betrays" him, it's a foundational block being taken away from Bruce's stability. It's why Tim and Damian occupy the roles they do in the story, that they both desperately want to help Bruce, but don't know how when Bruce won't let them, that while this story is central to Bruce as a character, these characters also need to struggle with disagreeing with someone and still interact with them--and how to deal with a Bruce who struggles with that.

Watching Bruce struggle with Zur-En-Arrh taking over his mind, watching him struggle with defining himself through his war on crime because it feels like the only thing holding him together, watching him struggle with how much he loves and wants these people, but it's running right up against the thing that's holding him together--it's pretty painful because most of the time, even when he disagrees with someone, he can look the other way (after some asshole behavior) or someone will pull him out of the dark, but here everything just piled up in a major freight train of about seven different things colliding at once and Bruce just does not have enough experience in dealing with disagreeing with people and just learning to live around those disagreements, to be able to handle it when his mind is fracturing and the "pure Batman" part of him is all that's holding him together.

#lumi.txt #dc #batfam #bruce wayne #selina kyle #gotham war #batman 2016 #long post

[hms-no-fun]

so, (SPOILERS FOR FIONNA AND CAKE but its relevant to the question but im gonna put a bunch of line breaks just in case lol)

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so fionna and cake ended with fionna basically being like, you know, youre RIGHT god, if magic came back my wish would simply be twisted and it would suck, there will be no rule breaking miracles! I will now work as a struggling minimum wage employee in seattle and Be Happy about it. i sure am glad the threat of losing everyone i know and love set me straight!! sorry to send u this really random thing the ending just felt like such a slap in the face and i wanted to ask someone who knows that exact Seattle Struggle. this is absolutely me appealing to the Writing Gods to back me up that the ending wasnt very good lmao but if i have a direct line to the craftsgoat i simply must use it for something stupid at least once

FULL SERIES SPOILERS FOR FIONNA & CAKE AFTER THE BREAK!!!

i really disagree with your read on the ending. it didn't feel like "just struggle with seattle minimum wage forever and be happy about it" at all to me! the whole instigating incident was that fionna wanted to transform reality into something that she personally thought would be better, without taking into account the fact that other people exist and have internal lives just as complex as hers. she comes back to her original world to find marshall and gary holding hands, explains to them the magical adventure she's been on and the fact that their world is about to transform into something unrecognizably magical, and they receive this with abject horror! fionna doesn't know whether simon becoming ice king again will erase marhsall & gary's burgeoning relationship, which makes her realize that in her quest to escape the boring, oppressive reality of working odd jobs to make ends meet, she's only ever focused that energy on how to make things better for her.

i really want to dig into this because it's a key theme of the show. there is a destructive selfishness innate to the "heroes" of this universe, who feel entitled to the joyous empowerment of being able to defeat anyone and everyone they see in open combat. cake has a whole musical number about this! simon's arc in the last two episodes was betty grabbing him and shaking him until he finally asked himself, how would my life have been different if i'd just once let the woman i loved steer the ship for a while? and then of course we see the lich in a reality where he succeeded in eradicating all life, only to find himself desiccated and without purpose, begging the god of chaos for an answer it cannot give. brian david gilbert's ice prince seems perfectly put together and successful, until the reveal that he's outsourced his madness to someone who didn't accept the terms of the crown's curse. this didn't solve the fundamental problem, it just inverted the roles of its expression by making princess bubblegum into the mad candy queen. nothing about the status quo has changed, simon has simply given himself a more dignified role in it.

this is a story about what happens when people in struggle behave as though they are the protagonist of reality. when fionna says "this is the world i want to fight for" she's not fighting for the right to get another shitty minimum wage job. i think you've really missed something by accepting that conclusion when cake the cat is right there saying that her magical self IS the version of herself she wants to live as. being a normal house cat for her was, arguably, a form of body dysmorphia, and the show lets her keep that magic at the end! the thing is, their world IS changed by the events of the show! the status quo is altered!

like, what do we actually see everyone DOING when the credits approach? we see this entire disconnected community banding together to rebuild the city together, and we see a huge crowd of protesters outside marshall's mom's place demanding that she lower rents. we see people connecting with other people, including three outcasts from other universes escaping to this more boring one for their own safety. i loved this ending honestly, because it felt to me like an attempted refutation of the very idea that you can magically transform reality into something better overnight. if fionna'd gotten her original wish and made her world into, like, candy world, then... what? let's say they play it as like, at last people are freed from the shackles of capitalism and everyone just gets to be weird funky critters going on adventures or whatever. what would that, as art, actually say? what would that mean to us in the real world? if we're going into this cartoon looking for some kind of revolutionary energy (which IS present in the text, much to its credit), what actionable or symbolically resonant message are we supposed to take from a story that resolves its problems with magic? at that point, it ceases to be relevant as anything more than pure fantasy, because it has abandoned any connection to the material reality WE are trapped in.

i don't want to magically transform the world overnight. this whole show goes out of its way to explore how trying to transform the world overnight, in a world where such a thing is possible, is a really fucking bad idea for a whole host of reasons. regardless, such things aren't possible in our world. so going into the finale, my worry was that they WOULD turn fionna's world into another candy world and just say, ah, the revolution is when you think the right things so hard that the material plane bends to your will.

that's neoliberal thinking. that's like the essence of the failed leftist project of the "end of history" era from the 90s onwards, when marxism was systematically rooted out of academic cultural analysis and replaced with the delusion that if you can just get people thinking the right things, you can affect change in the world. well here we are, it's 2023 and all that magical thinking has got us is a world on fire and a civilization of human beings so thoroughly disempowered that they would literally rather pretend to be a tortured anime protagonist than exist in this boring, shitty, violent reality. you can't think your way out of oppression. raising labor consciousness is, at best, step one. you want to know why unions are winning big right now when they've been completely useless in this country for decades? it's because they've stopped giving a shit about optics they can't control and remembered that the boss's value does not exist without labor. you do not necessarily need marxism for this, marxism is simply the most accurate articulation of the fact that workers who make the things a capitalist sells can kneecap the capitalist by refusing to make the things they want to sell. change doesn't happen with the publishing of a book or whatever, it happens when enough people in real life press their material demands hard enough that someone in charge is left no choice but to listen.

so for me, fionna & cake ending the way it did was a huge relief, because it wasn't espousing magical thinking. the solution to fionna's ennui and economic anxiety was not to just get another job and be happy to live in the world as it was-- it was to create a sense of shared community and struggle, uniting the not-seattleites in their survival of a near-apocalypse and using it as a jumping off point for fundamentally transforming the state of that world as it exists. fionna had to realize that her problems are everyone's problems, and that making her life personally better at the expense of everyone else's agency is just an act of kicking the can of responsibility down the road indefinitely. no one who gets their wish in this show is happy to have gotten it, or avoids punishing others who didn't ask to be involved.

the "canonization" of fionna & cake felt like a reaction to the idea that we in our world are permanently isolated from the fictional realities we create where change seems to come so easy, and the powerlessness that can engender. instead this show is saying, okay, let's say we are in continuity with these fantastical realities. what do we actually DO with that? how do we make this world more fun, more interesting, more fulfilling for everyone to live in? the answer is the same as it's always been, and no other answer would ever feel satisfying: you do it by organizing the workers against the current arrangement of the state with the explicit goal of transforming it for the better.

what does simon do at the end when he gives fionna her world to her? he says that no one person should have that responsibility, that it's been in one person's hands for too long. so he gives it to her in the form of a dandelion, whose blown seeds merge with and become part of everyone trying to survive the scarab's attack. the idea here is that while no single person ever possesses the power to transform the world on their own, the world itself belongs to all of us, and it is within our power to transform it together. those who hoard power want us to believe that this is not the case precisely because the basis of their power is fraudulent and maintained through the violence of the state.

as someone who does live in seattle for better and worse, as much as i do wish i could make literally anything better right the fuck now by whatever means necessary... the fact is i can't. and it does no one any good to labor under the assumption that i or any other individual has that kind of absolute transformative power. the solutions are all right there, and they are simple, materialist propositions whose only difficulty lies in how successfully we've been propagandized to think that the individual is God, or at least speaks on His behalf. there's no thinking our way out of this pickle, and no one's gonna do the hard work for us.

as to the question of how you actually get people in real life to get together and do all that hard work... well, personally i think it's unfair to ask a 10 episode cartoon show to give you any kind of actionable advice on that front. i might even go so far as to say that such an expectation is an expression of the very same magical thinking which the show tries to push back against! in any case i liked it quite a lot and i hope this rambling answer encourages you to revisit the show and reconsider some of your takeaways

#sarahposts #fionna and cake #adventure time #spoilers #fionna and cake spoilers

[elmhat]

Dreblr Survey Results Pt.3 - Confessions.

So. The time has come. There was a section at the end of the survey where it simply said to "say something unhinged," and you really did! Here are some of the most entertaining ones.

Again, I'm pasting these directly from the form. If anyone thinks I wrote this stuff myself I think I'll go and sit under the sea for several hours.

⚠️ A lot of these are NSFW. I'm serious, please be responsible :)

People being really really funny

something unhinged

Something unhinged

Ur mom is unhinged

penis

Calls for violence against everyone who has ever wronged Dream

I want to blend (with a blender) c!q and c!sam and throw the substance to the wolves

Quackity should have died

I think Tommy should have stayed dead

Dream should have actually tortured tommy

Exile was hilarious. :)

Calls for… forgiveness?

they should've made up with c q in the finale streams

I forgive Q. We don't know what really happened behind the scenes.

Sam, both c! and cc!

Sam is Daddy and I know for a fact he reads AO3 fics that man is NOT normal

cc!sam closeted c!awesamdream shipper

I don't think anything I say can top Sam having a scrapbook of sexy criminals

you know how sam has a bunch of clones of himself to inhabit. alright now imagine him doing that with dream. this is how the awesamdream baby can still win.

c!Sam and c!Dream are fundamentally very different characters with very different wordviews but one of the few things they have in common is praise kink.

I don't think this counts as shipping but that's what I'm calling it

c!dnf gay sex post prison arc happy ending (REAL) (I SAW IT ON THE SCRIPT DOCUMENTS IN DREAM'S COMPUTER)

um um c!dnf in gay love idk they are the only ones for each other sorry

DNF kiss real

CDNF IS OVERHYPEDDDDDDDDDDDDDD I SAID IT AND I MEANT IT

If c!dreamnotnap had slept together i think dream would have stayed sane

i think s apnap fucks d ream with his small dick and they both love it and love each amen 🙏

i want to get c!sapnap pregnant

The most superior ship is Dream/Technoblade/Punz/DreamXD/Foolish/Kristin/Philza Because in this household we love big polycules

i think dream should've done more crime and fucked awesamdude

Dream and Sam fucked in that prison

C!DREAM IS A TRANS WOMAN AND AWESAMDREAM FUCKED NASTY IN THAT PRISON !!!!!!!!!!!!!!!!!!

Dreblr's overwhelming preoccupation with c!Awesamdream is getting kinda worrying ngl

dream and quackity are what I seek in a relationship

c dreamity is my otp i love those unhinged bastards kissing eachother

Dreambur needs more love and I’m tired of it being pushed aside

is it even unhinged to assume that Dream fucked Fundy, Fundy's dad (Wilbur) and Fundy's Grandpa (Phil) I feel like that's just a regular sentimet on dreblr by now

dreamza prevails

Dnb best ship

Doomsday trio deserves to fuck nasty imho

He fucked that old man

c!Dream needs to get dicked down I think that would solve a lot of problems post nut clarity if you will

NSFW so don't feel like you need to put this in any compilation i completely understand BUT whenever the c!sam cuck chair crosses my dash, in my head it's traditional dynamic omegaverse c!dnb. c!sam's an alpha who wanted to show off to omega c!dream before claiming and mating with him for their mutual first time. he decides to do this by challenging alpha c!techno to a fight, but to his shock, lost. badly. he has to watch alpha c!techno mate with and claim c!dream right in front of him, because watching such a clearly superior alpha demonstrate his abilities causes c!dream to go into heat and c!techno is happy to help him with that. he's been looking for a mate anyway and c!dream just so happens to be his type. meanwhile, c!dream wants to give c!techno as many litters as his body can handle and barely remembers who that other guy in the room even is, even after his heat calms down.

Dream harems? I guess?

c!Dream has/should have a harem

Dream is a pretty boy and should have taken off his mask to start a harem to prevent war.

Things that I really don't think are that unhinged around here, given their competition

i was such a crazy c!dream apologist in 2021 i actually had a dream about it

I have a spreadsheet with every tag, character and relationship tag for every dsmp fanfciton I read and liked/found interesting.

I know people will say it is/was kinda cringy but I will never think that or regret being part of the fandom (that's not really unhinged I couldn't think of anything sorry lol)

I know its delulu beyond belief and i will never say this not anonymously but sometimes i fantasize about if i was able to be friends with dream team

Wilbur wasn't a hero or "good guy" at any point in his storyline.

Doomsday was 100% justified. (...is that unhinged enough or do I need to pick something else?)

People being too polite for this question

Sorry I am not THAT unhinged

no, but i thank you for the opportunity! I am sadly to hinged, normal even

And more!

George is the main character and we got robbed by not having him meet c!Dream again!! but in meta it is because they are together in real life and who needs their depression character anymore in that senario.

c!DTeam reconciliation arc was always intended

c!drunz are necrophiliacs.

Okay. Okay here me out here OK. So. Imagine Norman (bald guy) is c!schlatt and Pat (white haired dude) is c!Phil OK yw ENJOYYYYYYY : https://youtu.be/b7Bj1dBMYBE?si=Cz79CEISAg6EcMYS

Techno's age of 3 is actually canon and New L'Manberg comitted infanticed

C!Tubbo is the best faction leader. The bar isn't high but I think Technically he did well

c!foolish rights unlimited forever. he deserved blood sacrifices

Cc Sam and Dram were the most normal about the prison

I think quackity should have gotten to do more on screen cannibalism

If c!Quackity had taken hormones to balance his insane lust (Wilbur, Technoblade, Schlatt, etc) he would never have gone crazy send post

I think a Daedalus arc with Quackity instead would've been such a downhill for Dream's sanity. Send tweet.

in a server where we have a c!dream made of oreo cream au . quackity eats him in prison . there is fanart .

Please sir please sir please no more

✨️truama ✨️

all of dreblr contains more competency in media literacy than the rest of tumblr combined

i love how these characters hate each other, keep hurting each other, but tied to each other in a way they just can't shake off.

the only way for c!Dream to be properly Redeemed is to live out the worst thing he subjected another person to: *cue his tropical island paradise getaway arc, sunbathing on the beach with no one to bother him except for friends occasionally visiting* #trust

c!Dream was building an underwater stone temple to satan in order to pray for the apocalypse change my mind

C!Dream is very anthy himemiya coded

c!dream is a cow hybrid and has 4 beautiful tits

I feel like the only cc!dream enjoyer who's also a c!tommy enjoyer

C!dream eggs Monday is the flag of dreblr 🥚

Reminder that C!Dream is a stripper

Dream spoonfeeding post

i think dream should've been worse. as a treat. let him murder more minors please.

Prison feels like cc!Dream’s little whump arc. Also, prisontrio favorite grouping. The best angst and whump in town.

Whenever I write whump fanfics it feels like I’m sticking my blorbos in an empty pickle jar and shaking it like a kid holding a snowglobe for the first time

Todo es un invento del gobierno

Today's culinary special is teeth cake

i think we should all collectively gaslight people/edit the wiki to try and convince people omegaverse was canon to the DSMP. or make a fake second wiki.

*grabs you by the shoulders* ok so after wilbur died and fundy was alone and grieving he kept getting picked on for being an orphan by the rest of the server, for example puffy built an obsidian box around his house in new lmanburg and labelled it an orphanage. fundy was already dealing with the loss of his dad + the appearance of a ghost that was supposed to be his dad but didn't remember half of his life, and now he had to deal with this too. so he starts to mine it meanwhile jack manifold is trying to cheer him up, not helped by the fact that ghostbur keeps hanging around despite fundy not wanting him there. Jack tries to get fundy to look on the bright side, he says that the obsidian box around his house could function as protection from tnt, and so, to prove that's bullshit, fundy places a tnt beside the house he spent so long building and blows up a portion of it. Destroys his own work, a part of his home just to prove a point. It's a self destructive act of defiance. Ghostbur and jack both agree that was unnecessary and jack maintains it could protect the house from outside attacks. fundy continues to take the wall down. Ghostbur fixes the hole in fundy's house, but leaves evidence of the explosion. He puts a sight down saying "-CAUTION- Fallen debris". Now, I need you to know how insane I am over the fact that after doomsday, after the entirety of new Lmanburg was decimated, that sign was the only part of fundy's home that remained unbroken. A sign, surrounded by the rubble of a fallen nation, destruction as far as the eye can see, warning of fallen debris. A sign for a self destructive act of defiance. I am going to eat drywall about this

Okay, one more. People I'm hugging

i miss technoblade

I really want to be a part of dreblr but I feel like they're all cool kids and I'm the quiet weirdo kid hiding in the corner. It feels like if you weren't there for the Founding of the Great Dreblr, there's no way in now. Kinda like you can't get hired as a restaurant janitor as your first job if you haven't already owned the place for 5 years prior

I am in your walls

Thanks everyone for forcing my eyeballs to see this! Reading your responses was certainly an experience I'll be stuck with!

#long post #dreblr #random elm thoughts #elm polls

[six-of-cringe]

I think that one of the reasons why people misinterpret Wylan's character and arc, among others, is because they misinterpret the relationship between him and Kaz. This post has kind of mitosised off from the BFWP (Big Fucking Wylan Post) I'm writing because it's a bit of a different focus and constitutes its own post.

A lot of people talk about Wylan's character and development as though it's meant to match Kaz's - starting out as a nice kid who the city forces to become amoral, indifferent to violence, and well-versed in crime. These qualities are usually talked about with a weird reverence as an irrefutable symbol of "badassery", as though it's always a positive development for any character regardless of the story's narrative, which annoys me but is not the topic of this post. That's part of the BFWP's job.

Following Kaz's exact development is not the point of Wylan's character. The point is that Kaz and Wylan narrative foils - very similar in many ways, but with a fundamental difference that creates the "broken mirror" effect/shows how they could have turned out if they'd chosen differently. I think that difference is how they respond when they climb out of the harbor after their respective betrayals. Narratively, Ketterdam represents a very harsh system that presents the people struggling there with very few options. You can either choose to ditch decency, play by the Barrel's rules, and live, or you can hold on to decency and die.

When Kaz returns to the streets after Jordie's death, he chooses the first option. He copes with what happened through ideas of revenge, and to survive long enough to see it he quickly turns to thievery and violence. He thinks to himself after he robs a kid for money and food that it was much easier to survive when you've left decency behind. He survived through violence, creating the Dirtyhands persona around himself for protection.

When Wylan has to fend for himself, he choses the second option. He finds "honest work" at the tannery, where they exploit workers and expose them to toxins. He wonders if he'll live long enough to use his savings to leave the city, or if the chemicals would kill him first. He was smart enough to steal and survive, but he chose decency, and with it, he chose death. There are a number of reasons why he chose differently than Kaz despite their similarities - his older age and thus more developed moral code, having no one to avenge but himself when he believed himself worthless, his more privileged upbringing, and his relatively low drive to live. Alone, he would have died.

Then Kaz steps in. Kaz's role in all the crow's lives is that, intentionally or not, his ruthless rule of the Barrel creates a sort of haven that allows them to survive where they would have died had they stayed alone. Wylan is a really clear example of this, and though Kaz's intentions were at least partly self-serving, his involvement both kept Wylan from dying of exposure or street violence as well as prevented him from needing to do the more terrible things that it takes to survive in the Barrel. Throughout the books, we see Kaz kind of taking the brunt of enacting violence in Wylan's place - traumatizing Smeet's daughter, killing the clerk on the lighthouse. Wylan could get by making explosives in the workshop rather than having to shoot or stab or beat the life out of people. And at the end of the series, Kaz sees to it that he never will have to. Of course Wylan did bad stuff to survive when working with the Dregs, it's the Barrel. But the extent is greatly lessened because of Kaz's involvement.

Wylan's arc was never about becoming comfortable with violence, or becoming just like Kaz - the way people characterize him as some sort of ruthless murder mastermind is inaccurate and redundant with Kaz's character. He isn't nonchalant or celebratory about crime or death or violence by the end of the book. He doesn't HAVE to become like Kaz, because Kaz himself gave him the space to continue being decent, intentionally or otherwise. Understanding that dynamic is important to understanding what Wylan is like as a character and as a person. If you assume Wylan's trajectory is to become "Kaz 2.0", then you're going to mischaracterize him. I've seen posts about how Kaz was the Jordie that he didn't have to Wylan, and I think that makes a lot more sense. Because Kaz is willing to do the horrible things in his stead, Wylan has the third option otherwise impossible in the Barrel - maintaining his decency and surviving.

#Kaz really do expose ppl to the horrors of the world but simultaneously protect ppl from losing themselves to it #sorry guys. wylan likes math and puzzles and his friends he does not like crime. crime is an unfortunate byproduct of surviving #'we could wake them up' Mark my words you stupid quote i'm coming for YOU this week #does this make sense. does this post Sense??? #wylan nearly blows his cover just thinking about a terrible guy kaz killed in front of him. THIS is your ruthless killer?? lol #one thing about me. i like characters with Hope and Gumption. thank you wylan sixofcrows #wylan is a bitch but only when standing up for what he thinks is right. especially against kaz. GUMPTION. the GALL. #glad you didn't bite it in the cancer factory you funky little genius #this pairs nicely with my jesper analysis. he enacted violence but unlike wylan he Refuses to Think About It #wylan van eck #kaz brekker #six of crows #soc #tgt #soc meta #soc analysis #bfwp #crooked kingdom spoilers

[onepiece-polls]

One Piece Shipping War - Round 2 Side B

Propaganda under the cut.

Propaganda for Smoker x Law:

Their interactions on punk hazard are just hhhhnnnggghhhh. First they fight against each other and then they have to team up! The sexual tension is through the roof 👀 and they fight so well together too 👀 also law LITERALLY stole smoker's heart?? Sorry for being incoherent that's just what they do to me

I read it in a fic and it was compelling also it would be cool if they both knew rocinante

Law literally stole Smoker’s heart during the Punk Hazard Arc - they saved each other during the Punk Hazard Arc even if they were enemies - classic “Enemies to lovers” energy - perfect matching personalities (INTP x INTJ) - the thrill of a forbidden love between a marine and a pirate.

They have. SUCH a divorcee dynamic listen. - Law literally stole Smoker’s heart in the Punk Hazard arc. - Even though they were enemies, Smoker fought against Vergo and stole Law’s heart to give it back to him, hurting himself A LOT. - at the same time, Law saved Smoker from Vergo and gave Smoker’s heart back even if he didn’t have to. - the way Law smiles when fighting against him and getting on Smoker’s nerves (a lot of tension here hehe). - Smoker’s a marine and Law a pirate, what’s better than a forbidden relationship? - their personalities match perfectly (INTJ and INTP).

SUCH a divorcee dynamic. - we all love a forbidden romance between marine and pirate - the way they interact with each other on Punk Hazard is at the same time easy but full of tension, they clearly have some familiarity w each other - ...and then later they manage to work together seamlessly despite those tensions and differences, and Smoker trusts Law to pick up the slack where he can't. And Law DOES follow through - after the battle Law TELLS Smoker what he's planning next - yeah it's all purposeful for his plans but it's such a clear and obvious manipulation. And yet Smoker does exactly that. - the guy sent to Dressrosa is Issho (which ok Sakazuki says he sent BUT what a funny coincidence still that it's the one guy who's most likely to help Law rather than hinder hmmmm) - when Doffy shows up after Law&co have left and demands to know things Smoker just straight up stonewalls him and lies to his face, with the full knowledge that it may cost him his life. Which yeah, Smoker hates pirates, but he doesn't actually have any reason to do that - if he really didn't care he wouldn't mind siccing the two warlords on each other and watching them destroy themselves so he at the very least must agree with Law if not outright want to help him - delicious narrative parallels! Bc fundamentally they're two sides of the same coin: both are absolutely driven by their personal moral codes and care DEEPLY about people and things. Law may be driven largely by more self-centered goals and focus his good on the smaller circle he chooses to surround himself with, while Smoker is drawn to more lofty pursuits of greater good and helping even those he will never meet or even know of, but at the core they share very similar ideals and values - and ykno. Law LITERALLY punches Smoker's heart out of his chest - also Law is a scrawny-ass twink and you cannot tell me he doesn't have a thing for buff dilfs who could bench press double his weight.

Propaganda for Law x Robin:

Their intelligent goth energy combined would be off the charts

Their backstories parallel each other perfectly! Home destroyed, hunted from a young age saved by a kind marine. Spoilers ahead: They're working together to figure out what the history of the Will of D is, and what happened in the void century! She was the only person Law trusted enough to reveal his middle initial! Also, they could do horrible things together if they decided to use their devil fruits as a team. So many limbs in places they shouldn't be.

Smart, sexy, sleek, intelligent, empathetic, humorous, *might get flustered on occasion*, hobbies: riling up Usopp. Terrific and morbid sense of humour. Just *get* one another. Very close to one another in both age and height!

#one piece #smolaw #lawbin #op shipping war #tournament poll #round 2 #side B

[utilitycaster]

7 and 8 for veth and/or essek?

7. For Veth, I like a lot of art of her as a halfling. I feel like people capture her style and her body type really well, and while this is outside the scope of this question I have a lot of complicated negative feelings about how fandom often headcanons in fully fanon representation to characters they don't actually care about, and so it's wonderful to have a canon fat character who is very happy with who she is and who people like for that.

For Essek, I think there's so much fanwork out there that it's possible to find something you like but I specifically like a lot of the meta about his motivations and his arc, and I like fic about his and Caleb's relationship that engages with it being a long-distance thing that won't be lifelong for Essek but will be significant.

8. For Veth: a bunch of things but notably, anyone who is like "I liked her better as a goblin" is boring and can fuck off; that is her core story. You do not like Veth if this is your opinion; you just want a goblin character to project onto. Also people who downplayed her relationship with Caleb. Many people who shipped Caleb with other party members (probably some people who shipped him with Essek too, but I saw this far more with those who shipped him with one of the tieflings) often attempted to downplay how much Veth meant to him. This keeps coming up, but if the core tenet of a ship involves low-key isolating the characters from any other meaningful relationships in your fanon conception of the show, it is a bad sign. Cody Christian was right and should be meaner to shippers.

For Essek: I cannot stand when fans constantly whine about him not appearing in materials or one-shots with the Nein. Yes, he is a member. He also did not appear until a third into the campaign and did not join them until very late in the campaign. He is on the run, in disguise. He is an NPC. The way he exists within the actual play story is fundamentally different. Also, he doesn't physically appear in Echoes of the Solstice but the plot hinges on him and others have written brilliantly about how screentime=/= importance. And I generally hate shrieking "HOW CAN I EXIST WITHOUT BLORBO/HOW CAN I WAIT FOR NEW EPISODES/WHEN WILL I GET NEWS OF SHOW" posts anyway and frequently block people who do them constantly and boy have I blocked no shortage of Essek fans for this specifically.

#answered #Anonymous #cr tag #character ask meme

[dumborangecat]

Keep seeing people talk about how Betty and everyone else should have loved Ice King as he was and I wanna talk about that.

Its important to mention first that there are 2 main ideas for what the crown represents within our world, addiction or dementia.

If you're going with the addiction metaphor (which I am), then to say that Betty should have accepted Simon as he was just takes away from their characters and their arc.

In elements Betty tries to do just that, get over the fact that Simon's gone now and love him as Ice King but she can't, because fundamentally Ice King just isn't simon. He's crazy and irrational and impulsive and while he shows fatherly traits (to Gunter and sometimes marcy) he isn't nearly as caring as Simon was, especially towards Betty.

Betty says it herself "being with you is like looking at my old life through a fun house mirror. It's driving me mad." Ice King being with Betty and being around Betty is actively detrimental to her mental health, and if she hadn't left when she did It would have hurt ice king too.

Because the crown represents addiction, of course its going to hurt both Simon and his friends/family, because that's what happens with addicts in the real world. For adventure time to push a narrative where everyone accepts ice king as the crazy, unhealthy and not good for anyone (besides maybe gunter) person he is would be very wrong and out of character. It'd be like saying you should accept any loved ones who do drugs as the person they are while on drugs despite the fact that person is hurting both themselves and you. It's not a good message to say the least.

It also takes away from there overall relationship and arc, Betty can't settle for a warped, different and crazy version of Simon, she loves her Simon, and if the roles were reversed it would be th exact same. That's what makes their relationship so special and tragic, they love eachother so much and are completely unwilling to let the other go even when it's the best thing for both of them. For Betty to accept and love Simon as ice king would ruin that.

(I know other characters like finn and Jake accept and befriend Simon as ice king, but that's all they've known him as. Even if they know that's not who Simon truly is, knowing Is entirely different to actually being there and seeing who Simon used to be)

I mentioned the 2 crown metaphors earlier so I'll circle back to that. When talking from a 'the crown represents dementia' viewpoint things do change a bit, which ice kings madness no longer being something horrible he brought upon himself (like addiction) but instead more of a tragic accident. However this doesn't change the fact that ice king is still unhealthy for Betty (and himself) and that her loving him would undermine both their characters and their relationship.

Though it is sweet to think about Betty loving him for who he is now, to say it should have happened and the show would be better with it is just incorrect. Also it would kinda ruin the impact if ice king turning back into Simon at the shows end.

That's all goodbye

#adventure time #simon petrikov #ice king #betty grof #petrigrof

[box-dwelling]

OK so as someone who just genuinely loved Dual destinies and is keeping my theis length DD apologia in the drafts at least for now. I genuinely want to know why people don't like it.

I have seen this take from so many AA fans who I completely agree about everything else with. I need to understand why it sounds like we played completely different games.

I will put some I've seen but feel differently about under the cut

Critisms I find unfair:

-it doesn't tie up the loose ends AA4 left hanging. We don't hold any of the other games up to this standard because they all properly finish up the characters arcs. Aa5 cannot be blamed for the problems we want to overlook in AA4. I do also love AA4 but it does leave a lot of dangling plot threads that the others don't and that would be a fucking nightmare to tie up *staring directly at sibling reveal*

- Clay comes out if no where. He's very well established through the game. He just isn't mentioned in AA4 just like Fran isn't mentioned in AA1 and Dahlia isn't mentioned before AA3.

Critism I acknowledge is a reasonable opinion people can have but strongly disagree with

-Spilting the game between the protagonists stops them having proper arcs. Athena is our weird girl for this game. She is our maya. We get to play as her for 1.5 cases. For the majority of the game she's taking up the weird girl screen time and she's honestly still doing that in the ones you play as her. She's just a weird girl who happens to be a lawyer. In the main game Apollo and Phoenix have a roughly equal amount of screen time by chapter. They cut the bloated filler not the arcs (yes I will argue that 5-2 is needed for Apollos arc. Its there to set up his relationship with Athena that us a catalyst later on)

-Phoenix and Apollo are OOC. No. Phoenix is still a cryptic little bitch when you don't play as him and in AA4 he was so very clearly missing being a lawyer. It makes sense. Apollo very clearly in the last case of AA4 regains a lot of his respect for Phoenix. No, he doesn't do this on screen but again that is AA4s fault not dual destinies. That's how he acts the last time we see him so that's how he's acting now.

-The Phantom comes out of nowhere. Plot wise, maybe. But so do a lot of AA villians. Thematically, he's the perfect fit. DD is a game about trust. Very, very explicitly. A spy is someone who can't trust anyone. The phantom is a man who's shut himself off so much from emotions that he no longer recognises why trust is needed. And also has an ability that directly preys on people by making them think hes a trustworthy figure. He's not an incredible villian but he is thematically cohesive.

-almost a part 2 to the last point. The Fulbright reveal comes out of nowhere. First of all 5-2 has some very very choice sprite framing lol. But beyond that it also is a thematically smart choice. We as players are conditioned in AA games to trust the recurring detective. The villain should be someone that we trust. The guy was likeable but also fundamentally always kinda hollow and did in fact pull a shit ton of strings in 5-4 that we all ignored because we trusted him. The clues are there. You're just not ment to pick up on them because of the formula of these games.

-Edgeworth doesn't need to be there. Again game with a theme of trust. He doesn't necessarily need to be there but his dynamic with Phoenix does. They spent 3 fucking games setting up how important it is that those two trust each other and in a game about trust his absence would be felt.

-I don't see this a lot but I did see it a few times. Blackquill is a bad prosecutor. Honestly this is a taste thing and I love him. He is my little bastard man. Also thematically he embodies the two people you aren't supposed to trust in these games, a convict and a prosecutor but is actually a cool guy.

-I've never seen this but I can guess it's happened. Pearl comes out of nowhere. Again theme of trust. Phoenix has just lost the two people he's been relying on to trust the most and needed to be reminded that there were other people he loved and trusted so letter from Maya and visit from Pearl.

-mood matrix. I like the mini game I think it's fun. My brain likes to sit and logically think about what emotions it would make sense for someone to feel in situations.

Criticism I agree with but really don't bother me

-Trucy is side lined. Yeah. I love her to pieces and will never complain about getting more of her but it doesn't make sense for her to not be there plot wise and they clearly just didn't have room for her. I am happy with my Trucy scraps. I would visit her and present every piece of evidence to her to get as much dialogue as I could.

-Klavier is sidelined. Also yeah. But he did genuinely need to be there for 5-3 thematically for that case. (It is literally a showdown between his school of thought and the one he thought phoenix had) but they couldn't make him procecutor because he'd be too much on their side. It had to be someone who at that point seems at least a little morally dubious. I wish there was more but I will also happily take my Klavier scraps.

-the anime cutscenes. I don't love them but I do have a little switch in my brain marked "watching anime" that I can flip and enjoy them for what they are.

-the switch of the voiced sound effects. Yes they are worse but like, I can live with it.

Stuff I don't like and won't defend

-turnabout reclaimed racism and fatphobia (also blatant animal welfare ignorance). I'm not defending it or overlooking it but it's not the only game in this franchise to be problematic.

#ace attorney #dual destinies #aa5 #aa5 spoilers #gyakuten saiban #dual destinies apologia #phoenix wright #miles edgeworth #apollo justice #clay terran #athena cykes #simon blackquill #bobby fulbright #pearl fey #trucy wright #whenever i write dd apologia i also make it look like i dislike AA4 #i dont. i love that game. it is just flawed and i think people who already dislike DD but like AA4 want to pin those flaws on DD #however you see as i am an intellectual i love AA4 while accepting it's flaws instead of pawning it off onnthe next game/hj