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bigskydreaming · 3 years

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I’m a big believer that Dick’s independence and self-reliance isn’t in any way rooted in him just being stubborn, prideful or self-destructive. I view it as being in his eyes a necessity….because on a deep, fundamental level….Dick doesn’t trust anything to be permanent.

I’ll always go back to the fact that his character archetype isn’t that of the everyman, because he was of lower class origins compared to Bruce’s extreme upper class background.....but rather that given that Dick Grayson was allegedly exceptional from his debut, a child prodigy capable of feats of acrobatics few in the world could match....he could never actually be classified as an everyman. Rather, his core archetype is that of the fish out of water. The individual taken from the comforts of his original pond and thrust into a limelight of an entirely different nature from the one he grew up in, with the two not at all being interchangeable, and necessitating he change and adapt in dramatic and often unanticipated ways just to keep his footing in his new environs.

Its not incidental that his initial tragedy wasn’t JUST the loss of his parents, but rather the loss of his old routines, extended family, environment, way of life, expectations for the way his future would play out....it ALL vanished on the same night, never to return again. The loss of his parents was tragedy enough all on its own, but its really only one part of what Dick lost that night. He lost his entire footing. His frames of reference. Everything his life had previously prepared him for and everything he could have used as a familiar comfort or source of stability to lean on, if it had been ‘just’ his parents that he lost.

And I fundamentally don’t believe you ever get over THAT loss, no matter what peace you make with the loss of your loved ones or specific elements of that. Once you’ve experienced a shake-up of that size, once you have a bone-deep, visceral awareness of how completely your life can change in the blink of an eye, how you can effectively be set back to zero as though nothing you’ve previously accomplished matters (remember, he went from a kid whose name drew crowds on its OWN merits, based on what HE was capable of due to his own work and skills, the youngest of the Flying Graysons, capable of an acrobatic feat barely anyone else in the world could master......to being a kid who was only ever identified as in the context of Bruce Wayne having taken him in, as though his existence and worth were defined by someone else’s act of compassion rather than based on anything he’d ever done on his own, when the fact of the matter is even by age eight, he’d already accomplished a LOT)....

Like, the point is, you can’t go through a shake-up like that and ever fully FORGET how complete and total a change it was, how big a rewrite of your entire life story.

That’s a trauma all its own, one that goes largely unacknowledged, and one that I don’t think Bruce and Alfred or anyone else fully realized was even there TO need addressing in the first place. So of course how could they ever fully address it, without realizing a need?

And I think Dick’s constant moves and self-reliance are actually born of that primal awareness that there are no guarantees, that nothing is truly permanent, that anything can be taken away in an instant.

He’s always waiting for the other shoe to drop, for everything to be taken away again - as people have pointed out in other posts, Dick can never seem to have nice things. Even the apartment building he lived in while in Bludhaven….that wasn’t some height of luxury by ANY stretch of the imagination…was lost to him, along with all the friends and neighbors and community he’d built among them, something evidenced by how highly they all spoke of him, even to a total stranger. And that’s not even getting into how even the CITY he sought to establish himself as a guardian over, like, he lost the city itself. The CITY!

Dick, I believe, insists on holding down 9-5 jobs and paying his own way and only touching money that comes from Bruce originally, when like…he has no other option or its to help someone else….just like he’s resistant to ever fully putting down roots, at least none so deep that he can’t uproot himself and quickly relocate without ripping off a piece of himself and leaving it still buried in the ground behind him.

Because deep down, he’s always bracing for the next seismic event that’ll rip everything away from him, and he wants to be prepared. He WANTS to make sure he never takes anything for granted. That if he loses it all - hell, if he and Bruce fight again and Bruce decides once and for all to take it all away from Dick, cut their ties, something that would very much be a deep-rooted insecurity for a kid with as massive of abandonment issues as Dick must have given his childhood and a number of events after that…

Dick I think needs to trust that he’ll be capable of surviving, of standing on his own two feet, if the worst should ever happen again and he’s left on his own again. His self-reliance and obsessive need for independence aren’t a REJECTION of anyone else or anything Bruce or others have ever done for him.

They’re simply the defense mechanisms of a boy who was once upon a time torn away from everything he knew and in certain origins was then on top of that plunged into hellish circumstances before finding a refuge with Bruce….

And the man that boy grew up to be, who is determined to never be caught in a situation like that again, where his very survival might otherwise require the kindness of a stranger….with Dick knowing better than to count on lightning striking twice there, and him getting lucky a second time.

So in a lot of ways, my core perception of Dick having spent more time growing up in the luxury of Wayne Manor than any of the other kids is that its largely irrelevant to who he grew up to be. Because he was still more than old enough by the time he arrived that he had formative experiences all his own that no amount of time was sufficient to overwrite and exchange for new ones.

His experiences are so extreme in terms of the loss of all forms of stability, that the SHAPE that stability takes in the periods where his life IS stable, is largely unimportant. Because its the absence of stability that’s the defining recurrence in his life. Even the stability offered by his childhood in Wayne Manor eventually gave way to canon where he left the Manor before he was even eighteen, as well as canon where no matter how it was ultimately reversed, he was for a time affected by having the ability to call the Manor his home STRIPPED AWAY FROM HIM. Thus even when Bruce did ultimately welcome him back, there still retained an awareness that even the fact that this had happened in the first place was a reminder that even THIS was something Dick could lose, that no matter how stable his childhood there had been at times, it couldn’t in and of itself be COUNTED as a source of stability due to the simple fact that his ability to call it his home HADN’T turned out to be an irrevocable constant.

And so this is another of those areas where I think its fundamentally an oversight to have members of the family commenting on Dick’s self-reliance or tendencies to relocate himself, let alone in any kind of critical capacity......

If there’s not going to be an acknowledgment within the family or by the people raising these criticisms like, what kind of a role the family themselves have played in Dick feeling a NEED to have these tendencies in the first place.

If someone doesn’t trust in any place he lives in to ever truly be a constant in his life, truly permanent, that anything can be taken away in the right circumstances....and you yourself have done something that has made him feel or given him reason TO leave a place he’s found stability in at some point in the past....you kiiiiiinda forsake your right to be critical of his inability to see any place as permanent or constant, y’know?

Like, insert Miranda Whatshername gif or Meryl Streep peering down her glasses and going oh I see, you think this has nothing to do with you.

So I’d argue that Dick’s insistence on simulating the average person’s reality of livelihood, even when he has other means and funds available to him….just as his insistence on being as solely responsible for the well-being of the place or people he sees as his responsibilities, being single-minded about relying only on himself for tasks that he sees as ultimately having nothing to do with someone other than himself, etc....

All that is in my opinion BECAUSE he’s so firmly attached to the reality that anything and everything can be taken away, at ANY given moment. That he can be reduced to having nothing and no one he can depend on BEYOND just his own innate skills and experiences, the only things he trusts to be truly unable to be stripped from him by others.

If you ask me, one of the core aspects of Dick’s characterization throughout his adulthood in canon is SPECIFICALLY his fear that everything he cares about, or trusts, or relies on…can be taken away from him or lost.

And his determination to make sure that he’ll be able to survive even if that should ever happen again.

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seasurfacefullofclouds1 · 3 years

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“louis is harrysexual.” This is what bothers me the most.

I try to understand the social aspects surrounding the whole larry thing as a pop culture phenomenon but the fact that Louis is absolutely nothing to them but a puppy to keep Harry happy is what I can’t stand about it.

Go with Harry, ship him with Olivia if you like straight ships, choose a guy to ship with Harry if it’s what you enjoy shipping, but come on choose someone from Harry’s present life like idk Xander, Mitch or even Jeff and Harry can be a forbidden love lol I don’t care just forget Louis please.

(Sorry I just needed to take that out of my chest)

The contrast between their hysteria in screaming about Louis and Harry’s “love” and the absolute, stone cold callousness with which they treat Louis is sobering.

“I hope that you don’t run from me.” It’s probably really hard being Harry Styles’ partner. [emphasis mine]

This is the bias and the insanity, the way Larries incorporate their self-insert fics (with their transparent thirst for Harry) and teaches a new, young fandom to treat real people as puppets, fictional characters.

Here’s Louis’ interview in the Guardian, from 2017:

Tomlinson says he has already sweated more for this record than any before. When you’re putting together material as a soloist, he says, you quickly learn that those hot-shot collaborators who once dribbled to work with One Direction no longer pick up the phone so readily. “I couldn’t say to you now that I could definitely get a superstar writer in a session with me. And I understand that.” Tomlinson adds, with no real vinegar, that not all of his former bandmates will be operating in these same straitened circumstances: “Harry won’t struggle with any of that.”

In their One Direction days, no question, Styles got the most attention. But all the boys had their devotees and Tomlinson retains a body of fans who’ve been loyal to him even when he might have looked a wobbly investment. He wants to prove to them – reason three – that he’s been worth the backing all these years. “I honestly think they’ll write books about One Direction fans,” Tomlinson says. “Because they are so fanatical. The intensity. It’s remarkable.”

Draining, I ask?

“Oh definitely draining. Definitely.”

Tomlinson […] says to me more generally that he hopes his new music will reveal to fans a more complete version of himself than before.

“Although my problems might look a hell of a lot different they’re actually, fundamentally, the same. Loss feels the same. Heartbreak feels the same. The fundamental hurtful things for a human are all the same. And I feel like I have to push that constantly, that humanised… The humanised feeling that…”

That you’re not a toy?

“Yeah. Honestly, it’s crazy. It’s hard for a lot of people who are fanatical to believe that you are a real entity and a person.”

It is heartbreaking to think that in 2017, Louis was already aware of what could happen: that both the music industry and most fans would prioritize Harry, and that fans would treat Louis as a toy, a side character— as it has become the reality in the Larrie fandom in 2021.

“Definitely draining. Definitely.”

In Walls, Louis has written such beautiful, bittersweet lyrics such as “All that’s left of us is a closet full of clothes,” “Mentally, you were already out the door,” “Why are goodbyes so often bittersweet?” “For every reason why, you were my because.”

But these lyrics have been intentionally misread and manipulated from their careful, complicated, nuanced meaning. Louis’ honest words have been twisted for propaganda. A rollercoaster life of exhilarating and terrible moments has been reduced to being “the partner of the great Harry Styles.”

- “It’s okay to support them both, but only like Harry’s music.”

- “Streaming Louis is not your job. But Fine Line is a great album and has been my pandemic savior.”

- “Louis’ music isn’t my cup of tea, but he loves Harry so much.”

- Whenever an anon gets sent in about Louis’ music or team, “I don’t really know anything about that.”

- An anon gets sent in about the Away From Home Festival, “I’ll have to go back and watch it again. I didn’t really notice.” (And it’s never followed up.)

- “Fine Line 5/5. Walls 4/5.”

- Louis has to support Harry until he’s a great movie star - once Eternals comes out, Harry will be established. Louis’ closet is for Harry’s career.

At least their Louis hatred is consistent post 2015.

#Larries #nothing can jeopardize the career of the great Harry styles

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genshin-impact-updates · 3 years

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Developer Insight #4: Character Stories (I) - "Vigilant Yaksha" Xiao (Part I)

Greetings, Travelers!

It's been almost five whole months since Genshin Impact went live, and the time seems to have flown by! We do hope you're all enjoying a smooth journey through Teyvat. Since the game's release, we have received a great deal of feedback and suggestions from Travelers and we've systematically recorded each one for the developers. We deeply appreciate all the time, energy, and passion everyone puts in to these suggestions.

In the midst of this, many of you have expressed an interest in learning more about how some of Genshin Impact's characters are created. As it happens, one character who has received an especially high amount of attention is Xiao, who has now entered the live game with the release of Version 1.3, "All That Glitters." So, for this issue, we've invited colleagues from the Creative Concept & Writing, Concept Art, and Animation departments to explain a bit about the thought process behind everyone's favorite Vigilant Yaksha.

1. The Vigilant Yaksha Is Born: A Character Woven From Cultural Symbolism

Hello everyone, my name is Zhongyuan from the Creative Concept & Writing department of miHoYo.

The first part of the process when designing characters for Genshin Impact is to pin down who the character is at their core. In this step, we need to establish the features that set this character apart from other characters. Besides ensuring that this character will make a strong impression on people, these features are used to evaluate what this character's position in the world of Genshin Impact will be. Characters are not just lumps of rock that we can place anywhere we want in the environment; they are autonomous individuals, each one with a complex set of past, present, and future interactions with the world of Teyvat. Their core features, then, represent their initial points of contact with the world. They are the guiding principles behind all the character's actions and how they live their life.

Xiao was one of the first Liyue characters we came up with. He began with our colleague CiCi's proposal for a young warrior character, which everyone involved in the character evaluation process approved of. The Art team envisaged him as a young man of great beauty, while colleagues in Creative Concept & Writing hoped to position him as a beautiful adeptus. Both sides were on the same page, and thus Xiao became our very first character planned with the identity of "mighty and illuminated adeptus."

Although this is somewhat tangential, I'd like to take a moment here to give a little more detail on the adepti in the Genshin Impact universe, given that so many players have expressed an interest in this topic. The adepti are based on the idea of demigod-like "immortals" (仙人 xianren) in Daoism, and are referred to by the honorific title "sanyan wuxian" (三眼五显), literally "three eyes and five manifestations" (but localized in English as "mighty and illuminated"). The adepti are classed as non-human, based on the notion that "All who have nine orifices can achieve immortality through self-discipline," a line uttered by the "Monkey King" Sun Wukong in the Ming-dynasty novel Journey to the West. This means that animals are also capable of achieving adeptus status. However, humans have a higher purpose than adepti in the world of Teyvat, so for this reason, only those of non-human status can be referred to as "adepti" in Liyue. The "three eyes" part of the adepti's title refers to the "third eye" possessed by those with the ability to manipulate elemental energy, which for humans takes the form of a Vision. For adepti such as Cloud Retainer and Mountain Shaper, the human understanding is that they must have an "inner eye" that serves the same purpose as a Vision. Xiao, however, typically appears in a human form, so he dutifully wears a Vision to comply with the expected norm.

After the character's fundamentals are established, the next step is to design their Constellation and refine their cultural background.

Outside of Genshin Impact, the term "sanyan wuxian" can be traced back to ancient Chinese texts and also appears in supernatural fiction from the Late Imperial period (c. 1368–1911 CE). In both cases, it typically describes the Daoist deity Huaguang Tianwang (华光天王, "Heavenly King of Radiant Light"), also known as Ma Lingguan (马灵官, "Numinous Official Ma"). Huaguang Tianwang is a well-known guardian deity, who appears in the Ming-dynasty novel Journey to the South, in which he has an altercation with Sun Wukong. Research into folk culture also shows there is precedent to connect deities known as Wuxian (五显, "Five manifestations" or "Five Named Xian") with a group of malevolent deities known as Wutong (五通, "Five Powers" or "Five Named Tong"), which includes the one-legged, people-eating, mountain-dwelling demons known as Shanxiao (山魈, "mountain demon").

So, at the most hidden but fundamental level of this character's core, we decided on the name Xiao (魈) and the identity of a guardian-adeptus. The name Xiao is used to hide his past, but also embodies this character at the innermost part of his soul. It is the starting point for all further character development and cultural embellishments.

Another dimension of Xiao's design was that he wields an Anemo Vision and has a fleet-footed and agile combat style that includes the unique ability to propel himself through the air. To stay true to this, we decided to design his Constellation and skills around the idea of the yaksha in Buddhism. This meant we were conflating ideas from different sources; nevertheless, the yaksha had become a well-established figure in Chinese folk legends by at least the end of the Tang dynasty (618–907 CE). The yaksha element ended up being a crucial part of Xiao's design that really helped us flesh him out in terms of his image.

The two archetypal stories of "guardian yaksha" and "numinous official's redemption" both involve a malevolent spirit on a path towards goodness, which was consistent with the general direction of Xiao's character core. Furthermore, his physical agility matched very well with another term for yaksha in Chinese, "Swift and nimble spirit" (捷疾鬼 jieji gui). Through further development of the yaksha concept, we arrived at the decision that the other fundamental aspect of Xiao's identity would be his role as a guardian yaksha in service of a monarch, or in this case, an archon.

One detail is particularly worth mentioning here. There is a well-known group of guardian yakshas in some Buddhist denominations known as the Twelve Heavenly Generals. All but one of them correspond to different animals in the Chinese zodiac, while Mekhila, who would otherwise correspond to the rooster, is instead associated with a bird deity, the golden-winged Garuda, a figure from various Indian religions. The story goes that this golden-winged bird deity was a fearsome predator who ate only evil dragons, until one day the dragon poison he had consumed became too much for him to bear, and he burned to death, leaving only a crystal heart behind. This story seemed to resonate with aspects of Xiao's character. Furthermore, the Chinese name Jinchi Peng Wang Niao (金翅鹏王鸟, "Golden Winged Great Peng") embodies a history of evolution — it represents a convergence between Garuda and the Peng, a Chinese mythological bird, showing that some adaptation occurred in the process of his adoption into Chinese religion. After much consideration, we decided to use the Golden Winged Great Peng as the basis for Xiao's Constellation. In English, Xiao's Constellation has been localized as "Alatus Nemeseos," in reference to the bird deity and Xiao's role as the nemesis of evil.

Finally, we conducted an overall review of Xiao's character profile. During this process, we noticed that Xiao's origins were very complex: Some aspects of his identity were based on folk legends while others drew on religious stories. From mountain demon, to Daoist deity, to guardian yaksha, to mythological bird, this was a uniquely rich character formed from the convergence and refashioning of many ideas in one place. More importantly, all these elements were consistent with each other at the narrative layer, creating a strong and cohesive impression of who this character is and adding clear, nuanced substance to his story. This degree of complexity gave Xiao just the depth and appeal that we were hoping for with this character: we hoped to create something entirely new through the convergence and fusion of various cultural elements, and we hope that the end result, Xiao, possesses the power, aesthetic value, and maturity to become a true cultural icon.

The next step was shaping the character's personality and behavior.

After close consultation with Concept Art colleagues, Creative Concept & Writing further fine-tuned the details of this character's content. To pick one example, we all felt that the distinctive image of a young warrior was an important one that we wanted to keep. This begged the question: if Xiao is a warrior, who or what is he waging war against? We quickly got to thinking about a war between the gods. (See section 2 of this article for how Concept Art developed the mask design based on this idea.) One of the basic rules of the Genshin Impact world is that gods cannot be completely destroyed — even if a god's physical form is destroyed, its will and power live on. The remnants and the wrath of the defeated god will remain in the world, waiting for opportunities to cause chaos. To keep Liyue safe from this threat, somebody has to go and keep them at bay.

The decision to release Xiao at Lantern Rite was to tie in with the Chinese custom of driving away evil spirits at the new year, since Xiao's role in Liyue is that of a protector in precisely this capacity.

During festivals, people offer up incense and pray to the adepti for their protection.

But they do not pray to Xiao.

For Xiao is no lucky star that promises fame and fortune — he is a demon-hunting yaksha.

After the lantern lights of Liyue have faded, the thankless battle to protect the city goes on unseen. It is an endless battle, and there can be no victor.

The Traveler's first impression of Xiao is most likely to be of a silent and brooding individual, a courageous and competent fighter, and someone who harbors great suffering. This suffering comes from within Xiao himself. One aspect is that the years of intense, never-ending battle against the remnants of defeated gods have led to him resigning himself to the fact that fighting is all he is good at. The other aspect is that the remnants have a negative effect on him, while the constant killing places a karmic burden on him, causing him mental and spiritual anguish.

This inner suffering is present in the design of his skills: when Xiao uses "Bane of All Evil," he dons his mask, which continually enhances his combat abilities but also continually drains his health. This demonstrates the great suffering he must endure as a consequence of using this power.

After the Traveler has spent some time with Xiao, perhaps they can sense that deep down, Xiao has a gentler side. Xiao is by no means a cruel and callous individual, he is simply reticent to show his emotions to others.

Xiao always keeps his distance from the hustle and bustle of human society. This is not because he doesn't care about humanity, but is due to his role as a protector. He must wage war against dark forces out of sight of humans, and endure a suffering that is incomprehensible to them. Despite this, he does not despise humanity. Humans are the foundation of his millennia-old contract with Rex Lapis, and the reason he silently fights to protect every living soul in Liyue.

The player's first offer to Xiao is to go to the Lantern Rite together to experience the atmosphere. Xiao instinctively refuses requests of this nature— not because he dislikes the idea, but out of avoidance. For Xiao, who has lived for millennia, the human world is a brilliant but fleeting flash of light; a wisp of cloud floating by; a firework on the horizon. And as the one tasked with defending this flurry of activity, he is like a caged beast circling the fire of a stove: fearful, but also full of curiosity. Having watched from a distance for so long, he would not know how to join in with the crowd even if he tried.

The lanterns rise up into the night sky, as if to shine along with the stars. Xiao watches this beautiful sight alone from a mountaintop, and just like anyone else, he senses the sentiment behind them, and he understands that the reason people craft these beautiful things is to remember those who fought alongside him in the past. As one who lived through the events of the past and remembers it all, he is, of course, able to appreciate the well-wishes that the lanterns represent. He understands kindness and gratitude, but doesn't know how to interact with ordinary people, nor does he know what his place is among all the excitement and noise. This lonely state of existence is the source of his melancholy. It has caused time to stand still, leading to him still having a very young mentality even to this day.

During the main Liyue questline, Xiao came to the Traveler's rescue in their moment of peril. In Version 1.3 "All That Glitters," we invite Travelers once again to experience a story that provides a glimpse into Xiao's seldom-shown gentle nature, as well as the trust, hidden deep within his heart, that he places in you.

2. A Young Adeptus: Detail-Based Design

Hello everyone, this is D and SS from the Genshin Impact Art team. We worked on the concept art for Xiao.

After the initial brief, we produced a first draft of Xiao's design based on the young warrior concept. As you can see, Xiao's expression in this version is far from the stern one he wears today. He has a gentler temperament and he is smiling. In this sense, he captures a more traditional notion of what a Daoist immortal (or in Genshin Impact terms, an adeptus) might look like. After more discussion with Creative Concept & Writing colleagues and taking more of his back story into account, we decided on the green version.

Xiao is an adeptus who protects Liyue, and in the course of his long battle against the remnants of defeated gods all over Liyue, he has become poisoned by their nefarious energy. Based on this background, Xiao's upper body uses white and green, which represent the adepti and correlate to his Anemo Vision. For his lower body, we used darker colors to represent the dark, malevolent power that exists inside him.

Based on these same principles, we gave him dark hair with highlights, and also created some interplay between light and dark in his attack animations. The darkness represents the destructive power of fierce battle, while the fragments and orbs of light that he gives off come from the fact that he is an adeptus.

Xiao may have the appearance of a young man, but his true age is something over two thousand years.

Fortunately, people do not tend to underestimate him on the basis of his appearance — one only needs to spend a short time with Xiao to recognize that he is not someone to be trifled with.

Xiao is a man of few words. He is highly dangerous, and has the most piercing gaze you've ever seen.

Given Xiao's true age and his identity as an adeptus, we decided to give him some jade jewelry to bring a sense of longevity and mystery. Accordingly, his legs, wrists, and shoulders feature decorative jade as well as various other objects bearing simple motifs. Meanwhile, to match his young appearance with striking good looks, we tailored his clothing (especially on the upper body) using a more modern design, displaying his vibrancy and agility.

On the one hand, Xiao is an immortal adeptus, while on the other hand, he is a young warrior. This is a great variance in image, and it posed a significant challenge for us from an art perspective. Traditionally, an immortal is imagined as a scholarly figure dressed in long, flowing robes with wide sleeves, who is fairly reserved in the movements of their hands and feet. But Xiao, as a master of the dance-like art of polearm combat and a fleet-footed yaksha, required clothing that offers both protection and freedom of movement. Furthermore, we also knew that there were strict limits on any flowing parts of his outfit due to the risk of clipping they would create after 3D modeling.

So we made Xiao's garments close-fitting and short-sleeved, put some light gauntlets on his wrists, and added some religious paraphernalia such as a censer and a vajra. Meanwhile, his streamers and the breechcloths around his waist are decorated with a cloud motif to add a sense of antiquity. In this way, we achieved a union between practicality and ethereality.

"Bane of All Evil" — the four words that sum up what Xiao has experienced over the past millennia, according to Liyue's rulers who know the truth about him.

In the design of Xiao's mask, we referenced aspects of the masks traditionally used in exorcism rituals as part of Nuo (傩) folk religion.

The main colors used in these masks are black, blue, and gold, the eyes are bright but not flamboyant, and in general the masks look solemn but also mysterious. The sinister-looking bulging eyes, fangs, and horns instill fear in the viewer. The eye in the center of the forehead represents omniscience and the flame motifs make it all the more imposing, the intent being to cause all onlookers to cower in fear.

Xiao's release coincides with the ancient festival of Lantern Rite. We would like to use this historic occasion as a chance to send our best wishes to everyone — here's to deliverance from the ills that plague the real world as well as those that face us in the world of Teyvat. To fans of Xiao reading this, we hope you feel that learning a little about the design ethos gave you the chance to better understand and connect with this character.

(Continued in Part 2)

#genshin impact #official #genshin impact updates #genshin xiao #xiao #xiao simps rejoice!#part 2 is gonna take a while‚ i got class in 15 minutes #but anyway this was super interesting to see :o #developer insight

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mira--mira · 3 years

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Madara and Hashirama for the ask meme 👀

Hashirama

What I love about them:

I really love Hashirama's stubborn optimism. I say "stubborn" here bc I think after a certain point of pain in misery in someone's everyday life, in some way it is a choice to remain optimistic despite that suffering. I don't characterize Hashirama as constantly happy and he can recognize the more realistic/pessimistic possibilities, he just refuses to accept them. I have it in my notes for OoT but haven't worked it in verbatim but Madara would call him "ruthlessly optimistic " and while that's tinged with Madara's own bias, I think it fits quite well.

What I hate about them:

Hashirama is stubbornly optimistic LOL. It's a double-edged sword and I think by the time he reached adulthood in a canon setting, Hashirama was so desperate for there to be peace he maintained his "everything will work out" attitude when he otherwise shouldn't have. There were the concerns with Madara and the Uchiha, his own brothers views that he certainly should have recognized could become a problem, and, after depending on when Tobirama took on students/how old they were, the possibility of biases being passed down and a Danzo like figure coming to power. However this was not Hashirama's responsibility alone to fix. I don't think, despite his love, Hashirama alone could have kept Madara in a village that hated him and a clan that distrusted him. Tobirama was an adult and let his own bias pass under a veil of "logic" and passed that, either intentionally or unintentionally down to his students. None of this is Hashirama's fault, but I think part of the canon story being a tragedy was he was blinded by a bright, hopeful future that he failed to see the early signs right in front of him.

Favorite Moment/Quote:

"To me, Madara was like a gift from the divine."

Even thinking about it makes me melt. It's so sweet and really emphasizes how much Madara means to him. 🥺

What I would like to see more focus on:

In fics? Hashirama's mental health and how his childhood affected him. Most of the long fics I've read focus on Madara. Which I understand, Madara has an arc into becoming a villain while Hashirama is just kinda "there" and it's easy for him to fulfill a support role to helping Madara in canon Au fics. A sort of unshakeable, always optimistic stone for Madara to depend on and stop his downward spiral into villainy. But, what makes hashimada so great for me is that Madara and Hashirama are equals. There will be times one falters and needs to depend on the other, and they're capable of giving each other that support. It'd also be great to see Hashirama struggle yet continue to choose optimism and compassion time after time because that feels more weighty and important than an eternally optimistic characterization that never wavers.

Headcanon wise...this isn't something I've found but desperately want to see (and will come up in all of my own aus) is the connection between the god tree and the god of shinobi who's famed ninjutsu is wood release and who's cells can be used for everything under the sun and are specifically needed to control the gedo statue / ten-tails. 👀 Look when I got back into Naruto and only vaguely knew about the war arc plot I thought Kishimoto was Doing Something with that. He was not. I am.

What I would like to see less focus on:

This is pretty much mentioned above but Hashirama as mainly a support for Madara rather than getting his own (non romantic) arcs in long canon Au fics. Headcanon wise, this is such a small nitpick, but Hashirama constantly being the one described as warm whereas Madara is cold. The big tree can *retain* heat, but he pales in comparison to Madara's ability to *generate* heat.

Favorite pairing with:

Hashimada (Hashirama x Madara)

No one should be surprised. I can wax prose about this for days but it's about ultimately finding someone else in a terrible world that *understands* you that you can grow with and support. I'm a sucker for friends to lovers and battle couples so guess what's right up my alley?

Favorite friendship:

Canon/BoaF- Hashirama & Mito

I know Madara & Mito is more popular, and I do love their dynamic but christ Hashirama needs friends outside Madara and Tobirama and I think they'd be good friends. Canon!Mito would provide a good level-headed perspective and wouldn't have the messy, complicated history like the three founders have together and it'd be good for Hashirama to get a break from that. BoaF!Mito and Hashirama are cousins their relationship eventually progresses to a sibling-like bond. They’re quite protective of each other and gossip endlessly together. Mito’s not as good as gardening, but they do it together and incorporate Uzumaki sealing techniques for certain houseplant decorations. Mito also might know about Madara 👀

OoT-Hashirama & Sakura or Hashirama & Sai

His and Sakura's relationship is p similar to how I would characterize his and Mito's but with the added hilarity of Sakura being his "student" yet having 0 deference for him once they actually get to the "teaching" part (surprise: Hashirama's most uttered lines are "you do the thing, you know the thing, you know you just...do it. The thing. Madara "translates" a lot of their sessions.) Hashirama and Sai antagonize each other constantly and he *will* tease Sai into oblivion as any older brother would. Tobirama never reacted to Hashirama's mischief in ~fun~ ways and he felt bad about messing with Itama, who was even more emotional than he was and Kawarama, who hero-worshipped him. Sai is the perfect "if anyone messes with you I will personally make them regret being born yet *I* will tease you mercilessly to my hearts content" kind of little brother.

NOTP:

Hashitobi (Hashirama x Tobirama)

I don't do incest. At all. Even "non-incest" aus where they aren't technically related squick me out.

Favorite headcanon:

Hashirama can Speak to the trees.

Either humorously or seriously, I love this kinda, sorta, maybe not quite human power.

Madara

What I love about them:

Madara is kind and does his best to do what he thinks is right. The “kind” point is a lot of Hashirama talking/flashbacks and the “good” intention behind the Infinite Tsukuyomi. Making everyone a “winner” in the dreamworld, while absolutely insane and full of holes, is odd for a villain’s motivation. His role in the war arc is mostly focused on watching him wreck absolutely everyone he comes into contact with but I love Hashirama’s flashbacks and the glimpses of kid!Madara we get. Madara believed in his philosophy from a lifetime of pain that ended in him losing everything and being manipulated but he was still seeking a way to “help” the most people he could. He’s such a rich character that makes it easy to want to imagine other what-if scenarios where things turned out just a bit differently.

What I hate about them:

Madara takes all responsibility onto himself. This is more speculation because we don’t get Madara’s POV of his childhood or any significant scenes with the clan. However, I think this is one of the primary roots of most of Madara’s problems. If he blamed himself for mistakes that weren’t technically his, he could get into a cycle where he only blames himself and doesn’t seek help/support when he should have and purposefully reduces his support circle because he becomes paranoid that he won’t be able to protect them. A smaller issue that is both about Madara and not is he didn’t fall victim to the Talk no Jutsu, but was Madara aware of what was happening when he was possessed(?) by Kaguya? I forgot but if he wasn’t...I don’t think he’d agree Hashirama’s way was the right way at the end, merely his way was wrong. Because, in Madara’s point of view, the village may have been “better” (used very loosely) than becoming food/power for an alien goddess but it wasn’t good. It wasn’t the solution. Hashirama saying they were both wrong in some way saved the scene but Madara still jumped back to Hashirama’s dream being the right one too quickly imo.

Favorite Moment/Quote:

“What are you going to do about the second [meteor] Onoki?”

I’m sorry, that was just hilarious. We see this man slaughter an entire division and drop a meteor from the sky...two kages desperately try to stop it and it looks like they managed to succeed and he just...cool. What about the second? Really cemented Madara is Here and he is Dramatic. A close second fav is him flying across the battlefield to confront Hashirama only for the “I’ll deal with you later” line.

What I would like to see more focus on:

I really love it when fics fill in the blanks of Madara’s childhood/his time with the Uchiha so that’s always a plus for me. The other thing is Hashirama calls Madara a “fundamentally kind man” and according to Tobirama the Uchiha feel love “too deeply” so I like fics that do focus on these aspects of Madara’s personality while staying true to his prickly demeanor. For headcanons I love, love, love exploring kekkei genkai/ninjutsu/genjutsu and how they individually affect people/clans. Digging deeper so that “fire affinity” means constantly running hot/pushing into possibly having fire resistance/unable to distinguish “too hot” / or even affinity acting like a secondary blood type so even if two people had AB blood if one had a water affinity and the other fire their blood would be incompatible. Also the mundane ways powers can be used (I have some Ideas for non-combat genjustu applications that the Uchiha use and those will come up in OoT 👀)

What I would like to see less focus on:

This again kinda ties into the Hashirama segments, but Madara completely depending on Hashirama and Hashirama alone for happiness. Especially in long AUs where he’s still in Konoha but has a poor relationship with the Uchiha. That’s fine starting out! But if the fic ends or doesn’t seriously work on improving that relationship it just sits a bit weird with me bc I don’t think Madara could be truly happy in that situation. (NSFW start) The other thing I see commonly is Madara is extremely passive/submissive in bed with Hashirama which is...weird to me? There’s also a reoccurring thing where he doesn’t have a lot of experience but Hashirama does and this leads to embarrassment and the aforementioned passive/submissiveness. I understand lack of experience can be embarrassing and I do believe Madara could be embarrassed, but instead of withdrawing into himself I think he’d push through it with something close to bravado and his usual single-minded intensity, for better or worse. I do think Madara usually bottoms in his and Hashirama’s relationship but both of them are as enthusiastic about sex as they are fighting and neither is especially submissive or dominant. (NSFW end)

Favorite pairing with:

Hashimada (Hashirama x Madara)

See absolutely everything else 😂

Favorite friendship:

Canon/BoaF- Madara & Naori or Madara & Hikkaku

I really like focusing on the Uchiha clan and exploring the dynamics within it. We get nothing about Madara’s early life outside of Hashirama so this is almost completely speculation. For the angst of canon, I like Madara being close to his clan only to lose them after his friendship with Hashirama is revealed bc he awakened his sharingan over Hashirama and that can’t be easily hidden. For BoaF, a large part of it is exploring the clans’ cultures before they made the village so this necessitates actually fleshing out said clans. Naori and Izuna are v similar in personality and both live to prank Madara and annoy him, but they hardly ever team up bc they start squabbling amongst themselves. Hikakku is stoic and calm in contrast to Naori’s mania and Madara’s intensity but he keeps track of every little favor and Madara dreads the day he’ll act on them because he knows it’ll result in something embarrassing for him. But like all BoaF!Uchiha, they’re fiercely protective of one another and you really don’t want to insult the wrong person.

OoT - Madara & Naruto or Madara & Sai

I really Madara and Naruto’s dynamic, it’s very entertaining and fun for me to write and they’re both positive influences on each other. Madara gets more people to smother with his brand of affection and Naruto gets early recognition and training. Their weird non-training shenanigans (coupon collecting, gaming, etc.) also is p amusing. Madara and Sai have a similar relationship but I really like writing theirs from Sai’s POV bc he insists that he doesn’t feel close/like when Madara treats him like a little brother when he really does.

NOTP:

Madatobi (Madara x Tobirama)

Logically, I know why this pairing is popular. Fanfic is saturated with the enemies to lovers trope yet emotionally I Do Not Understand it. Personally, I don’t enjoy toxic relationships, to read or write. And, to me, that’s what a close canon Madara and Tobirama pairing would be. Tobirama tried to convince Hashirama to kill him, he killed Izuna, even if it was in war, and I don’t think Madara could or would get over that. If Tobirama has similar attitudes about the Uchiha it makes it worse. AUs exist to rewrite this, of course, but I still don’t enjoy their romantic chemistry. At best, I like Tobirama and Madara as reluctant frenemies who insult each other and try to one-up each other.

Favorite headcanon:

Madara is fire proof.

I have a whole rant about this in OoT’s author notes 😂 Sasuke’s Amaterasu should have been a serious threat when it hit him. Instead the man just lets his clothes fall off then kicks their asses. He’s fire proof.

In response to the ask game:

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fakeikemen · 4 years

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The Roku/Sozin ancestry plot twist for Zuko

Like I’m sure this has been said before but the twist about Zuko being a descendant of both Roku and Sozin is actually a disservice to his character and his narrative as well? The way the narrative frames this reveal along with Iroh's dialogue, it backtracks on a lot of the story we are shown in Book 1&2 (and sometimes it even clashes with some dialogues in Book 3).

Iroh: “Because understanding the struggle between your two great-grandfathers can help you better understand the battle within yourself. Evil and good are always at war inside you, Zuko. It is your nature, your legacy. But, there is a bright side. What happened generations ago can be resolved now, by you. Because of your legacy, you alone can cleanse the sins of our family and the Fire Nation. Born in you, along with all the strife, is the power to restore balance to the world.”

1. This implies that there are equal amounts of good and evil in Zuko and his internal struggle is about choosing one of them.

The core qualities of Zuko as a character are empathy, compassion and kindness. A person who always gets upset when he sees or even thinks about other people in pain, a person who spoke out against powerful people to save lives that were being sacrificed needlessly, a person who shows mercy to people who don’t deserve it, a person who is willing to reach out a hand to save the life of the man who tried to kill him, a person who avoids fights when possible, a person who is willing to fight on behalf of a family he has known for only one night, a person who reaches out to sympathise after being yelled at— a person like this is definitely not struggling with equal parts of good and evil within them.

Zuko does have two selves, but they can be categorised as pre-scar and post-scar.

His pre-scar version is the version who was unabashedly kind and compassionate, who spoke his mind without thinking of consequences. But his post-scar version was a cover up of the pre-scar version. It was a lie that Zuko lived everyday. He convinced himself that this was how he had to be; because this was what Ozai wanted him to be and that there was no other way.

And yet, when the situation is dire and he is depending on his instincts or when he is given a free choice, we see the pre-scar Zuko spring into action. Because that’s who he really is. It’s not a struggle between good and evil within him, it is his supressed self making an appearance when he slips up and fails to maintain his facade.

Perhaps the line that describes his internal struggle the best is this:

Zuko, imitating Iroh: Zuko, you have to look within yourself to save yourself from your other self. Only then will your true self, reveal itself.

And while this dialogue was played for laughs, it is the most accurate description of how Zuko had to reach for his suppressed self, his real self, to save himself from becoming what Ozai wanted him to be.

2. It also implies that Ozai and Ursa had equal influence on Zuko's upbringing and that he struggled to chose between what was taught to him by Ursa (good) and Ozai (evil).

The idea that Zuko has equal amounts of good and evil inside himself goes hand in hand with idea that the good and evil traits in him have been passed onto him by Ursa and Ozai's upbringings respectively which are legacies of Roku and Sozin.

I don’t need to look any further than “Zuko Alone” to know that Ozai's impact on Zuko's upbringing was slim to none. The flashbacks that we see, are dominated by Ursa's presence. Ozai hardly gets any time onscreen. And when he does, he is shown as a silhouette and when he isn’t a silhouette, we only see him smile at Azula's display of skills and frown at Zuko's attempt.

Ozai was Zuko's father alright, but never in the ways that mattered. We know that Ozai abused Zuko. He constantly belittled him and compared him to Azula. Partially because Zuko lacked the natural talent that Azula had and partially because he lacked the ruthlessness and cruelty that Azula displayed even at her age.

Which made Zuko copy Azula's behaviour to get his father’s acceptance. But whenever Ursa noticed this, she immediately corrected Zuko and clearly told him that it was wrong.

Ozai is never shown to tell Zuko that whatever Ursa told him was wrong. Ozai personally never taught him anything (except that one time). He appreciated Azula's behaviour and encouraged her to keep it up but he just kept on expressing his disappointment in Zuko.

Ursa: Remember this, Zuko. No matter how things may seem to change, never forget who you are.

Zuko's innate kindness and compassion were protected by Ursa in the formative years when he was at his most pliable. And this is why no matter what happens, he never loses these qualities and is able to retain his real self even after he tried hard to suppress it.

3. It diminishes the extent of psychological damage and trauma caused by the scarring incident.

The one time Ozai did take it upon himself to teach something to Zuko:

Ozai: You will learn respect, and suffering will be your teacher.

(Notice that here too Ozai's form is silhouetted against the light behind him.)

The scar is so much more than just a scar to Zuko. It is the one lesson that Ozai taught him. The scar exists because of Zuko's innate compassion. It was put on his face in an attempt to burn out his compassion. It was put there to be a constant reminder of what would happen if he dared to do something that went against what Ozai wanted from him. The scar was Ozai’s brand on his face. It took away Zuko's autonomy to make decisions for himself. It was a constant reminder that Zuko’s opinions didn’t matter.

Post-scar Zuko is Zuko's attempt at supressing his real persona to become the person Ozai wanted him to be, because he learned the hard way that he didn’t have the choice to be anyone else.

In fact, the first time Zuko makes a deliberate choice to go against what was expected of him, (letting Appa go) he succumbed to a fever. His emotional turmoil of coming to terms with the fact that he didn’t need to listen to Ozai and abide by him; a notion that he had been force feeding himself, everyday, for the last three years, manifested itself physically in the form of a fever. That was how deep the psychological damage caused by the scar was. (I hate it when people call it an angst coma.)

Saying that Zuko was struggling with equal amounts of good and evil within him, oversimplifies the complex emotional trajectory he had about coming to terms with the abuse he went through and reclaiming his autonomy and his personal opinions and beliefs, into just a choice between two aspects of his personality.

Zuko: I wanted to speak out against this horrifying plan, but I'm ashamed to say I didn't. My whole life, I struggled to gain my father's love and acceptance, but once I had it, I realized I'd lost myself getting there. I'd forgotten who I was.

4. This implies that Zuko's destiny was pre-determined.

Iroh said in the dialogue that Zuko was born with the power to restore balance in the world and that only he could do it.

Zuko, the character who has always had to struggle to gain what he wanted is suddenly told of an advantage that he had just by the virtue of birth? Kinda defeats the purpose of: "Azula was born lucky; I was lucky to be born", if you ask me.

And even more importantly, he let go of the destiny that Ozai forced on him, only to take on another predetermined destiny; a destiny that was his to fulfil by the virtue of birth, and took steps to fulfil this other destiny, instead of making a destiny of his own and paving his own path to it by making the choices that he had been denied for so long because of Ozai. Which seems weird because all the other times Iroh talks to Zuko about this topic, he always emphasises on how it’s Zuko's choice to make his own destiny:

Lake Laogai:

Zuko: I want my destiny.

Iroh: What that means is up to you.

Lake Laogai:

Zuko: I know my own destiny, Uncle!

Iroh: Is it your own destiny, or is it a destiny someone else has tried to force on you?

Zuko: Stop it, Uncle! I have to do this!

Iroh: I'm begging you, Prince Zuko! It's time for you to look inward and begin asking yourself the big questions. Who are you, and what do you want?

Crossroads of Destiny:

Iroh: Zuko, I am begging you. Look into your heart and see what it is that you truly want.

Western Air Temple:

Iroh: You know Prince Zuko, destiny is a funny thing. You never know how things are going to work out. But if you keep an open mind, and an open heart, I promise you will find your own destiny someday.

5. It indirectly implies that the good™ in Ursa and Zuko exists because they are a part of the Avatar's legacy.

Making Ursa a daughter of a nobleman (as intended originally)* would’ve served a much better purpose for the message that the episode was trying to get across: “the Fire Nation isn’t inherently evil”.

Katara: You mean, after all Roku and Sozin went through together, even after Roku showed him mercy, Sozin betrayed him like that?

Toph: It's like these people are born bad.

Aang: Roku was just as much Fire Nation as Sozin was, right? If anything, their story proves anyone's capable of great good and great evil. Everyone, even the Fire Lord and the Fire Nation have to be treated like they're worth giving a chance.

Had Ursa not been Roku’s descendant, then there would've been people other than just Roku and his descendants, who were Fire Nation and good™. (Iroh is literally the only exception.)

Moreover, Azula is just as much a part of “Roku’s legacy” as Zuko is, and yet is completely overlooked when it comes to it. She isn’t shown to be struggling with equal amounts of good and evil. She isn’t gifted at birth with the capacity to bring balance back to the world. It appears as if she had inherited only “Sozin's legacy”.

So, not only does this Roku/Sozin twist go against Zuko's fundamental characterisation, but it also partially deconstructs the narrative that had been carefully set up for him over the course of 2 seasons.

*(I have been looking relentlessly for the post where I saw two screen caps of the two different characterisations of Ursa: 1. Ursa as we see her in "Zuko Alone"; 2. Ursa as Roku's descendant. And I can't find it now otherwise I would've linked it.)

#i saw a vid on atla's official yt abt zuko #and the way his entire narrative was shown to be hinged on #being roku and sozin's descendant #it pissed me off; so here's the rant #zuko #zuko meta #prince zuko #atla zuko #atla #atla meta #ozai #lady ursa #azula #roku #sozin #avatar #avatar the last airbender #ira's posts

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hellzyeahwebwielingessays · 4 years

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The Problem with Spidey as ‘Iron Man Junior’

Proponents of the MCU version of Peter Parker have often defended his characterization as logical and necessary in context. But is this really the case?

Tl:dr version: No it is not.

Forgive some laziness on my part because I’m going to be presuming everyone’s familiarity with the comic book iteration of Spider-Man and his MCU adaptation for the most part. To say there is a divide between many fans of former vs. the latter would be an understatement.

Detractors (which I count myself among) typically sum this up as the character being reduced to ‘Iron Man Junior’. In general this refers to MCU Peter Parker’s hero-worshipping of Tony Stark/Iron Man, their father/son relationship and the similar emphasis upon high technology in their hero identities. A connected point of contention is Peter’s aspiration to become an Avenger.

This was outright confirmed by Tom Holland himself in an interview for the then upcoming ‘Spider-Man: Homecoming’.

"I think the difference now is that Peter Parker finally has an all-time goal, and his goal is to become an Avenger…Everything he does, even though he's doing it for the right reasons, is done so that one day he can become an Avenger and prove himself to Tony Stark. And I think we've never really seen Spider-Man with that kind of motivation before."

Defenders of this take upon Spidey have argued that this portrayal makes sense in context.

After all, Peter Parker is a teenager who’s grown up in a world where the Avengers are beloved, especially Iron Man. Plus in the comics (under J. Michael Straczynski’s pen) there was a time when Peter and Tony shared a father/son relationship. Tony even equipped Peter with a high tech costume as he did in the MCU. Spider-Man early in his career attempted to join the Fantastic Four in ASM #1 and later the Avengers in ASM Annual #3.

The problem is these defences just don’t hold up to scrutiny.

Let me first be upfront about my philosophy towards adaptations.

I in no way shape or form demand nor expect adaptations to be 1:1 panel to screen translations of the source material. I fully respect that changes are a necessity.

One of many 22-page comic book stories put out every month in the 1960s inevitably needs to be altered when jumping to a 90+ minute live action film in the 2010s.

Even the characterizations need to be altered where necessary if the source material is found wanting. *side eyes Emma Stone’s Gwen Stacy*

However, my attitude is that adaptations should at minimum respect the spirit of the source material no matter what. To do otherwise defeats the object of adapting the work in the first place. If a film is just borrowing superficial traits (names, costumes, powers, etc.) and but not representing the spirit of the character, then creatively speaking it might as well be an original character.

This is the case with the MCU version of Spider-Man. A fundamental component of Stan Lee and Steve Ditko’s original vision for Spider-Man was that he was in essence the anti-Robin.

At a time when teenaged characters were sidekicks (Dick Grayson), supporting characters (Rick Jones) or the ‘kids’ in teams (Johnny Storm) Peter Parker was unique as a totally independent teen hero. Of course that independence only applied to his life as Spider-Man, but that was part of the point. Spider-Man was his escape and release from the pressures and hang ups of his regular life, which included his doting yet coddling aunt.

A critical part of this was that he was a self-made man. No elder mentor guided him in the use of his powers, helped him create his equipment or provided any sort of advice/accountability for Peter. He did it all himself. He was a loner.

On a meta level this is partially why Stan Lee (and for the longest time consequent writers) showcased Spidey not jiving with super teams. It was done to emphasis Peter’s independence and thereby his uniqueness within the genre. Even if that’s not so unique anymore (even in film), it’s still a baked in component of teen Spidey’s story. An essential aspect of who he is as a character.

As is his working class status.*

In fact these things go hand-in-hand. Just as Peter had to shoulder an ‘adult hero’s’ burden as Spider-Man (noticeably Lee didn’t dub him Spider-Boy or Lad as would’ve been common back then he also had to struggle for every penny. With the death of his uncle and his aunt’s poor health the burden of household provider fell on his shoulders.

When you take all this into account, having him fanboy over the Avengers and have a superhero mentor (let alone a billionaire one) is an aggressive misreading of the character.

The best way I can illustrate this is with an analogy from the opposite end of the spectrum. Imagine if you will a movie depicting Dick Grayson’s transformation into Robin. Except Batman was wholly absent. Not even an off-screen presence.

That is how poorly MCU has missed the point of Spider-Man.

And it was never necessary.

Contrary to defenders of the MCU, making Peter an Avengers/Iron Man fanboy was not the only logical direction to go with the character.**

Yes, in Peter’s world most kids would revere the Avengers and Iron Man. But in the real world not every kid or teen likes the Avengers characters or movies. Just as not every major pop culture phenomenon has ever been universally embraced by contemporary kids/teens. In the 1980s not every kid loved the Transformers or the Ninja Turtles. In the 1990s not ever kid loved the Power Rangers or Pokémon.

Of course, most kids did, just as most kids like the Avengers characters today. Similarly most kids in the MCU by extension would look up to the Avengers. However, if anything this could actually help generate a more spiritually faithful rendition of the character. Consider that on literally the first page of Amazing Fantasy #15 Peter Parker was mocked by his classmates for being an outsider. A bookworm who didn’t know the difference between a cha-cha and a waltz.

In the context of the MCU wouldn’t Peter’s lack of familiarity or interest in the Avengers make for an appropriate updating of that characterization?

Let’s also consider that in the context of the regular 616 universe Spidey held little reverence for any of the heroes who had preceded him. This included Captain America and other WWII heroes as well as the Fantastic Four and their leader, the world famous scientist Reed Richards. Peter would’ve surely known who Reed and Cap were but as originally depicted by Stan lee himself, he wasn’t falling over himself during any of their early encounters.

So there was already a precedent in the comics for Spidey to not be dazzled by famous A-list heroes, meaning it’d be totally believable in the context of the MCU. Indeed this was likely part of the point of the character. Just as being Spider-Man didn’t improve his outsider status within the high school hierarchy so too was he an outsider among his super hero peers. The nerd to the Avengers jocks if you will.

But what of those comic book sources that say otherwise? Surely ASM #1, ASM Annual #3 and JMS’ run on Amazing Spider-Man corroborate the MCU’s take upon the character.

Yes and no, let’s tackle them one by one.

In ASM #1 it was made explicit that Peter wanted to join the F4 for purely practical reasons. His family needed money so he hoped the F4 could provide and income. When he learned otherwise he departed as quickly as he’d arrived.

In ASM Annual #3 Peter was far from eager to join the Avengers and was equally unimpressed with them as a group.

He actively sabotaged his own chances to join at the issue’s conclusion.

As for Straczynski’s run…sigh…strap in.

At face value this run does indeed seem to support the MCU’s rendition of Spidey. However, the support it offers falls apart due to two factors.

The first is that, well…Peter and Tony’s relationship was pretty nonsensical.

I’m no Iron Man expert so I do not know how old the character would be roughly. From my impressions of the character though circa 2006 he wasn’t even in his 40s yet. Peter by contrast was 30 years old when you do the math. Unlike Tony he’d had several very serious romantic relationships and was back then happily married (barring a brief trial separation). He and his wife had lost a child and even believed one another dead at one point or another. Peter at the time was also working as a teacher to teenagers where he was clearly framed as their elder authority figure.

What I’m saying is that Peter was if anything more emotionally mature than Tony at this time. Or at least he was mature to the point where he was not going to view Tony as his father figure given the minor age discrepancy.

The relationship was clearly engineered with the pre-determined endgame in mind. That endgame being the ‘Civil War’ storyline wherein Peter would unmask upon Tony’s request and subsequently become a fugitive in defiance of Tony’s unethical practices. The latter would entail Tony threatening Peter and the pair coming to blows.

This brings me to the second factor. The totality of Peter/Tony’s relationship was designed to be a testament to how it was ultimately a bad thing.

Tony wasn’t the man Peter believed him to be.

Tony didn’t have Peter’s best interests at heart.

Tony was willing to spy, threaten and even attack Peter.

And along the way Peter and his family lost their home and the safety of Peter’s anonymity. The end result was Peter’s life becoming a shell of it’s former self, with his loved ones in serious danger. In fact you could view his fugitive status as a way to recreate the ‘good old days’ when Spider-Man was feared and hated by the public and authorities.

Had Peter retained his independence rather than surrendering any part of it to his ‘father figure’ Tony Stark, much of this could’ve been avoided. If nothing else Peter might’ve been able to unmask privately rather than publicly.

Whilst the MCU addresses the first factor via de-aging Peter, it has no answer for the second. It borrowed from the JMS run superficially and ditched the greater subtext regarding how Peter shouldn’t have formed a relationship with Tony.

I’d like to conclude by addressing the most obvious counterpoint to everything I’ve said.

If Spider-Man were more comic faithful wouldn’t it undermine the entire point of him being in the MCU? The appeal of the concept was seeing Spider-Man interact with the wider MCU. From the audience’s POV seeing yet another Spidey flick confined to using Spider-Man exclusive elements might as well have been produced solely by Sony.

The problem with this argument though is that it doesn’t consider the myriad of possibilities available. Spidey could interact with the wider MCU and still be in character.

I’m no writer but off the top of my head:

Spidey could have defied the Sokovia Accords and thus been wanted by the authorities (a neat updating of his traditional ‘outlaw’ status), consequently coming into conflict with Iron Man

Spidey might have still dueled the Vulture and interacted with Tony as he did in ‘Spider-Man: Homecoming’. However, instead of gradually realizing he should be a ‘friendly neighborhood’ hero, he could call Tony out for ignoring small scale crime which indirectly ‘created’ the Vulture in the first place

Following ‘Avengers: Endgame’ the dissolution of the Avengers combined with the huge uptick in the population and displacement of citizens might’ve caused far more street crime that Peter would have to deal with. The remnants of H.Y.D.R.A. might’ve exploited this to gain a foothold upon which to rebuild.*** That might’ve warrant an appearance from more grounded heroes like Hawkeye or Ant-Man

An environment like this could’ve been exploited by Quentin Beck to frame Spider-Man, exploiting his already shaky public reputation and make himself look more appealing by contrast

Or Hell just do ‘Nothing Can Stop the Juggernaut’ but with the Hulk as Roger Stern planned to do in the first place

I’m sure many of you could suggest infinitely better ideas.

In conclusion, no matter how you slice it, there were better options than rendering Peter Parker Iron Man Junior instead of Spider-Man.

*Peter, as depicted in ‘Captain America: Civil War’ was clearly not well off financially, yet consequent depictions of Peter in the MCU have de-emphasized this to the point where you could argue they are very probably not working class anymore.

This makes sense internally as a billionaire Tony Stark has no reason to take Peter under his wing but allow him to still dumpster dive for equipment. Giving the boy at least some modest financial stability would be a logical step in building a relationship with him and giving him more time and energy to put into his scientific and heroic pursuits.

Whilst I don’t exactly agree with everything said here, this post dives into the subject more deeply.

**And even if it was, if the context demands Peter be rendered so unrecognizable then maybe it was just creatively reductive to integrate him into the MCU the first place.

***They have after all had connections to organized crime in the comics.

#MCU #marvel cinematic universe #Tony Stark #Anthony Stark #Iron Man #Steve Rogers #captain america: civil war #Spider-Man: Far From Home #spider-man: homecoming #Captain America #pokemon #Power Rangers #Teenage Mutant Ninja Turtles #Transformers #Tom Holland #Avengers #The Avengers

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stillness-in-green · 4 years

Text

Shigaraki, the League and “Redemption”

(In this post: 1700 words about how much I feel like stories/meta in which Shigaraki is rescued or redeemed miss the entire point of Shigaraki.)

It's a big open question how much of Shigaraki's backstory was engineered by All For One. We're not even sure if AFO is the villain who killed Nana's husband, the event that kicked off the entire downward spiral of the Shimura family, much less what degree of involvement he had in Tenko's manifestation of Decay. There's a tremendous amount of well-thought-out, interesting meta and fic about what will happen when Shigaraki finds out the truth, whether he can or should still be redeemed as he currently stands, or how Tenko might have been saved from ever becoming Shigaraki to begin with. While I have read and enjoyed quite a lot of those theories and stories, I still find myself bothered by the prevalence of that line of thought because it ignores the fact that hero society stands condemned regardless.

Whether or not AFO gave Tenko the Decay quirk knowing what would happen, whether he found out about Tenko the night of the accident or never lost track of Kotaro from the very beginning, in truth, none of that matters to the narrative of the League on the whole. Nothing about Shigaraki's past has any bearing on the pasts of the other members. Trying to decide how to "save" Shigaraki avoids the fact that he is the leader of the League of Villains and their pain still stands regardless of their leader's history.

You cannot act as though saving Shigaraki--with All Might, Inko, Izuku, Eraserhead, anyone--would redeem hero society, because Shigaraki is not hero society's only victim. He's not even its most straightforward one! The condemnation he articulates of the world he lives in can't be addressed by him realizing he was manipulated by AFO all along or getting a good therapist in prison, because the world he lives in has failed a good many more people than just him.

Let's break it down.

The League Members

Twice fell through the cracks because of a lack of social support after his parents were killed in a villain attack. He was just a teenager back then--what arrangements were made about where he was going to live? If he was old enough that foster care/being placed in a group home wasn't a good option, did he instead have a stipend from the government? Where was the social worker who should have been overseeing his case? Where was his homeroom teacher when he dropped out of school? What support should have been available when he wound up homeless on the streets? Heroes stop villains and are rewarded both socially and monetarily for doing so, but the much more difficult and involved work of dealing with the fallout from those battles is clearly undervalued, badly so, in comparison. Hero society, which prioritizes glamorized reaction over everyday prevention, failed Bubaigawara Jin.

Spinner had the wrong kind of face. X-Men-style mutant discrimination left him isolated and alienated, shunned by the inhabitants of his backwater hometown because of his animal-type quirk. To say nothing about the threat of violent hate crimes implied by the existence of a KKK analogue! But it goes further than just the bigotry of his neighbors--Spinner's quirk was also unremarkable, meaning that, in a society that prizes flashy and offense-based quirks in its heroes, Spinner would have had few if any role models. Given how many heroes there are, it seems strange to consider that there isn't a single straightforward heteromorph for Spinner to idolize, but given how strongly he latches onto first Stain's warped ideals and later Shigaraki's nihilistic grandeur, Spinner is clearly a young man desperate for a role model--if a hero that fit the bill existed, he wouldn't be a villain today. So he's failed directly by his community for their bigotry and indirectly by society for the way it told him, in a thousand ways big and small, that Iguchi Shuuichi was not a person worth valuing.

Toga had the wrong kind of quirk. It's true that, more than anyone else in the League, she feels like a character who would always have struggled with mental stability, even with the best help imaginable--but she didn't get the best help imaginable, did she? She got parents who called her a freak, who berated a child barely into grade school about how unnatural and awful the desires she was born with were. She was put into a quirk counselling program that apparently only caused her to feel more detached from society. If Curious' characterization of quirk counselling is at all accurate, it seems to focus not on how to manage one's unusual or difficult quirk in healthy or productive ways, but rather on stressing what society considers "normal," on teaching its participants how to force themselves into that mold. Hero society wants people with different needs to learn how to function like "normal" people; it is unwilling to look for ways to accommodate such people on a societal level. Toga Himiko was failed by a society that demonized and othered her for a trait that she did not choose and innate desires that she never asked to experience.

And then, most prominently of all*, there's Dabi. We all know where the big Dabi backstory mystery is going, and his is the most open condemnation of hero society of them all. Dabi was raised on a heady cocktail, parental abuse mixed liberally with unquestioned acceptance of the fundamental importance of having a powerful quirk. Whatever else can be said of Endeavor's path to redemption, the old Enji is emblematic of everything wrong with hero society: the fundamental devaluing of those without power, the fervent strain to push oneself past one's limits over and over and over again, regardless of the consequences to your health or your relationships, the practice of raising children to glorify a dangerous profession that fights the symptoms of societal ills rather than the root causes. The ugly secrets hidden in the Todoroki house are the ugly secrets hidden within hero society's ideals, and because he embodies those ideals so thoroughly, of course Endeavor is lionized and well-paid by a society that never had to see Todoroki Touya's scars.

Mirror of Reality

All of these issues map to things in real life, and I don't only mean in a vague, universal sense--I mean they reflect on specific and observable Japanese problems. Read up on koseki family registries and consider how the dogged insistence on maintaining them impacted the Shimura family, tracked down by a monster. Look into societal bias against orphans and imagine how it shaped peoples' reactions to teenaged Jin and his alleged 'scary face.' Read up on how Japan approaches mental and physical disabilities, on what it regularly does to homeless camps, on what responses get trotted out when someone comes forward with a story about closeted abuse. The League embodies these issues in indirect, sometimes fantastical ways, but they're not what I would call subtle, either; there's a reason the generally poor, disenfranchised League members are contrasted with powerful, urbane criminals like All for One, callous manipulators like Overhaul, and entrenched pillars of society like Re-Destro.

Hero AUs are a fun thought exercise and all, but the League exists to call out and typify very real problems in heroic society and, by metaphorical extension, modern day Japanese society as well. Hero society studiously looks away from its victims. It doesn't want to see them and it thinks even trying to talk about them is disruptive and distasteful. There's no indication in-universe that there's even a movement trying to change this state of affairs. Certainly there are a great many things that could have changed to spare the BNHA world Shigaraki Tomura, but none of those quick, easy solutions would have saved Twice or Toga, Spinner or Dabi. The League of Villains is the punishment, the overdue reckoning that their country will have to face for its myriad failures--for letting its social safety nets grow ragged, for failing to stamp out quirk-based prejudice, for allowing its heroes to operate with so little oversight. For growing so complacent that not one person had the moral wherewithal to extend a hand to a bloodied, lost, suffering child.

Shigaraki, Past and Future

One of the most heartbreaking and yet awe-inspiring aspects of Shigaraki's characterization in his Deika City flashback is that he was thoughtful and compassionate enough to reach out to other kids who were being excluded and teased by the rest of his peer group. The League is foreshadowed for him even as a child, because even back then, he was a kid suffering repression and repudiation and so had empathy for others in similar straits. Young Tenko is the person who would have reached out a hand to the scary but obviously needy Tenko wandering the streets; Tomura, despite everything All For One did to him, still retains that core of fellow-feeling that invites other outcasts to play with him.

"Saving" Shigaraki without addressing the societal flaws that created the people gathered under his banner negates the entire point he and the League exist to raise. I think readers will be forced to confront those flaws alongside Midoriya and the rest of his classmates, who the story has made a point to keep mostly isolated and on a steady PLUS ULTRA diet of all the same rhetoric that leads to consequences like the League to begin with. I only wish more of the fandom--hero and villain fandom alike--was on the same page and writing their fic and meta accordingly.

Footnotes and Etc.

*The only characters in the League whose backstories we don't have much window on are Mr. Compress and Magne, both of whom are framed as seeing society as repressive. Magne openly says as much to Overhaul; Mr. C intimates it to the 1-A kids during the training camp attack. I'm inclined to hold off on commenting on them very thoroughly, though, because in neither case do we know exactly what drove them to crime in the first place. That's not a huge problem for Sako--if anyone on that team is into flamboyant villainy for the sheer joy of it, it's him--but I would definitely want to know more specifics about Magne's personal history before I correlate her experience as a trans woman with her portrayal as a violent, even lethal, criminal. That would get right into the problematic elements of portraying all these societal outcasts as villains, people who undoubtedly have a point, but have taken to terrorism to illustrate it. It's very possible that, for all that the League maps to real problems in Japan, we're still going to get a very mealy-mouthed, "But it's still wrong to lash out when you could protest nonviolently and work with your oppressors to seek a peaceful solution," moral from all this.

P.S. None of the above meta even takes into account the multiple non-League characters whose stories illustrate various failings of hero society--Gentle Criminal, Hawks, Shinsou, even Midoriya himself, as those endless reams of Villain!Deku AUs are ever hasty to expound upon. Vigilantes touches on the idea of "hero" and "villain" categorizations as being almost entirely political in their inception, as is also hinted at with historical characters like Destro. Seriously, the mountain of problems with hero culture just looms higher with every passing arc!

P.P.S. I absolutely do not mean to imply with this meta that Japan suffers uniquely from any of the problems discussed above. Other countries obviously have their own difficulties with homelessness, accessibility of care, victim blaming, and so forth. Horikoshi is writing in and about his own culture, though, and stripping Shigaraki of his villainous circumstances in the interest of making him happier and/or more palatable strikes me as being kind of culture-blind in a way that it’s very easy for Western fans to unthinkingly slip into. Just some food for thought.

#shigaraki tomura #tomura shigaraki #league of villains #boku no hero academia #bnha meta #my hero academia #my writing #bnha

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jisssooyah · 4 years

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Hi you... if you were going to curate a little season of films for me, which ones would you choose and why? They don't need to be horror, I'm just curious what you would choose 🌸

I don’t know if you’ll like these movies, or if you’ve already watched them, but after i watched these films, i felt like they might need to belong to you now. i hope they make you smile, roll your eyes, and cry just as much as i did.

1. city of god (2002): this is one of the most immersive and gorgeously shot films i’ve ever seen. it’s set in rio de janeiro during the 60s and spans decades exploring the drug culture in the slums and how this can affect kids just as they are trying to figure their own selves out. the way this film is shot, feels like you were at the sea with them as the sand crunched underneath your feet. but the way that the director captures these individuals, makes you so fucking relieved that you don’t live through any of the circumstances that they go through.

2. the dreamers (2004): set in 1968, this film follows three students in Paris who come of age and explore one another and their limits during the revolution. while these students prop themselves up as individuals obsessed with sex, running underneath themselves is a current of jealousy, obsession, and blurred familial relationships that made me increasingly uncomfortable. you find yourself feeling bad for the children, and ultimately upset at their upbringing because of their parents.

3. if beale street could talk (2018): this movie is based off of james baldwin’s titular 1974 novel. in it, the director expertly and vigorously explores love: a love that feels so real that it hurts. the cast is what sold this film to me. the way they talk, laugh, cry, and smile at one another is achingly beautiful and terrifyingly sad. i wanted to transport myself back to their time period and watch the main characters fall in love because the film didn’t seem like enough.

4. the neon demon (2016): this film follows an emerging model who sacrifices herself to the demands of the industry in order to be attractive and beautiful. there are so many stunning colors in this film that it makes you dizzy, like you’re in a trance and that’s what this world is for the main character: a trance. as she oscillates between reality and fantasy, her world and the characters in it, increasingly seek out to alter her personality.

5. death becomes her (1992): a deliberately ultra-campy parody of trashy, pandering "women's pictures," soap operas and paperbacks from the '80s and '90s. The three leads all do some of their best work - it's hilarious watching Meryl Streep play a terrible actress, Goldie Hawn is particularly hilarious during her character's cat lady phase, and all around just a really fun and eccentric film.

6. princess cyd (2017): i can’t think of anything to write for this but i just wanna say that this is literally one of the most pleasant movie experiences i’ve ever had. so much light and genuine interaction in warm sun rays radiating positive energy and an openness that is far too uncommon in movies nowadays. people talk, people connect, people grow bonds and are allowed to be sexual or intimate or personal without an air of shame or judgement. just pure kind and curious human association.

7. spiderman: into the spiderverse (2018): the message of Spider-Verse is not "gentrify yourself! stop expressing your personality and just conform to what society wants you to be!" After all, what makes you different makes you Spider-Man, and Miles' final expression of himself as a superhero still retains much of his personality and individuality...they're just being used in more productive and fulfilling ways. It's the little things that drive the point home, like noticing that the title page for Miles' finished Great Expectations essay has been stylistically doodled and colored like street art. Rather than seeing his artistic gifts as an opposition to his schoolwork, Miles infuses them together to make the best of the hand he's been dealt.

8. my life as a zucchini (2016): initially heartbreaking and sad, but slowly becoming more joyful and heartwarming as the plot moves along. The film really feels like it captures the essence and child like wonder of these kids, all of them going through hardships but managing to find something to help each other out. It’s so refreshing to see the actual orphanage portrayed in a more positive light, not the usual horrid dump that a lot of lesser movies play them out as. The animation is stunning. One of the best uses of stop motion I’ve seen, everything is so colourful and detailed. There’s some moments set in snowy mountains and these look incredible. There’s clearly been so much love and care put into each and every scene here. The music too, sounds spectacular, it really works well with each scene.

9. lovesong (2016): Mindy and Sarah have that type of relationship where they don't need words because they speak in a language made out of glances and touches. This movie is about the fear of ruining a meaningful friendship and losing an important person, about love that is so complicated that one might not even try because the outcome seems to be so obvious.

10. her (2013): Heartbreak is formative: it changes you heart side out, and leaves your muscles a little stronger, your skin a little thicker, your bones easier to repair. Before this film, I’d never seen anything constructive in having your insides pulled apart by the seams by another person, but this film taught me how. Being in love and then being forced out of it is an experience that changes you fundamentally, but Her taught me its purpose – you don’t need them to leave you so that you can find someone who’s a better fit, because perhaps you never will. You need it to participate in humanity. The common denominator is being hurt, and without it, you’re barely alive.

11. shoplifters (2018): bittersweet and richly transportive, Shoplifters is a film that nonchalantly eases you into its tragic beauty in a way that doesn't punch you hard until the end. It simultaneously made me want to be part of the film's world and also very glad that I'm not. The setting the characters live in is messy and cluttered and full of dysfunction and lies, but it's also got family, and laughter, and fist-bumps, and slurping warm noodles while rain pings on the tin rooftop. So nuanced, so many tiny moments of delicate beauty and unassuming heartbreak, so many people making terrible decisions with good intentions.

12. god’s own country (2017): though it is a love story between two men, this aspect is only addressed briefly in a single scene. Rather, the film is about finding someone who makes you want to be a better person, someone who comes into your life just when you needed it most. Gheorghe helps Johnny open up and realize the beauty of the simple life. From this relationship, Johnny begins to feel comfortable with expressing himself, and his love and gratitude towards others. He also begins to appreciate life in the country, surrounded by stunning landscapes and the beauty of simplicity. Addressing the Yorkshire countryside, Gheorghe says "It is beautiful, but lonely." Johnny is presented with the notion that he doesn't have to be cold and miserable, slaving and drinking his days away. He is presented with the possibility of no longer being alone and finally finding happiness and contentment - and it is more than gratifying to see him accept it.

13. disobedience (2017): a tender star-crossed daydream. the three main character dynamics are special enough on their own, but the romance that blooms at the center is cathartically intimate and even magical: a reunion that feels so inevitable. catching glimpses of a past life, details we aren’t privy to. all the stolen kisses and whispers and promises. a bond so strong that they fall back in sync with each other like second nature, even if they try to fight against it. even if it won’t work. and yet they choose each other, even if for a few minutes.

14. raw (2016): this film is so gross and I like that. There is tons of blood and unique body horror and it all works perfectly for the tone the film is attempting to set. The use of color, specifically neons, creates a constant feeling that you are traveling through some sort of weird ghost world, which I really like. Overall, it's a very well put together film with flashes of brilliance.

15. the night is short, walk on girl (2017): what an absolutely magical adventure of a film. Essentially this is a heavily episodic look at a night in the lives of several people, centered on a woman and a man as she gleefully floats from event to event while he neurotically obsesses over how to "coincidentally" talk to her. The storytelling is incredible; while the overarching narrative is simple there are countless threads woven together to connect everyone in the story to each other. That in itself is a big theme: connections between people, how everything is interrelated, and what a large impact seemingly insignificant things people do can have an impact on everyone around them.

16. coraline (2009): Coraline is the best stop motion movie ever made in my opinion. Before the film released in 2009, I read the book and was completely blown away by its creativity and story. It’s a pretty dark tale featuring many scenes of fright that work well in both a horror setting and an animated kids setting. On surface value, this film is quite horrifying, which is something I’ve always loved about it. While it does make a few minor changes to the book, it improves upon a piece of art that was already jaw-droppingly good. Coraline feels like a real little girl with some real problems. She’s selfish but likable which is something most films cannot translate well. Of course, she has a pretty awesome arc as well which brings this movie to a perfect close for her character. The other-mother is also perfectly done. She is almost exactly how I imagined her in the book and the animation on her is spookily gorgeous. There is not one dull moment in this film. It is literally a perfect piece of cinema.

17. the third wife (2019): haven’t seen a film this visually delicate in a while. Ash Mayfair works with the looming mountain surroundings to make her characters —these women, these girls— as small as possible, as isolated as possible. Uneasiest of all is the protagonist May, so young and so weighed by responsibility, her position blurs between being one of the wives and being one of the daughters. It’s an extremely bleak tale of circumstance. An old tale, certainly, but so beautifully crafted it doesn’t matter. Mayfair holds a fearful tension throughout, and it only ever shatters in the cruelest of ways.The abundance of women and display of sisterhood begin as a comfort, but horror takes over as we realize how conditional and fragile that comfort is. Even the daughters are subconsciously aware, one of them praying to the gods to grow up and become a man, shearing her hair off in naive triumph. It’s a doomed cycle of girls performing roles which are unfortunately their best option, right up until the final scene of May with her daughter, still in their mourning clothes. She, like the older wives, finally realizes they’re the same as the cattle laying on their side for too many days.

#asks #shortcake-kaspbrak

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mikami · 5 years

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Could you give us an analysis about Light/Ryuk relationship (and its evolution) ?

I can! A bit belatedly, but still with pleasure! Ryuk and Light’s dynamic isn’t terribly formative for the duration of most the story, but it’s incredibly important to how the story starts and ends. Ryuk plays a huge part in Light becoming Kira in the first place, beyond merely providing the notebook for him.

First off, a lot of credit to the thoughts about the beginning of Ryuk and Light goes to casuistor - most of my Death Note thoughts are impacted by her to some degree, but this is really something that she helped me understand and that I would maybe never have seen quite so clearly without her.

That out of the way, here we go. Light and Ryuk from start to end.

The thing is, Light is initially very afraid of Ryuk - or not of Ryuk specifically, but of the entity owning the notebook. Fear of imminent death is what drives Light to the killings he does before Ryuk shows up. He wants to leave his mark on the world and he thinks he has very limited time to do so.

Then Ryuk appears and tells him that the notebook is his - and explains the bond between them. This both contains the explanation that there is neither heaven nor hell (hence the only way Light can give meaning to his life is while he’s alive) and… that Ryuk will, inevitably, be the one to kill Light.

That’s also worrisome information. Now having it confirmed that there is no cosmic meaning to life whatsoever, Light has an even more vested interest in staying alive and continuing to create meaning for himself. And now he knows one thing… staying alive means pleasing Ryuk.

His next two questions are pretty systematic in how they’re geared towards this goal:First he asks why Ryuk chose him. This is important because if he knows why Ryuk is interested in him, he can make sure to retain these aspects and keep Ryuk on his good side. But of course, Ryuk didn’t choose him.So then Light wants to know why Ryuk dropped the Death Note - obviously Ryuk must have some kind of goal and there’s no person more interested in serving that goal than Light who feels his entire life depends on it.

And he gets an explanation: Ryuk was bored.

That gives Light something to work off. Immediately, he hits into this.

He gives Ryuk something to relate to. An idea of them looking for the same thing. Now, ‘I was bored’ is not Light’s reason for mass murder. This statement of his gets taken at face value far too often. Light isn’t lying here, but it’s a gross oversimplification of the truth, for the sole purpose of resonating with Ryuk.

In reality, boredom factors into Light’s decisions in two ways: 1.) Testing the notebook was indeed an act of teenage boredom, but that’s not overtly significant. Being a kid who messes around is normal. 2.) Light’s overall ennui with the world. Light does parallel Ryuk here, even if with different nuance. The first page of the manga isn’t their shared internal monologue about a rotten world for nothing. Both of them hate that the world is unchanging and feel negatively about it. But here’s where the difference splits off: Ryuk craves excitement and fun, Light craves change. Fundamentally, Light’s issue with the world isn’t that it’s not entertaining, it is that everything done in the world feels futile because no lasting social change is achieved.

Light’s and Ryuk’s boredom are completely different in nature, but Light manages to combine them into one all-encompassing masterplan.

He will become the God of a New World.

For him, this is about breaking out of the cycle of futility. He’s had this plan before, but notably he never described in these grandiose terms. Those are for Ryuk, because what could be more fun and more entertaining than a mere human proclaiming to become a God? Light wants to make himself indispensable to Ryuk. Being fun is his life insurance.

And it’s working. They thus enter a mutually beneficial relationship where Ryuk grants Light the power for change and Light repays in entertainment.

And really, that works out for the majority of canon. Their relationship is fairly casual. Light explains his plans to Ryuk, even plays video games with him, and they just… kind of co-exist. Important here is just that Light learns to not take Ryuk too seriously. Between Ryuk’s casual personality and the fact that Ryuk is actually excessively bad at… knowing things… or relaying the information he does know in a timely fashion….. Light stops being afraid of him at all.

He’s so done. And while I cite this as a development, it occurs within like.. the first few chapters. Light’s not a very fearful guy and he very soon considers himself as having a good handle on Ryuk.

Ryuk is kind of impressed by it. It certainly helps equalize their dynamic. They’re mutually bickering roommates by then. Ryuk pokes fun at Light and Light does the same in return - it’s not friendship, because neither of them has any deeper concern, but from the outside it’s almost indistinguishable from it.

And hey, even the future killing is becoming a lighthearted footnote.

Ryuk also begins taking on a role in Light’s cognitive processes. If Light needs to convince himself of something, he tells it to Ryuk.

Even if Ryuk doesn’t give a shit.

And that all works out nice and dandy in the first arc! And when that one is over, Ryuk has become complacent and comfortable in his position of living with Light, so watching over Light as he changes the world further is fine to him.

“... you will witness the creation of a new world.”

But during the duration of the timeskip, their relationship cools down a lot. Light spends most of his time in the same room as the Task Force, unable to speak to Ryuk, and even outside of that, the two of them have far less banter. Light by then completely takes Ryuk for granted and puts literally no effort into entertaining him. While Ryuk doesn’t appear to mind this, as there are still interesting things happening, I think the timeskip period of comparative boredom somewhat contributes to his decision of killing Light when he does.

By the end, Light takes Ryuk for granted. So much that, in his despair, he even thinks to turn to Ryuk for help. And that’s his fatal mistake, really.

Because that is what gets Ryuk to understand, once and for all, that Light is over with. He’s always liked Light because he did things himself, with his own brainpower and his own skills of manipulation. A Light who would sink so low as to plead for help from Ryuk of all people.... Well.

And really, that’s just a perfect end for Light as a character. He’s grown complacent, he’s grown too secure. The being that he initially feared and tried to appease became a part of his daily life, that he never put much thought to. And in the end, this neglect is the final nail in his coffin.

You could even go so far as to say that Light started considering Ryuk too much as a pet. when in truth, he’s always been Ryuk’s pet. Ryuk’s got such a casual personality that it is easy to forget, but when it comes down to it, he’s only ever used Light without ever forming any sense of attachment to him.

So when Light became boring, he died. That was all there was.

#death note #light yagami #ryuk #thoughts #answers #luna thinks

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ardenttheories · 5 years

Text

This was getting ridiculously long, so I’m answering this in parts instead. My final response to the thread milest3hr4t and I had going on.

I’d say just ask hussie, but even he is an unreliable narrator.

I don’t have Twitter, and never intend to, so this unfortunately isn’t an option. Beyond that, Hussie has a habit for changing canon based on what he specifically needs - e.g. the fact that the Aspects were originally just Time, Space, Light and Breath until he needed to introduce the Beta trolls, or the fact that he had to change canon to make the Alpha trolls fit into the timeline - so asking him probably wouldn’t help.

I’m just looking at it like this ; God tier permadeath is with JUST and HEROIC deaths, which are based on their immediate action. if you are killed mid-attack, it is just, if you are killed while helping someone, it is heroic. That’s a nice, simple, straight-forward rule. I cannot imagine the rules for becoming god tier, are more complex than the rules for dying as one.

You seem to forget that the JUST and HEROIC deaths can also be swayed by what the Player being killed views their death to be. E.g. if a Player things they’ve become a villain, even if they’re not, that conviction would result in a JUST death.

There are little rules like these scattered all throughout Homestuck. You’re right; there’s often very straight-forward rules. But a lot of the time those rules are hidden between weird shit that the kids and trolls do because of their broken session.

My job, right now, is clarifying what would NORMALLY happen if, for instance, a Sprite doesn’t already contain your Dreamself (in which case the Dreamself doesn’t die from the Waking Self’s wounds at all, seemingly), or if you were to Godtier using the Quest Bed when compared to the Sacrificial Slab (and what the differences between these ascension methods are, because there are distinct differences).

I would also like to point out a clarification, because what I said is not just “Corpse + quest bed”, it was “corpse + matching quest bed”. Dave could not ascend on rose’s quest bed, for example, it has to be specifically his.

I’m not sure why you’re clarifiying this, because this isn’t something I ever questioned? When I was talking about matching Quest Beds I meant “the Quest Bed that exists on the Land and the Quest Bed that exists on Skaia”, like we see in JOHN: RISE UP.

Of course Players can only Godtier if they go on their associated Quest Bed. That’d be like trying to equip an item that you don’t have the proficiency for; it just... wouldn’t work.

Lastly, I think you’re actually wrong about one critical detail. That IS a typical session of sburb. Lord English is a core part of sburb. That’s what the epilogue was (possibly) about. (in addition to the set up for a sequel) For starters, John had to go back to beat english or they “couldn't’ actually win the game”, which directly implies, defeating english is a requirement for completing sburb, but more importantly– Dirk’s ultimate self, includes all versions of dirk, which includes AR, which includes ARQuiussprite, Which includes Lil Cal, Which includes Lord English. Then the ultimate expression of his class & aspect, his own soul is voided, Leaving Equius, Lord English, and a Kernal sprite. This is precisely why at the end of the epilogue, dirk is trying to start new sessions of sburb. because it is ONLY through playing sburb, that LE gets to manifest his true form, because he is a part of it. this is why he acts “out of character”. he’s perfectly in character for being LE, and it’s precisely why he and alt!calliope where mutually hostile to eachother from the start. The beta kids, and beta trolls, AND the horror terrors, had normal sessions, and all of them had to deal with lord english.

I’m just flat out going to say no on this one.

Lord English is NOT typical for a session. He is often referred to as a Vrius, or a Virus-like entity. He is not MEANT to be there, and the session actively has to be set up to allow him to be created; e.g. the entire issue with the Session Glitch is 100% NOT typical circumstance for a session, and only happens because Lord English needs it to happen.

He is a Cherub, a Player, a game contruct, all mixed into one. LE actively destroys the balance of the session and means that four sessions - each individual - have to be merged together just to ensure that a handful of Players can survive.

How can we tell? Because we literally see Caliborn, a Player. He isn’t a game contstruct, and therefore, neither is LE - not entirely. He becomes one when he fucks about with the timeline in his efforts to be created, but LE and Doc Scratch are very specific to the Homestuck universe. They have to have a basis, a backstory, with Caliborn as their focus.

It’s not like he is entirely unrelated to anything and happens to exist because the game needs him to be there, like with Spades Slick/Jack Noir - Lord English is specifically founded in connection to a Player (even if that Player doesn’t become him in the end). If Caliborn wasn’t eventually introduced there’d be no LE, because there’d be no foundation. He isn’t a natural part of SBURB’s code.

There aren’t any precautions set in place to help the kids beat him. In fact, he is completely undefeatable. If you’re going to tell me that this is meant to be a continued feature in every single session - that there’s always Lord English as the final boss when the trolls proved that a typical session doesn’t even foster his existence at all, when the entire PRESENCE of Lord English literally requires the kids to BREAK CANONICITY and fuck with the foundation of the story in order to succeed - then I’m going to have to shut you down very quickly.

SBURB is a game with lore. Homestuck is a story. Hussie frequently exploits the fact that Homestuck is a physical comic to introduce things that could never happen in a typical session - such as that narrative construct that John and the other Beta kids get trapped in, the white house thing that gives John his retcon powers - simply because that’s part of what Homestuck is about.

If Players have to break the realms of fiction and reality in order to beat the game, then that likely isn’t a normal PART of the game. That’s the kids desperately trying to fight against something that is so abnormal they simply can’t beat it in the usual way.

Furthermore, John has to go back to beat LE not because they can’t beat SBURB without doing it - because they do, and have, and the fact that Earth C exists proves this fact - but because it is the only way to keep the Meat Epilogue CANON. Again, these are metatextual concepts and are not related to the core concept of SBURB itself.

The kids have already won SBURB by that point. John going back into canon just makes sure that they stay relevant - it doesn’t re-beat SBURB. I think, fundamentally, you’re mixing up metatextual Homestuck concepts with the very basic lore of SBURB.

I also want to point out that this:

“This is precisely why at the end of the epilogue, dirk is trying to start new sessions of sburb. because it is ONLY through playing sburb, that LE gets to manifest his true form, because he is a part of it. this is why he acts “out of character”. he’s perfectly in character for being LE, and it’s precisely why he and alt!calliope where mutually hostile to eachother from the start.“

Is completely incorrect. Dirk isn’t starting a new session of SBURB. At all.

Dirk does two things in the Meat Epilogue:

- Send John back into canon to defeat LE because he was an untied “loose end” required to keep the Meat timeline canonical

- Escape on a ship for an unknown reason, trying to find a habitable planet. There could be a thousand reasons he does this, and starting SBURB again doesn’t seem to be a very likely one.

While I can believe that Dirk is being controlled by LE in some way - or that LE is manifesting through him - I also think you’re giving him a lot less credit than he deserves. Dirk still retains an ability to care that LE just doesn’t have, and seems to have alterior (and personal) motives. He’s still aware and in control there, simply deeply influenced at most, if we’re assuming LE is there at all.

But, at the end of the day, it’s wild conjecture because we don’t know enough yet. Nothing’s been proven, and, again, there’s a thousand different reasons Dirk is doing what he’s doing that do not involve starting a new SBURB session.

I mean, he literally flees after making John re-enter canon. No new session is created there. He facilitates LE’s downfall. Dirk is, arguably, the reason LE might die for good. This does not seem like the action of a man who is preparing to open up a new session for the sake of a soon-to-be-dead cherub.

Canon LE is (about to be) devoured by the blackhole at the end of the Candy Epilogue. Calliope is physically going to eat him. This has no effect on SBURB, this just ends their confrontation and finalises her position as the predominant cherub - again, because they already claimed their reward and entered the new universe. To SBURB, this means that the game is complete.

And finally:

There’s no mention of LE in the Horrorterror session. The Horrorterrors are being KILLED by LE in the Furthest Ring - which is post-session. So, he’s not normal for them.

The kids’ and trolls’ sessions are literally exploited to hell and back and frequently glitched out - the aforementioned Session Glitch, for instance - in order to even allow for LE to exist. SBURB has to break for him to be brought into the session, and it has to break even more for the kids to try and survive - e.g. we know Players aren’t meant to be able to go to the Alpha session based on the Alpha trolls’ eternal-death state, yet the kids literally have to do that.

And to do it, they have to go through the 4th wall - the literal representation that they’re leaving the normal realm of a SBURB session and into the metatextual realm of the comic - which is introduced by HUSSIE HIMSELF. The author of the comic - who, I really shouldn’t have to say - isn’t a normal part of the session, either.

They have to break a fundamental aspect of the game in order to survive.

You also seem to forget that Lord English is the reason ANY of those sessions merged to begin with. LE has to FACILITATE their fusion - through Doc Scratch, through the Session Glitch, through the Handmaid and HIC - because that’s not what a session is meant to be like.

Sessions SHOULD be self-contained. You’re not even meant to know that other sessions exist - let alone be contacted by the session that created YOUR session.

Lord English has to enforce so many things just to exist within the Homestuck universe, and if you took him out, you’d notice that every session - besides the Alpha one - is completely winnable. He has to make winnable sessions be unwinnable to force the Players to reach a point where he can exist. SBURB, for as much as it doesn’t want people to win all the time, literally wouldn’t force its Players to repeatedly give up winnable sessions just so that this Time-demon could destroy it.

So, this is the funamental mistake you’re making. You’re taking SBURB to mean “everything that includes the parts of Homestuck that can only exist becasue it’s an experimental comic”. I’m taking SBURB to mean “the actual game that people play so I can help others understand what a normal session looks like for future reference”.

There is a lot of the kids’ SBURB game that only happens because of the comic format, because Hussie exists as a character, and because metatextual elements are present that wouldn’t happen in a 100% normal session.

In other words, in a session that was actually REAL, and not just being written by an author who can exploit the comic format and fictional universe, stuff like the white house Construct would be unlikely to exist - because that relies on the fact that we KNOW Homestuck is just a comic to work, that the entire universe is fictional and things like the narrative exist as more than just potential/theoretical concepts.

People could include these concepts if they wished, but that’s not what the core game of SBURB is about, and not how a very basic, generic session would run.

#ardenttheories #long post//

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cero-blast · 5 years

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Your post about Gin "messing with people's heads" makes me think, doesn't this also apply to Ulquiorra? He also psychologically tortured Inoue, don't you think it's hypocritical to say Gin's actions don't nullify the bad things he did, but say that UH is good/not toxic? I'm not trying to hate on you, I don't ship anything in Bleach, I just wanted to know why Gin is considered a bad inexcusable guy but Ulquiorra's relationship with Inoue is glorified?

This will get… really long. I’m genuinely sorry it’s this long.

I never said Ulqiorra did nothing wrong (though it’s fair to say I didn’t happen to specifically point it out), or that UH is a ship with many positive feelings associated to it. That would be… an interesting take. I hope you don’t think I think that. But I also need you to understand that I don’t base my taste in ships on what I desire/consider healthy in real life. They exist in the context of the canon — not interchangeable with reality considering the existence of superpowers, ghosts, semi-human creatures and time warping — and that’s where it ends for me. Applying the dynamics in my ships to any situation other than the precise one of Bleach’s canon would make them fundamentally different.

I’ve wanted to mention this about Ulquiorra for a while now and I’ll take the occasion to do so. It’s a mistake to put him in the same framework as a human or shinigami. (The latter two also have their differences but based on observation shinigami seem to behave in a much more human-like manner compared to hollows/arrancars.) He’s practically incapable of understanding what empathy is or find any good reason not to hurt other people, which is why it’s surprising when he manages to grasp even a shred of the concept right before dying. Hollows are born from experiencing such severe pain that it distorts their whole ‘essence’, so something has gone terribly wrong with them emotionally by definition, whether they evolve to arrancar form or not. Ulquiorra’s aspect of death, his ‘theme’, is emptiness — characterized by complete neutrality towards everything. Since a person with a healthy mindset tends to focus on danger and negative events, neutrality often comes across as immoral for being equally conceding towards moral right and moral wrong. The point is, Ulquiorra’s motivations for provoking Inoue had nothing to do with him taking joy in causing pain to her. In fact, it’s hinted he’s not even fully aware he’s doing it, like the scene where he tells Inoue he’d laugh at her friends’ foolishness in her place. He’s unaffected by most things AND has difficulty placing himself in others’ perspective, which results in him assuming everyone around him would be unaffected. The only thing that factored into him doing just about anything was curiosity, the need to fill the void, however you want to put it. If a human or shinigami behaved the same way he did around Inoue, it would come across in a vastly different way and I’m not sure it would even interest me as a ship. Ulquiorra is not only a hollow, but a hollow with a particular impediment in understanding how others feel, and this is an integral part of him as a character, of his interactions, of UH, of anything regarding him. I know it’s funny as a fandom meme to act as if he were human, but he’s NOT and this needs to be kept in mind.

This applies to any arrancar or espada, really. It’s tempting to judge them on the same basis as enemies who are closer to humanity, mainly because of their appearance and intellect. But this is the trick itself the narrative plays, a progression that has been present in Bleach since the start: it created a human/monster (shinigami/hollow here) dichotomy, then spent the longest arc deconstructing it by blurring the lines between the two. It doesn’t matter how smart and eloquent the espada manage to get, the only productive way of interpreting them is as people who are missing a very core part of their personality, so someone severely psychologically ill. (I say this as someone who has their own problems, before it gets misinterpreted as condescension.) Should this absolve them from punishment? Bleach says a very clear no. They almost all get killed by shinigami, in Ulquiorra’s case Ichigo specifically — Ichigo, who, by his own admission, empathized with everyone he fought and even gets angry at Yammy for speaking ill of Ulquiorra after his death. (I don’t want to start arguing about how he was in hollow state when he defeated him. He would have killed Ulquiorra either way if he continued to stand in the way of protecting his friends.)

In summary, the espada aren’t human. Ulquiorra isn’t human. It’s unrealistic to expect him to behave like a human. You’re free to pick who you want to have compassion for among Bleach’s positive and negative characters and if you decide Ulquiorra is irredeemable in your opinion, that’s fine — many characters would agree. But at the very least it can be objectively said that Bleach spends a lot of time presenting ‘evil’ characters’ perspectives as nuanced and explicable instead of writing them off. It gives the audience a choice in the matter. A core message of the entire story is that we’re subjective and maybe we’ll never manage to see the world the same way as someone else, but that’s fine and it doesn’t make us all that different; hollows can become *almost* shinigami, shinigami can become *almost* hollows, and they both have ways to relate to one another while retaining the insurmountable differences and even fighting and killing each other.

Now, onto Gin. First off, you seem to be under the impression that I don’t like him as a character. That couldn’t be further from the truth; I only said it in the tags because I figured saying it in the post would have sounded like making excuses, which is not what the post was about. I don’t know if I would call him a ‘good’ or ‘bad’ person. All I know is that I really enjoyed him as a character and I could see how he evoked sympathy — in the tragic way antagonists do when they get some sort of redemption. I noticed it’s a common tool in fiction to make an impact on the audience, I suppose because we’re happier when we see ‘bad people getting fixed’ rather than someone already good doing more good things. It’s a Prodigal Son type of thing; can be argued about but it definitely makes an impact.

Gin is a quintessential ‘mysterious type’; he has a long-running plan that he executes throughout almost his entire life without ever consulting with anyone (an important detail). He had a hypothesis on what would be the most effective way to kill Aizen and constructed a convoluted plan based on it — a plan where the ends would have justified the means in many, many situations, and that required causing problems to a lot of people. He had, however, no certainty that what he was doing would lead to the desired results (which it then didn’t…). A lot of his provocation was a means to create a certain image of himself and there’s a big question of where to draw the line there, whether all of that was absolutely necessary. Leaving to Hueco Mundo and technical demonstrations of loyalty were, sure, but mocking Rukia on her way to being executed? He considered keeping everything a secret a prerequisite for things to work out — presumably because if he talked to anyone, Aizen could have noticed — but was it, really? Many of his actions were based on his personal judgement on what would and wouldn’t have ruined the façade, subjective and hunch-based since he didn’t know the outcome for sure.

Gin isn’t inexcusable, but I noticed a lack of emphasis on the damage his actions caused among fans, both because of the chronological order of the story and his affiliation with the protagonists’ side. Because the last thing he did was a good thing, that’s what he’s remembered by, without taking into account the sum total of his interactions with others. He posited himself as vicious until the last moment and did so consciously. Ulquiorra had a very, very gradual progression in the way he talked to Inoue, which doesn’t make it less rude and traumatic, but there’s a difference between him showing up and telling her she ‘has no rights’ and later taking an active interest in her views on the Heart. It would be equally reductive to interpret him by his last moment and nothing else, but all he did before led to that moment progressively, while Gin’s was a very abrupt twist.

My post was a comment on psychology on the most basic, technical level, not a moral judgement. The two are separate in the way we process trauma and that’s exactly what I find interesting. Having strong negative emotions associated to a memory (what I think Kira, Hinamori, Hitsugaya or Rangiku could have had with Gin’s betrayal) creates a very subconscious reaction that can hardly be fixed by suddenly finding out it was necessary for a positive cause, which is why healing from trauma requires years of therapy. Because *in that moment* you didn’t have that knowledge, the pain remains in your memory and it’s not a matter of logical reasoning. Now, I’m not saying Ulquiorra’s interactions with Inoue were numerous or productive enough to properly process the trauma he caused her — the canon info is ambivalent on how comfortable Inoue was around him towards the end of her captivity because there’s both scenes like the famous slapping one *and* her seeming more light-hearted towards Ulquiorra in Unmasked, plus no one has any idea of which came before which. All things considered, I think repeated discussion and an attempt at mutual understanding does a better job at elaborating something traumatic than one single piece of information on why what traumatized you was justified. And note that the *only reason* the understanding between Ulquiorra and Inoue could have been mutual is because Inoue was exceptionally patient, empathetic and willing to face discomfort, way beyond the base level or what should be expected from anyone. Even if it was a *small amount* of *not very productive* discussion, it’s better than one act in my opinion (which most of the people who had some sort of issue with Gin didn’t even directly witness). Which of them is *morally worse* depends on how you draw the lines and define morality and that’s not something I feel qualified to decide.

So, in the end;Ulquiorra:-working towards enemy goals overtly-motivated by curiosity, which can be considered self-oriented-gradual improvement-not fully conscious of the emotional impact of his actions-Inoue considers him an ambivalent presence but “Isn’t afraid”, in her words-half-succeeded, as in: failed the goal of killing Ichigo but sated his curiosity

Gin:-working towards enemy goals on the surface and soul society goals covertly-motivated by attachment to Rangiku and/or revenge, less self-oriented but still focused on close acquaintances -long-running façade of being a terrible person followed by a sudden twist towards the good side-completely aware of everything he’s doing, plan laid out hundreds of years in advance-Gotei 13 don’t interact with Gin throughout HM arc, consider the traitors a lost cause-failed to kill Aizen

Instead of this encyclopedia I could have just written “Gin isn’t irredeemable, I just said he did bad things before”, but I thought too much about it. And I might go through spelling mistakes once I wake up.

#anon #ask #long post

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gaawachan · 5 years

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So... Mulan... I’m Not Happy :(

I'll be the first to admit that there were some problems with Disney's Mulan. Mushu is a very important secondary character, but he should not have been a dragon. The emperor never should have bowed her her and she should not have touched him; the Emperor was poorly done all-around. There were some artistic errors that were culturally insensitive as I recall. Chi Fu was not so great and his character really needs to be updated (not to be more likeable, but to be less of a caricature). There's a gag involving a panda that should be written out. The ancestors thing ought to be completely cut. There is an over-reliance on some stereotypical tropes that ought to be at least downplayed in a new film if they aren’t servicing the story with their over-emphasis. Easily the worst thing about the film is the dehumanizing depiction of the Huns. These are all problems that can be easily fixed without outright scrapping 9/10ths of the cast. . I was planning to talk about Mushu first, but I think it's impossible to talk about Mushu without talking about Mulan, so that's where we're going to start.

In the Disney film, Mulan is NOT trained in combat, but she is smart and a quick problem-solver, agile, and dedicated. Mulan's angst is not so much that society doesn't value her for what she has to offer, but that what she has to offer is not enough for her to feel of worth to society. In other words, the expectations placed upon women in this setting are something that Mulan internalized and she finds herself wanting in them, because she cannot perform the ideal female standard in her society and if she can't do that, then she has no worth. The important take from all of this is that isn't raging against society. She's raging against her own inability to be an ideal female archetype in her society.

Mulan ends up joining the military for two reasons. The first is her father's physical state. The second is a desperate desire not to prove her worth to society, but to prove her worth to herself. Once in the military, she particularly struggles with training; unlike in the folklore, she is not used to this particular form of labor, and she nearly gives up until she comes to the realization that her training isn't something that she is supposed to brute force her way through. It is ultimately in the military that Mulan finds her intellect to be of value, something of hers that she can see is contributing meaningfully.

However, just like throughout most of history, Mulan's worth and behavior is judged on the merit of her gender first and foremost, which is why her gender reveal after the battle at the pass take her to such a low... and this is also why Mushu is an important character. Mushu, more than anyone else in the narrative, is the one who bolsters Mulan's self-worth. . I already said that Mushu should not be a dragon. But he also should STILL BE IN THE MOVIE. Mushu is the most important animal side-kick in Disney history within the associated movie. Within Disney's Mulan, there is an admonishment directed to society about placing people in positions where they feel they need to be something they are not in order to retain or acquire social standing, something that doesn't do much for a person's self-worth. Mushu has, throughout the narrative, lied about his own identity and role... to MULAN, and unlike her, he's done it purely for his own self-interest. That is not to say he is unhelpful; his presence and actions actually save a lot of people, Mulan included, but just like Mulan, that fails to address the underlying issue of self-worth. It is in this moment of Mulan's weakness that Mushu confesses this.

"Mushu: The truth is, we're both frauds. Your ancestors didn't send me; they don't even like me. I mean, you risked your life to help people you love. I risked your life to help myself. At least you had good intentions. Mulan: ...... Let's go home. Mushu: Yeah. This ain't gonna be pretty. But don't you worry, okay? Things will work out. We started this thing together and that's how we'll finish it. I promise."

Mushu's ability to come clean just so he can be as supportive as possible to Mulan is what makes him such an important character, because immediately after this, Mulan rushes to the capital to help regardless of the consequences. This isn't coming out of nowhere. Mulan's ability to accept Mushu's flaws and benefit from his support is ultimately what kick-starts the change in her own self-image. Mulan needs there to be someone on her side who knows she's a woman and still sees value in what she can contribute because she can't overcome her own internalized misogyny and self-loathing without support. Which is, btw, the whole freaking point. . Shang next. I don't know where people got the idea that Shang was some sort of comic relief character. Other than herself, Shang becomes the person Mulan is most driven to prove her worth to, first as a soldier, and then as a human, and this is why his judgment at the pass cuts so deeply. Shang following in his father's footsteps serves as a twisted mirror to Mulan's own journey, and the death of his father carries heavier emotional wait as a result. While it's never stated in the movie, the general's death also reminds the viewer of one of the big reasons why Mulan is in the military in the first place. Mulan's push back against his bigoted dismissal of her in the capital is a big signifier that her self-image has changed. Shang's recognition that his failure to trust Mulan when she warned him that Shan-Yu was in the capital put the emperor in danger coupled with his seeing that Mulan's tactical mind is no different than when she was Ping is ultimately what seals his own approval of Mulan as a whole person. Whereas Mushu is vital for starting the change in Mulan seeing herself of value, it is Shang's opinion of her that carries the most weight, because Shang has no familial association with her but he is still a fundamental part of her sphere that she wants approval from. . Yao, Ling, and Chien-Po are the three soldiers who become Mulan's friends in the military, and while they are mostly comic relief, they are still worth mentioning. They are casually misogynistic, and when Chi Fu insists that Mulan face punishment, they ultimately fall in line and reject her; though they aren't happy about it, none of them are willing to step out of line that much. I've seen people say that they do that because of extreme sexism but I disagree. Imo it has less to do with their misogyny and more to do with kowtowing to authority+bystander effect; you'll notice that they are outright eager to fall back in with Mulan as soon as the Emperor is attacked.

Mulan's friendship with these three is important not just because all three of them are wonky, flawed people who she is incredibly awkward and weird around but who still ultimately accept her, but because it's also supposed to demonstrate the camaraderie developed between soldiers at war. I don't want to go into this at length so suffice it to say that I'm going to be very disappointed if that aspect of the story is cut out of the live-action version. . ... Okay, now we get to talk about the most problematic part of Disney Mulan. The Huns. Uh... it's really bad. It's inaccurate on so many levels that I don't want to get into atm. I was actually excited at the prospect of the live action film heavily re-writing this such that the enemy forces would not be so de-humanized and maybe the story on the international scale would be made to be more nuanced/gray, but instead, they decided to scrap them altogether in favor of a... witch. A witch. In Mulan. A story about a woman finding her self-worth in an oppressive society and you made the villain A WITCH. You know, that negative female stereotype about evil magic women that's resulted in thousands upon thousands of women being murdered over the centuries?

Why? In part it's obviously to avoid any sort of controversy that might have come about from keeping a foreign invasion as part of the story, though it also significantly hamstrings any chance of the narrative saying anything meaningful on that topic in typical, cowardly modern Disney fashion. However, Disney has shot themselves in the foot on this one. I can already see where they're trying to go with this change and I do not like it. Problematic depiction aside, the primary antagonist of the original movie, Shan-Yu, was interesting because he is the only human in the story who did not seem to give a single fuck about Mulan's gender. When Shan-Yu looks at Mulan, he sees a competent threat who killed most of his men and he goes after her with that perspective. However, he slips up when he thinks he has Mulan backed into a corner and she pulls out a feminine symbol, a fan. He fails to see how something like that could stand up before him, and that is why he is outmaneuvered and defeated. Mulan defeats the hyper-masculine Shan-Yu openly as a woman in women's clothing using a feminine tool. That? That won't work in a story with a female protagonist vs a female villain. . When Mulan returns home, her father helps her complete the healing of her self-image; she didn't need to do a damn thing to be or prove of value to him. The final thing I want to point out about Mulan is that while it certainly critiques society for what it does to people by enforcing ridiculous and oppressive roles and expectations on them, the story is not about changing society. It's about one person's self-image and the way the people immediately around her shape that self-image. Because of that, Mulan can be read as a low-key call for acceptance and support of non-conforming people in general. . . I want to talk just a bit about some of the music of Mulan.

“Honor To Us All” is intentionally stereotypically over the top because the audience needs to know what Mulan's own ridiculous standards that she's set herself up to fail to meet are. It's not just that the standard is absurd; it's that she wants to meet them. The song, while tonally light-hearted, is meant to capture the immense social anxiety of oppressive artificial social roles. Incidentally, Chi Fu more or less serves the role of being the external expression of said oppressive artificial social roles, and he does it a bit too well to the point where everyone hates his character both in the movie and out, lol. "'Tis a woman! She’ll never be worth anything!"

"I'll Make A Man Out Of You" is meant to be cheekily over-the-top and ironic. I shouldn't have to explain this. Shang is using his over the top, silly similes about masculinity to try and pump up his incompetent recruits, but it's ultimately Mulan's intellect that propels her to become his best soldier. I also want to point out that while Mulan is particularly incompetent at the start, ALL of the recruits are, and Disney Mulan has had NO experience with that sort of labor so it makes sense that she struggled particularly at first. There's been a lot of great writing on the topic of this song already so I'm gonna stop here.

There really is no excuse for cutting “Reflection” and “I’ll Make A Man Out Of You.” The other two songs are not so important but these two are.

Also, she doesn’t cut her hair. What the fuck, Disney? God damn it.

God, why did I write this? This is just a massive badly constructed rambling rant, I’m sorry.

#disney mulan #mulan #fa mulan #mushu #li shang #shan yu #sorry for the rant #self love #social commentary #they replaced Shan Yu with a WITCH #WHY #no snide comments if you please

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tshepiso-reads-books · 4 years

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Competent and Entertaining | The Star-Touched Queen by Roshani Chokshi

Started: August 30th, 2019

Finished: September 4th, 2019

The Star-Touched Queen [Goodreads] was exactly what it wanted to be It’s a romantic fantasy with a heavy sprinkle of angst, a richly rendered Indian inspired bit of mythology, and a solid retelling of the Death and the Maiden. I had fun with this book and it made me nostalgic for classic 2015-era YA fantasy.

In this book we follow Maya, a neglected Princess in the kingdom of Bharata. She was raised in a harem and due to an unfortunate horoscope she is shunned by the whole court. She longs for a better life and when a dark and mysterious man offers her the chance to rule as his Queen she takes it.

While I ended up enjoying myself in the end, I didn’t love the first section of this book. Chokshi’s delivery of the initial worldbuilding was clunky and flat in a way that made the mortal world feel generic and indistinct from any other desert fantasy setting. I found our journey to the inciting incident was overly convoluted. I’m glad I jumped over the hurdle that was this books first few chapters though because I think the rest of the book was worth it.

Chokshi employes a richly detailed and lush prose style to help build the fantastical world of Akaran. This bleeds into how she writes her magic system as well because while it’s elegantly described, it feels inconcrete and wishy-washy. Chokshi’s magic is more whimsical than one defined by any sort of rigid structure. I’m personally not a fan of of this because I find it can allow for our characters to overcome hurdles too quickly with little need for growth or development of skill. The Star-Touched Queen does seem to fall into that trap, Maya overcomes her obstacles in the end not through skill but by virtue of feeling harder which made that aspect of the finale unsatisfying.

I found the romance in this book utterly charming. I really liked how soft Maya’s love interest, Ahmed was. Their relationship dynamic was filled with a gentle camaraderie and light banter rather than snark and sass which was a nice shift for me. I found my favorite scenes in the book were the ones where Ahmed and Maya were just hanging out by a lake talking.

I do think the narrative tools employed in the book were ones that didn’t personally work for me to make the most satisfying story.

This section will have light spoilers for the rest of the novel, so if you’re interested in reading the book without the nitty gritty details of the story I advise you to exit here.

I didn’t really appreciate that Maya didn’t know she was in the underworld for half of the novel. As a Death and the Maiden retelling I actually expected to explore the Underworld in detail throughout the novel.

The fundamental premise of the first half of the novel is built on contrived miscommunication. Chokshi employes a bullshit Ticking Clock of Silence that prevents Ahmed from telling Maya anything about the world. I found this eternally frustrating because I generally don’t enjoy stories where characters make the ‘wrong’ decisions solely because they weren’t given all of the information. I think it’s more interesting to see a character make the ‘wrong’ choice despite knowing the situation in full. Doing that can allow us to explore the ramifications of their choices and allows the main character to retain agency in their story.

I also think Chokshi could have explored a more complex dynamic between Maya and Ahmed. I don’t think Chokshi delved into the angst of spending time with your amnesiac wife. Ahmed’s willingness to jump into bed with his mind-wiped love was a bit jarring for me. I would have liked more conflict in his decision to peruse Maya given the power imbalance within their dynamic as he knows everything about her while she knows next to nothing about him.

Stars

🌟🌟🌟

I know I’ve sounded really critical of this story, but I honestly did enjoy it. It was a fun read that took me back to the YA fantasies of old. I would recommend this book to fans of Renée Ahdieh, they have similarly lush writing styles and fun plots. This book did what it set out to well and was ultimately a competent and entertaining read.

#The Star-Touched Queen #YA #Fantasy #YA Fantasy #Book Review

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thetygre · 6 years

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30 Day Monster Challenge 2 - Day #10: Favorite Goblin/Orc

1. Uruks

I wanna’ tell you a story, folks. It might sound a little familiar, but stick with me. Once upon a time, there was a farm-boy. A simple lad, who had high hopes for a life of adventure beyond the town. He wasn’t the brightest, but what he lacked in brains he made up for in bravery. One day, as you do, farm-boy was working out in the field with his family when a monster attacked. The local guard piled on to the monster, but they just couldn’t bring it down. It tore through soldier after soldier after soldier, just for the fun of it. Our farm-boy knew he would probably die, but he didn’t care. He had his chance and took it; he picked up a stick, ran at the monster, and brought it down. Our farm-boy became a hero.

That farm-boy’s name was Kravitz the Marked One. He was an orc slave working in the fields the first time he killed me. The warchief promoted him on the spot and gave him a set of armor. The second time he killed me they gave him a caragor to ride. The third time he was given command over a company of hunters. I got him on the fourth time, though, and recruited him to the Bright Lord’s army. I was going to make him Overlord of Nurn, and raise him up to sit at my right hand, a real rags-to-riches story. He helped me take the Overlord’s fortress, riding with me at the siege. But poor little Kravitz took a mortal wound there, one I couldn’t save him from. And as he lay there, dying in my arms, he looked and me and he said, “Remember this moment, Tark. Remember it for as long as you live.” And I always did.

There’s a lot of other stories I could tell you. About Ugakuga the Maddest One, who saved my life, or Kellec the Tree Killer who communicated only in screams, or Flug the Ghul Lover who would track a matron across Mordor just to protect her. Uruks are rambunctious, and violent. They fight with each other even if you get them on the same team. They’ll betray you at the drop of a hat for the smallest slight. They pick fights with warriors and monsters that can kill them in one hit just to make a point.

But when they’re your own, you love them.

2. Greenskins

The greenskins are the puncline to the grimdark joke that is Warhammer. While they’re in both the fantasy and 40k settings, they really stand out in 40k. Warhammer fantasy still has halflings, dwarves, and typical fantasy shenanigans to pick up the slack; 40k NEEDS some comic relief. The Orks aren’t concerned about empires or Chaos or the greater good. The Orks, pure and simple, are in it for the fun. They’re work is at its finest when its fast, loud, and in flames. Put together, they can generate a kind of psychic field that makes their beliefs a reality. This power is not used to reshape the fabric of the cosmos, but to enforce much more important principles like ‘things go faster when they have flames painted on. In the grim darkness, the orks are a pie to the face filled with C4.

3. Order of the Stick

The goblins in Order of the Stick are kind of different from how they’re commonly depicted, but not too unrecognizable. They’re a monster race, living in the wilderness, trying to eke out a living, though they’re a bit taller and smarter than standard goblins, about on par with humans. But the thing that makes them stand out is Redcloak, and Redcloak is pretty great, both as an antagonist and a character in his own right. Redcloak has made decisions, bad decisions, decisions that he could have not made but he did because he felt he had to. And it’s interesting to watch him now, filled with regret, committed to this course, and wondering what will happen next.

4. Nyambe

Nyambe-Tanda was an African campaign setting for 3rd. Edition D&D that not a lot of people remember. They should, because it was pretty great, both at representing an underexplored area of fantasy and also for its own setting features. Somehow, it blended West African mythology and post-modern tabletop fantasy masterfully. One of the best examples is its orcs.

You’ve got your standard narrative; at the beginning of time, there were the various races, and each of the gods favored one race over the others. Originally, the gods only divulged so much to the races because they wanted to keep things fair. But the orcs were having a hard time of it, living in badlands and scrounging for food. So their god, Ogun, the god of war, decided to give them a little boost. He made them stronger, faster, tougher than other races. But Ogun wasn’t just the god of battle; he was the god of blacksmithing. So the orcs of Nyambe learned how to mine and forge metal while the other races were still wearing leaves and furs. And by the time the other races figured out bronze, the orcs had iron.

From there, things went about as well as you would expect. The orcs swarmed out, conquering the continent one region at a time. The other races barely had metal, much less iron; any resistance was like bring a stick to a gun fight. Even after Ogun withdrew his patronage from the orcs, they turned to worshipping dark gods and demons, adding sorcery to their arsenal. The orcs set up a dark empire across Nyambe-Tanda, and it took nothing less than an alliance between all the races, the dragons, and God to stop them. The dumb orcs of Nyambe today are the cursed remnants of that empire, and their demon-haunted ruins still litter the continent.

Just think about all that. Look at how much the orcs did in this setting. And they did it for themselves; not for any god or Dark Lord, but because they wanted to. The Evil Empire that the plucky last-ditch rebellion had to stop didn’t use orcs; it was MADE by them. They fundamentally shaped the setting. In Nyambe, orcs are legendary and feared. Even the few remaining half-orcs are watched closely and with fear, looking out for any sign that the old powers might return. And that’s just such a massive departure from the norms of fantasy while still staying true to certain elements; I love it.

5. Pathfinder

Pathfinder’s goblins are clearly descended from Warhammer’s; cheerful, incorrigible pyromaniacs who enjoy arson, butchery, and singing adorable little songs about how much they hate horses. Even their designs are cute; oversized head, constant grins, beady little eyes, big flappy ears, and a shark-like nose make them look more like gangrene bats than monsters. When Pathfinder was first released, it was decided by the Paizo team that they wanted their monsters to stand apart from the standard D&D variants of monsters, remaining true to certain aspects while inventing new ones. Goblins were the first example, and are still the most beloved. They became mascots of the system, and even a playable race. So much malevolent charm has been poured into Pathfinder’s goblins that you feel almost bad for killing them. You’ll have to though, because they really don’t feel bad about killing you and then burning your house down.

6. Eberron

Eberron orcs are another attempt to experiment with the standard formula, seeing what can be retained and what can be changed. An orc on Eberron can still be a wild berserker, but they’re more likely to stick to one of the villages they live in as a farmer. Orcs in Eberron are the oldest species on the planet, predating humans and all the other races. It gives them this kind of grouchy veteran persona that pervades the whole race, and they tend to look down on the younger peoples. Eberron orcs are also a lot more spiritual, trying to live in tune with the land and spirits. It was the orcs’ druids that saved the world from extradimensional horrors long ago, and most of them stick to that tradition. They don’t want any praise or to be raised up as heroes, though. They mostly just want the young races to listen to them when they say important things like, “Don’t poke the fabric of reality” and “Don’t trust elves” and “No, ma’am, I would not care to do that with you.”

7. Warcraft

It was inevitable that Warcraft orcs would be on here. There’s no escaping them; by now they’re probably more popular than Tolkien orcs. They actually have a fairly complex history and lore; addicted to demon juice, tricked by an evil shaman, warring with the goat-people. Thrall is still the coolest shaman in anything ever, even if it is kind of hard not to just call him ‘orc Moses’. Even their explanation for the green skin is cool; an eternal curse for drinking demon blood in wars past. Honestly, though, I loved the orcs best in Warlords of Draenor. The Iron Horde is what elevated the orcs from ‘kind of cool’ to full-on ‘Metal’. It was a shame to see them go, but that’s just how it is.

8. Rankin Bass

My first orcs. I watched the Rankin Bass Hobbit films when I was a kid, so these were the first time I met goblins who didn’t come out of a fairy tale. They were scary more than cool, but they also had a kind of dorky charm to them. The original Hobbit goblins with their gaping mouths and giant fangs are still a classic. They seem like perfect fairy tale monsters to me, and fit right in to the Hobbit’s original tone. Also got to love those classic goblin hits like ‘Funny Little Things’. The orcs in Return of the King had way more variety in shape, and there was even some blurring between them and the trolls, but no particular design stuck with me. You know what did stick with me? The best damn song in the entire world, that’s what.

9. The Wolverines

Stan Nicholls’ Orcs series is more in the vein of the Black Company or the Golden Age of Berserk than it is any other kind of orc story. It follows the exploits of a mercenary band of orcs while they traipse around first one fantasy world, then more. By the second trilogy, they’re freedom fighters for orc supremacy on whatever world they can find them. All the while, they never stop being just unapologetically bastards. You get a feel for the commanders and the soldiers, while taking in that whole mercenary life pastiche. Not anything groundbreaking yet, but still a good band.

10. Goblin Slayer

Credit where credit is due, Goblin Slayer tries its damnedest to take goblins and make them horrific, intimidating monsters. Does it succeed? Ehhhhh... I don’t want to keep saying ‘Berserk did it better’, but it really is hard not to compare the goblins to the trolls from Berserk. Still, there’s stuff to applaud here. These are some nasty goblins, even in terms of design, with jagged shark teeth and dead frog eyes. If nothing else, it’s interesting to see the kind of hierarchy usually reserved for higher-powered monsters like dragons and demons given to the ‘cannon-fodder’.

#30 Day Monster Challenge #30 Day Monster Challenge 2 #orc #orcs #goblin #goblins #lord of the rings #warhammer 40k #world of warcraft #pathfinder #dungeons and dragons #long post

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