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bobbile-blog · 2 months

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Okay so I've finally gotten to Jessicalter's Oprec and now feel qualified to talk about Come Catastrophes or Wakes of Vultures. holy shit. This went straight into my list of top Arknights events. Fantastic event, spoilers will be under the cut so I HIGHLY RECOMMEND reading the event first. It's really good and worth your while.

Anyway, what follows is a scattered mess of thoughts about this event and things that stuck out to me.

First off, plot stuff! I'll probably cover this when I do my next plotline recap post, but what I took away from the end is that Clip Cliff seems to want to make Blacksteel independent, or at least more self-determining than it is now. He seems to be gathering resources and assets like mobile city plates and investing in long-term infrastructure like merc training, so he definitely has a long game he's pushing for. I don't think we know enough go speculate about his goals, but we'll definitely be coming back here again. After all, Tila has an infection monitor in her art, which probably means she's going to be playable at some point in the future.

Next, having looked into this a little on my own, I was interested in some of the previous places Raythean has shown up. Specifically, the ones that stood out were the drones in the Kazimierz Major and arming Silverash's forces in Kjerag, which might be referring to the Tschäggättä. It's not just notable for their apparent level of technology, but also as a faint connecting thread between three separate capitalism plotlines. I don't know if that's going to be meaningful in the future, but I found it interesting enough that I thought I'd bring it up.

Now on to more narrative things. While I love Liskarm and Franka, I do think it was the right choice to give them less screen time in this event. They're both (for the most part) fully-realized characters who understand their own motivations and morals. This is above all else an event about Jessica learning to stand on her own as an adult, so it makes sense that they're more here to support her than they are to play their own roles in the story.

Speaking of said roles, I liked the event's commentary on cops. It pointed out an interesting distinction that I wouldn't really have ever thought of, that between mercenaries and cops. To start: cops exist to protect property, not people. The police exist to protect things and do not have an obligation to err on the side of people over things, and in fact are supposed to do the opposite. This event understands that, and that role os the core of how the bank treats the Blacksteel mercs. CV, however, raises an interesting point that mercenaries are bound by the letter of a contract and not the larger obligation to property cops are, so they can actually raise moral objections and point to their contracts, sort of a Lawful Evil/Lawful Neutral to cops' Neutral Evil. The independence of their position with respect to cops allows for more of an independent morality than you'd get in a cop story and I like that, I think it's a really smart direction to take your writing in.

On a (mostly) separate note, holy shit Arknights is really good at writing cowboy stories. Between this and chapter 9 (and I would argue An Obscure Wanderer), Arknights has repeatedly made it clear that they Do Not Fuck Around with their cowboy stories and I'm surprised I haven't heard more people talking about it. It kinda has everything:

- It takes place in a rural, working-class setting undergoing a larger imminent societal shift that can inform the larger narrative, and deals with a semi-mythologized past that is rapidly disappearing.

- It has a protagonist and an antagonist that serve as foils, both very heavily affected and defined by the (same) violence in their past that they've both had different reactions to. Our protagonist has come to terms with the violence as a tool to maintain order, while our antagonist has used it for personal gain and in some ways lost control of it.

- It's a story about community, and heavily emphasizes local and personal community over larger artificial corporate "community". That's my reading of the recurring motif of the cold btw, warmth represents the close, personal community Davistown used to have and the cold that now pervades it comes from how the bank has systematically dismantled that community.

- And, I'd argue most importantly, it understands the narrative power of a bullet. The Showdown at the end of a cowboy story is powerful because we've spent the entire runtime of our story with these characters, and they are now facing each other down with the intent to end one of their collective two stories. The entire weight of the narrative so far comes to rest on a single moment of tension. It's really hard to gather up the kind of narrative momentum you need to make that hit like it does in CV. For example, it requires a really light hand with actual action in the story, so that it really does feel like it's an even standoff between our protagonist and antagonist. On the other hand, though, you do actually have to establish the relative skill of both parties and actually sell the danger of the moment to the audience. It's really hard to toe the line between tension and actual action in a way that makes for a satisfying resolution, and CV does it extremely well.

Honestly, Arknights just seems really good at getting the vibes of American media right. This is something I noticed in DV and Lonetrail too, and I haven't really been able to put my finger on what it is about them, but the vibes are just really on-point. I want to write more about this at a later point once I actually figure out what it is that I'm feeling, but maybe it's the setting, maybe it's the cast, maybe it's the plot points, maybe it's something in between — it just seems to understand the spirit of period cowboy stories in a way that I can't describe. Good shit.

Finally, I wanna end this with where Jessica is now. The events of CV take place In between the events of Loneterail and Ideal City, so the current "now" of the story is a few months ahead. Jessica left for the frontier along with Woody, Helena, and Miles. They live together in a small new settlement, building the place from the ground up with Woody and Jessica acting as town sherrifs. At the point we're at now, rhe town is fairly well-established and Woody has temporarily left on other business, leaving Jessica the sole sherrif of their new settlement. However, she's risen to her new station, and is growing into a stronger person than she ever was before.

#arknights #come catastrophes or wakes of vultures #jessica the liberated #Arknights thoughts

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aangarchy · 3 months

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Netflix atla live action review ep 4-6

So, they completely ruined Bumi. Spoiler warning.

The more episodes pass by the more confused i get with the choices that were made. I wrote down commentary for the episodes and the thing that i wrote down the most was "why does this happen?". The writing is incredibly confusing and messy, feels too rushed in some spaces and too slow in others. There's just... so much going on and so little at the same time. They brought in elements that in the OG don't get introduced until later in s1, s2, the comics, or even the legend of Korra. The reason these things get introduced so early here is not clear at all, because they don't serve any purpose other than to be an obstacle to Aang, Sokka and Katara on their way to the North.

Mai and Ty Lee are.. there. They get introduced earlier but they don't serve any purpose at the moment other than stand around, watch Azula train, ask questions so that Azula can give us the answers the viewer needs. My guess is they only got introduced for the audience who watched the OG to go "oh we know them!". We get the secret tunnel story earlier too, but it has absolutely nothing to do with love. Somehow "love is brightest in the dark" now correlates to the badgermoles being able to sense a human's emotion. It's a waste of a storyline, doesn't teach us anything about love, gives us Omashu lore which is useless bc neither Sokka nor Katara actually use love to escape the tunnels. Also Oma and Shu are lesbians now, but you only know that bc they changed Shu's pronouns. Wow, so progressive! We have lesbians in the story now! Boy do i feel represented as a sapphic!

We get Koh early on as well, but his entire gig got changed. Now suddenly he doesn't steal faces but he "feeds", and hunts using the fog of lost souls (which is tlok lore mind you) as a tool to trap humans. We introduce the mother of faces (comic book lore!), or rather pendant of her that Koh owns. There's no reason for her to exist in this story though other than to be an easter egg to everyone who read the search (Not even the majority of the fandom!) and to offer a solution to this problem we've created, which is Koh capturing our friends in order to eat them and us not being able to convince him into letting them go. There's no feeling of dread in the Koh scenes at all because the whole problem of not showing emotion is just not a thing now. No suspense, no fear, just a weird cgi clown face worm. The worm doesn't even menacingly circle around Aang to invoke a feeling of being surrounded, it just sits there. I also just don't understand why Koh is here already bc now who is going to give us information about Tui and La?

This decision also creates a problem that Hei Bai's story just isn't about Hei Bai anymore. We get fed a few lines from a talking fox about how the forest spirit got hurt, but there's really no solution? Aang buries a pinecone in front of the statue and tells him not to give up hope but he didn't even really need to do that, because Hei Bai wasn't the one kidnapping villagers! It was Koh. Why did we appease Hei Bai if Koh was the real villain? Hei Bai/Koh's story leads us to Roku, but Roku is completely useless. All he does is undermine Kyoshi's advice to Aang, tell Aang about the mother of faces pendant so he can appease Koh, and then we leave. I knew in advance Roku wasn't going to warn Aang about the comet here bc Albert Kim already told us working with a deadline like that with child actors is just impossible. But with Roku suddenly not being Aang's main Avatar guide he just gets nothing to do. There's no suspense in this part of the story either, bc the time limit of the winter solstice isn't a thing here at all. Aang also ends up flying over Fire Nation borders without issue, and gets led right into the sanctuary without the puzzle of figuring out how to open the door, and without the problem of Zhao's soldiers waiting for him when he comes out. It creates this issue of there not being any excitement, at least for me. I genuinely am getting a bit bored with the show, which was never an issue with the OG for me. There's a reason all of this extra material didn't get introduced until later on. There's too many characters and they all get too little time to really do anything useful, they're not fleshed out, the stories aren't thought through and it ends up getting very confusing and boring. I'm genuinely curious for the perspective of people who have never watched the OG cartoon, bc i wonder if they're even able to follow along without prior knowledge of this universe.

Bumi is just... not Bumi. They completely changed his character to be this bitter old senile man that resents Aang for abandoning the world. This doesn't make any sense because in this version of the story Bumi shouldn't know that Aang is the Avatar at all, because Aang was told right before he disappeared! So why does Bumi immediately know that Aang is the Avatar, and why does Aang immediately recognize him? Also the original point of Bumi's tests is to get Aang to approach fights and puzzles from a different angle, so he can learn versatility as the Avatar. But here the tests are just happening because Bumi is mad at Aang for leaving and wants to get back at him for being gone so long. He says some lines about Aang having to learn to make hard choices and you can't rely on your friends, but Aang ends up proving him wrong in the end! What is even the point of Bumi's part in the story now, except for him just being another obstacle on the way to the North Pole?

There's a lot of instances where I feel like the bond between characters gets completely lost. We barely spend any time with the side characters like the mechanist, Teo, Jet and the freedom fighters, and the people in the spirit village. It makes some scenes feel very out of place. These storylines all happen at once, and they don't get their individual moments to shine. We have no room to feel betrayed by Jet or Sai, because we barely got to know them to begin with. Jet and Sai only spend time with One member of the gaang each, but when their betrayals come to light the rest of the group acts devastated, as if it was their dear friend. Sokka also gets really mad about the Jet thing, but he only met Jet once when he smuggled them into Omashu, and Jet didn't even tell Sokka his name. He said it afterwards when Katara met him again. It makes absolutely no sense why Sokka is yelling at Katara for trusting Jet only bc she finds him attractive, when Sokka wasn't even there during all of that!

The sense of family between the gaang that we get from the original also just doesn't happen here. Especially because these characters so far have spent more time apart than together. Aang constantly gets separated from Sokka and Katara, leaving no room for them to bond. We get Katara and Sokka bonding, but they shouldn't need those types of scenes because they're already siblings (which isn't very clear in the show either btw!). I ended up forgetting that Sokka and Katara were trapped by Koh, bc we spend so much time away from them (a whole episode, which is now an hour!).

I have little to no criticism for the Blue Spirit story. Want to guess why that is? Bc they left it pretty much untouched. We even get a little bit of an extra scene, with Zuko and Aang talking while Zuko recovers after getting hurt during the escape. I liked this choice, especially bc it highlights how conflicted Zuko is.

This is where we get Zuko's backstory. I have one question here: why did they make Ozai more sensible and less ruthless? Was that a Daniel Dae Kim decision? Bc it feels like a Daniel Dae Kim thing to do. They're very on the nose with the way Ozai is abusing Zuko and Azula, but then they turn around and make this man visit Zuko after he burned him and praise Zuko about finding the Avatar. I understand that they did this to show how Ozai uses Zuko's accomplishments in order to push Azula, but even if it were to do that: the original Ozai would NEVER. The problem here as well is that they don't let the viewers draw any conclusions themselves anymore. They're holding the viewer's hand through the whole thing, leaving no room for nuance or doubt.

I just finished episode 7 and 8 and I have Things To Say. None of which are good. Writing it down is challenging so it might take a day or two.

#atla #avatar the last airbender #avatar #netflix atla #atla netflix #natla #netflix #atla live action #atla live action spoilers

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avelera · 1 year

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I think one reason social class stuff is such a big part of how I write Dreamling is because, at its core if you accept them as a couple, if Hob and Dream are some level of perfect for each other, destined for each other maybe not literally but perfectly matched thanks to the supernatural omniscience of someone like Death setting them up together on purpose based on her greater knowledge of all living things, then it is such a powerfully egalitarian message for a romance.

If Hob really is the one person in all of existence that can handle Dream's bullshit, if he was only given the chance and the time for them to grow into being partners to one another, it's such an insanely profound message. It means that out of billions and billions of people over billions and billions of years, a commoner, a literal peasant was born with the qualities to be a match for one of the most powerful beings in the universe. That being born into the right class be it titles or riches or magical birth right don't actually matter as far as what makes two people suited to each other.

Even if you narrow it to just, say, the sweep of human history, that Death only picked a partner for Dream best suited for these few thousand years of written human history, maybe just for the lifetime of our planet, the message still holds without going all cosmic.

It means that an entirely normal person with no blood right at all, no inherent magical powers, no divine destiny, nothing to distinguish him even from the other soldiers at his table, someone who was born into one of the worst time periods to live through, living an entirely average life that would never make it into any history books except as a footnote, one of billions of people the great stories will simply forget, actually was extraordinary in a way that might have otherwise gone unappreciated but Hob would still have been here, his life still would have happened even if he never got the chance to explore the full potential of his resilience to immortality and his love of life.

If Hob's superpower that allows him to be a match for Dream is simply wanting to live so much that he can withstand the gift of immortality on a level that we rarely see in fiction, that alone is huge. Just some guy from a rainy little island with an entirely common profession of being some peasant soldier, manages to withstand the hardships of time better than immortal beings who were literally born into that existence and into the power and theoretically the supernatural comfort to polish away a lot of the day to day trials that would make living as a human for that span incredibly difficult, like hunger, and losing loved ones, and the daily grind of hardship.

Dream has all this power at his disposal, he is a being of the ultimate privilege. He can literally craft a realm for his comfort, people to be his companions who are best suited to serve him and his needs. Yes he is bound by a function but even that function is one of the richest parts of life: stories and songs and joy and sorrow. The things we toil for the rest of our life so we can carve out the time to indulge in those things. The truly great experiences. That's his job. Not saying it couldn't wear on you, only that it's not like he's Despair or Destruction or even Destiny, bound to helplessly watch all of time unfurl when you already know what's going to happen. Dream has one of the most desirable roles of all of the Endless, at least in theory. He's completed insulated by supernatural levels of privilege: powerful, male-presenting, beautiful, a literal monarch, with a kingdom of beings designed to serve him. The one inherent difficulty he might be argued to have is some form of clinical depression and of course the general traumas that accumulate over so long a lifetime. Not to dismiss it, or say he's not allowed to suffer, profoundly from this and what he's experienced, just to be clear that others have suffered from those things too without the other tools he has at his disposal. He is desperately alone and lonely too, which honestly makes it even more profound for him to have someone who wants to reach out to him.

So to say that Hob, who was not born with any of those privileges or tools, indeed, was born into one of history's most difficult centuries at a time when England was nothing more than a backwater and, yes, Hob is white and male and able bodied, etc, he does not have those privilege marks against him and that will mean more as time goes on and England rises to be a world-dominating superpower and being from there will evolve into a true privilege, but keep in mind, Hob's also from a time where his class, his birth mean he doesn't actually count as part of the "in crowd" of privileged people. He could never be part of his own government, he would not be invited to read or write or be any sort of force in the world. Until the century he was born into it was a vanishingly small likelihood someone like him could ever be more than a serf, legally bound to remain a serf no matter any ambition he might have had. If not for the extreme population loss of the Black Plague granting social mobility out of necessity, Hob could have lived and died as a serf, leaving no other record of his existence.

Instead, Hob's joy, his will to live, and his resilience to withstand eternity that he has as just one of his human qualities, puts him on a level with actual literal gods and creatures more powerful than gods. It means that there is no blood right or inherent structure that makes Dream better than him such that Hob would be inherently a poor match. It means just a guy, out of trillions, was best suited to be the lover of something as old as the universe and more powerful than a god. Because he could handle Dream's bullshit. Because his inherent joy and resilience made him a match to someone who more than anything needs someone like him who can put up with their bullshit, withstand it, look forward to seeing him, actually long for his presence in a way none of Dream's peers do.

That's just... wow I know I'm explaining myself in circle at this point, but I just can't get over it sometimes. Maybe it's the history buff in me just obsessing over someone so, so minor in the grand sweep of history being matched with someone so singularly powerful in this universe as Dream. But if you go with the popular headcanon that Death picked Hob just for the reason of being the best person in the world to be at least Dream's friend but maybe his lover and eventual partner, wow, that really just says something about birth and blood and magic not being the measure of any single beings actual importance to one another, I'm obsessed with it.

#dreamling #the sandman #sandman meta #shipping manifesto

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fire-of-the-sun · 10 months

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Ilsa and Ethan: There's Still Hope

Spoiler Warning for M:I7!

I'm sure a ton has already been said about Ilsa in the new movie, whether it be lamenting her loss or developing theories as to her potential return in the next film, but here are some contributions I've been mulling over. This isn't going to be an exhaustive list of reasons why she's still alive, but I will try to address some and add my own thoughts into the mix.

I agree with the discussion that one of the best clues of this all being a fake out lies in Ethan and Ilsa's reunion near the beginning of the film. Ilsa plays dead during the fight and Ethan momentarily believes it before she attacks him and reveals herself to be alive. As it stands, this looks like a foreshadowing to her eventual, real death, however, I think it instead acts as setup to her still being alive. I think it's clear that her death fakeout exists to give us clues to her eventual return as well as deflect audiences from even considering it as we're trained to accept that foreshadowed events that transpire in most stories would simply be the end of it, but this isn't a typical story, this is Mission: Impossible, and nothing is as it seems and this film establishes that that's more true now than ever.

And if you're really going to kill Ilsa off, why do a fake-out at all? Why not just have her die later without warning and really shock the audience? Why already have the fans ruminating on the possibility early on and telegraph it long before it actually happens? Consider Julia's "death" in M:I3. The film starts in media res and there's a strong sense of tension throughout the whole film knowing that that's going to happen. Julia is going to get kidnapped and possibly die no matter what, but it's okay to spoil this scene in advance because she doesn't die. Because why would you tell the audience that's going to happen right away unless there's going to be some kind of twist where she lives? What's the point in watching the movie if you know that Ethan is ultimately going to fail and it's going to have a tragic, unsatisfying ending? Julia's death fakeout is a tactic meant to trick him and the audience and make him feel like he's lost only for the twist to be that he ultimately wins and Julia remains alive. I believe a similar tactic is being used with Ilsa which has the potential to be a very well-executed plot twist rather than a disappointing one if done correctly and not completely abandoned in the next film. I actually think that without the fakeout and just a sudden and completely unexpected death I'd feel more worried but, as it stands, I think the choice (among many others) actually serves to legitimize this all being fake.

After all, the best twists are ones that you can see coming if you're really looking for it and that's okay. It's okay that we've figured it out - that means the director ultimately did their job right. Some viewers, especially more casual fans, are taking what they were shown at face value and not considering there's any more to it. They're falling for the trick and that's fine too, because a good twist is one that is set up in a way that leaves clues but also remains largely hidden especially as the audience isn't looking for it. A magic trick that deflects us from seeing what the magician is actually doing. When Ilsa shows up in the next film, some people will feel rewarded for their observations and others will finally see all the pieces click into place that they disregarded before and both be satisfied, but I digress...

Another huge scene to look to for clues lies in the team discussing the severity of the threat and really cementing just how difficult it's going to be to trick the Entity before the party. I think it's very possible that there are missing conversations here that we will not be privy to until the next film as Ethan would never let his friends be in such danger without having a real plan on how to protect them and the audience always knows what the plan is so when things go awry we're aware the complications were unprecedented. In this case, we really have no idea what they're walking into, nor do we see them effectively prep for it. Unless I'm forgetting something, why did Ilsa need to be at the party at all? Why would Ethan put Ilsa in danger like that for no real reason especially after already enduring those brief, agonizing moments earlier when he truly believed she was dead and had to consider a world without her in it and knowing that Gabriel has taken someone from him in the past? Ilsa is her own woman and can do what she wants, but we don't see him even trying to protest her inclusion and voicing fear for her safety for her to even refute.

The scene where Ilsa meets Ethan on the balcony afterward is incredibly short and could feel tacked on given that there's no real lead up to it, but it could very well be the aftermath of a heavy conversation where - feeling burdened by the weight of what must be done - Ethan leaves the room to think and Ilsa follows. She looks particularly chipper here despite the seriousness of what's going on and I believe her benign comments about Venice are purposefully meant to distract Ethan in an attempt to cheer him up. Notice how he shakes his head a little after he answers, like he knows what she's trying to do before giving into her and hugging back. She's calm because she has faith in the plan while he's nervous about it. As a side note, I think it was a touching detail to have Ethan return to this same balcony to grieve (publicly).

We also see Ethan and Ilsa looking at each on the boat before he takes her hand on their way to the party. This, of course, acts as yet another sweet gesture to showcase how strong their relationship is at this point but, again, Ethan doesn't seem that happy. This isn't a relaxing date (which they deserve), he looks tense as he takes her hand. Notice how he's fidgeting as he strokes her fingers and rubs his own fingers together in his free hand. It's like he's trying to hold onto her as much as he can knowing what's going to transpire and, once again, Ilsa looks like she's trying to comfort him by stroking his hand back, never taking her eyes off him. It's a nice continuation of the dynamic of their previous moment together.

And, if this is truly Ilsa's last outing? Why hold back on basically every aspect of it? If it's truly Ilsa's last fight, why not make it her biggest, baddest fight yet that showcases all of her skill but also begins to feel truly unwinnable? We've seen her face intimidating foes before, so if she's truly going to meet her match, you really need to sell to the audience that all her usual tricks aren't working and let us see on her face that she knows she's losing this fight, which would also help build a sense of dread. I've only seen the film once at this time, but I don't recall her looking too worried at any point at the party or during her fight with Gabriel. She's a brave and skilled woman of course, but she seemed incredibly unfazed by it all, almost like she knew how it was going to go. I want to add that there's no way of knowing for sure when entering into any fight that you're guaranteed to survive. Gabriel could have stabbed her anywhere and there'd be no way to anticipate that beforehand but, as I've seen pointed out, her hand is also on the knife when it plunges into her chest. The only way to know for sure where the blade would go to look deadly but still survive it would be to guide it there herself and that seems like something the skilled Ilsa would be able to pull off.

And if it's truly Ilsa's end, why not go out of your way to make it as sad as possible? What if Gabriel leaves her just alive enough for Ethan to find her and they have a heartbreaking final moment together where they perhaps exchange a line or two before he watches her die? Of course, to add insult to injury, the grieving process is pitifully brief, focusing more on Grace's reaction than Ilsa's own friends. Why not have a stronger reaction from Ethan, Benji and Luther that absolutely breaks the audience's heart? Just compare Ethan's reaction to Ilsa's death to the assumed death of Julia in MI3, the other love of his life. Yes, technically, that was a very different situation and Julia was his wife after all and Ilsa isn't, but they don't even compare. Heck, we even get to see Ethan mourn Lindsey, a friend, in M:I3 longer than Ilsa. I understand that the movie can't languish in sorrow for too long and Ethan is used to compartmentalizing to get the job done, but this is also one of the biggest losses he's suffered and right on the heels of proclaiming to his friends how he'd never let anything happen to them. This is also the longest movie in the series so far and it has no excuse for skimping on the aftermath of the death of one of its biggest and most beloved characters. Ilsa's death is sad but leaves you feeling more empty and disappointed than utterly devastated - at least for me.

We've also seen Ethan act before, as is a necessary skill for a spy, and I think the fairly subdued reaction to her death speaks to his ability to act realistically sad (he's had practice for this exact situation too as he's probably channeling all the awful things he felt when he believed her to be dead at the beginning of the movie) but also speaks to the fact that it's not actually real because if it was I think it'd be a far stronger reaction. Yes, Ethan could just be becoming desensitized to losing people after enduring it so many times but I don't think he'd hold back for Ilsa. His partner. His equal. Someone he loves deeply and offers his only chance at a life beyond this. That chance, that love, that happiness, are now gone forever and that's not something you just take in your stride.

And yes, maybe Rebecca needed or wanted out of this franchise to film other projects but that's only more reason to give her the best sendoff you possibly can and I don't think anyone, not even the director himself would be able to admit that this was worthy enough of her character and respectful to Rebecca. If even her final fight was, for whatever reason, purposefully undercut, then what else did the director choose to take away despite having so little to begin with and why? If, historically, it's not in his nature to pull something like this based on his previous work in the series and his own passionate comments regarding the character, why would he now? It's the overall lack of care in regard to her character all of a sudden that makes it all feel fishy.

And if this is it for Ethan and Ilsa, why not push the romance? Instead of just a hug on the balcony, why not feature their first kiss or, at least, a much longer conversation that cements where they really are before it all gets taken away? If the director attempted to include a kiss in the past but scrapped it because it wasn't the right time, he probably intended it to happen eventually. Why not sneak it in right before she dies if these are their last scenes together anyway? Maybe a kiss would only serve to telegraph her demise further by making the audience more nervous about her fate, but it also would have made it even sadder knowing they had finally reached that point right before she died. If the intention of all of this is truly just to make Ethan and the audience sad and it's going to hurt one way or another, you might as well push it as hard as you can to achieve the desired effect. Regardless, I believe that when she comes back in Part 2, they'll finally get that well-earned kiss and that's what the director is waiting for.

But why have Ethan lose another woman he loves at all? Why watch him go through an entire series where all he does is lose lovers only to have him ultimately end up alone especially after developing the perfect romantic partner with him and getting audiences on board with it over the course of multiple films? It all just feels unnecessarily cruel and, as it's nothing new for him, what is it really adding to the story or his character? Losing another lover is predictable at this point but bringing one back and actually letting him be happy? Now that would be a twist! What a triumphant moment it would be for Gabriel to see Ilsa return in the next movie (and perhaps have a rematch) and realize that he's the one who'd been duped? That the Entity is not infallible? That Ethan has been one step ahead of him this whole time?

I don't think I'm alone when I say that the best possible ending for the series and Ethan's story is to get to live his life with Ilsa given he wasn't able to with Julia, trusting the IMF in the hands of new operatives like Grace to carry on in their stead (notice how they focused on that other new recruit during Ethan's introduction as well like they're preparing him to pass the torch). He finally gets to go with Ilsa like she asked him in Rogue Nation and in Fallout and they both finally get out of the game and live happily in the peace that they helped ensure and so deeply deserve. Ethan has sacrificed his own happiness to save the world so many times, why can't he and Ilsa finally get to find some happiness with each other? This series has had it's bittersweet moments but it's never been a tragedy. The conflict is meant to feel insurmountable (it is called Mission: Impossible after all) but the heroes still win and get to be happy and I expect that to continue to be the case in the very end.

Now, I understand and agree with confronting real consequences as we face our final antagonist of the series, but I would honestly predict an actual death from Luther or Benji in the final film - staples of the series and longtime friends of Ethan - that would hurt the audience too but not steal a future from him and perhaps Ilsa's "death" is also meant to deflect from the real death that's coming which would still, naturally, makes things very bittersweet. That being said, if this series wanted to continue to lean into happy outcomes over sad ones, then simply having Ethan get to live peacefully in the knowledge that he was able to keep all of his friends safe would be enough for him and for me.

As of now, I'm actually feeling hopeful about the potential for Ilsa to return. I think there are currently more viable reasons for why she could still be alive than dead and I think it would vastly improve the story they're telling rather than take away from it or feel forced because, as it stands, the execution of her death does feel less than the caliber of what this series is capable of and a surprise return would certainly remedy that. It wouldn't feel like a gimmick given the nature of the series, nor do I think it would undermine the death scene we got since it didn't have any impact on the plot and barely any on the characters anyway. Ilsa returning would improve things, not take away and if this all works to bring her back, it will take what was a lackluster plot point and unceremonious exit of a major character to a brilliant showcase of subterfuge both for the characters and the audience and the latter sounds more like the Mission: Impossible I know.

The first time Ethan faked the death of a woman he loved to protect her; he lost her. Now he's had to do it again and this time, he'll get her back. There's still hope.

#mission impossible #mission: impossible #ethan hunt #ilsa faust #ethan x ilsa #ilsa x ethan #mi7 #mi7 spoilers #mission impossible dead reckoning #mission: impossible dead reckoning #ilsaethan #mission impossible dead reckoning part one #mission: impossible - dead reckoning part 1 #dead reckoning part 1 spoilers #julia meade #luther stickell #benji dunn

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hayatheauthor · 1 year

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How To Write A Plot Device Character

A plot device character is a character whose only purpose is to move the plot forward. Unlike other characters, they aren’t a part of the story and only exist to propel your plot forward and achieve a certain milestone.

Writing a plot device character might feel easy enough to most writers, after all, you just need to have a clear understanding of why they exist in your story and what do you need to achieve. However, many authors fail to take certain factors into consideration which can result in an accidental overshadowing of your main plot, straying from the main plot, or making your character very obviously come across as a plot device.

Unsure how to write a plot device character? Here are some quick tips to get you started.

Give Them Their Own Persona

A character written for the sake of the plot is still a character nonetheless. Each character comes with their own backstory, personality and position in your story. While a plot device character won’t require a detailed retelling of their dramatic adventures as a teenager, it is important to ensure you have some semblance of world-building that connects with their persona.

An easy way to accomplish this is by taking their relations with the other characters into account. For example, if your character is the love interest’s sister who sees the antagonist committing a crime, it is important for you to first consider her dynamic with the love interest, her dynamic with the antagonist, and why she would be rightly positioned to witness this crime.

Does she work across the street from the antagonist’s office? Does she dearly care for her brother and wants him to end up with the protagonist? Is she vengeful and won’t hesitate to snitch to her brother or empathetic and attempts to converse with the antagonist?

If you don’t establish some sort of persona or backstory for your plot device characters you risk coming across as inconsistent or creating an overly complex character. This can also negatively impact your plot and make your readers pay more attention to your inconsistencies than the story itself.

Don’t Lose Track Of Their Purpose

Every plot device character exists for a reason. While it’s important to develop their personality and some semblance of a backstory, you also need to ensure you don’t get lost in their personal story, in turn losing track of the actual plot.

Following the previous example, if the sister’s sole purpose in the story is to spot the antagonist that one time, then there is no point in including her in scenes throughout the entire book or dedicating an entire chapter to why she works across from the antagonist. However, you should periodically mention her and her dynamic with the other characters to ensure your readers don’t feel like the moment came out of nowhere.

Authors should take the time to plan out a plot device character’s appearances in the book before getting started with the actual writing. Something as simple as ‘she is present during the office party in chapter 5’ or ‘she helps the protagonist fix her wardrobe malfunction in chapter 16’ can help you ensure you don’t lose track of this character’s position in your book.

Know Their Importance

When writing a plot device character, you need to remember their level of importance determines their presence and relevance in your book. The character used as an example throughout this blog would be a very insignificant character when compared to a deuteragonist who remains by the main character’s side to essentially serve as a witness to the book’s contents.

The same can be said for an antagonist’s assistants or helpers when compared to their positive counterparts.

It’s important to consider every character’s level of importance in your book and then develop While your readers definitely don’t need to know about your deuteragonist’s entire life story, it’s important to develop an appropriate amount of world-building to fit their role in the story. You cannot simply make things along as you go as that can result in plot holes, inconsistencies and you can oftentimes confuse yourself due to the clarity.

Plan Out Their Role In The Book

Once you have a clear understanding of who this character is and what they are meant to achieve, it’s time to take into account how they are going to achieve this. You need to consider your ultimate goal and then flesh out their role in your book accordingly.

Start with their introduction in the book. Which chapter do they show up in? Are they introduced as a connection to another character? For example, does the protagonist meet the sister because the love interest brings her along to an event? Do they play a role in that arc of your novel or are they simply introduced for that one scene?

Once they have been introduced, you need to consider how many chapters/scenes they need to be present in to achieve your goal for their character. Break down their role in these scenes and make sure you haven’t overlooked any plot holes. For example, if the sister is supposed to relay this information to the protagonist’s friend you need to ensure you’ve established some semblance of a connection between these two characters.

Finally, it’s important to consider where this character will end up by the end of the book. Do they pass away? Do they move to another country? Do they have a romantic subplot with another minor character? Do they have a positive or negative ending? While your readers don’t need to necessarily know this minor character’s ending, it’s important for you as an author to develop some semblance of a conclusion for their role in your book.

Establishing an ending for your plot device characters also helps you avoid plot holes in the long run. For example, if your protagonist and love interest end up married by the end of the novel then the sister wouldn’t realistically be able to make it if she recently got a high-paying job at a company outside the city.

I hope this blog on how to write a plot device character will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.

Looking For More Writing Tips And Tricks?

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and marketing tools for authors every Monday and Thursday.

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unalloyed-thoughts · 2 months

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Miquella and Saint Trina: Talking about sleep and duality in Elden Ring.

The lands between is filled with quaint and unique characters, from the giant skeletons to the wraith calling revenants, Many of these characters have little lore to go off of which makes them very compelling to players who can only wonder what their stories are. Out of all of this characters, St. Trina stands out to me, for being a character thats tied to one of the big names in the setting yet so little is known about them. In this post i hope to touch on what i think of this character and the themes that surrounds them.

St. Trina is probably the most enigmatic and intriguing part of Miquella's story line, Described as a misteryous figure that appears in people's dreams, little to nothing is known about them in the current version of the game. Indeed, Trina harbors quite a lot of cut content which we will tackle later. But anyway if one thing is clear about their character is the following: Miquella is St. Trina. The game doesnt explicitly tell you but it drops little hints to help you reach that conclusion throughout the game. the first and most obvious is the lilies, Miquella has lilies tied to his name, and so does st trina, both of this lilies look almost completely identical and its no mere coincidence.

Another connection is the fact that Trina lilies are included in the drop pool of cleanrot knights, warriors that served under Malenia, and by extension, Miquella. After all it makes sense, Trina lilies are an item that dulls the senses, helping you sleep, and Scarlet rot is described as giving its victim terrible nightmares. Yet another connection comes in the form of a Fevor cookbook, Fevor was an individual who was completely obsessed with trina, it is said that he sought her out through his dreams. This cookbook is given to you by gideon after locating Mohgwyn palace, the place Miquella is located, but not only that, This cookbook gives you the recipe to craft the bewitching branch, an item made by Miquella.

Finally, Trina's torch is located in snowfield, an area tied to Miquella. Also, the albinauric archers located there drop trina arrows as part of their loot pool.

So with all that said its pretty clear that Trina and Miquella are the same individual, but in what way? Duality and the capacity to represent multiple aspects is a common theme in elden ring, We see many characters that have some form of alter ego or some deep connection to another character. Empyreans in particular, as stated by miyazaki in one of his interviews, Have the capacity to embody multiple aspects, this is seen most vividly in Marika, who shares her body with Radagon.

So there is a precedent for two completely different characters sharing the same body. So its not strange to see that the most common theory regarding Trina and Miquella is that they are different characters that share a body, after all Miquella's parents are Marika and Radagon, people who share this duality, it would only make sense for the son to share that same atribute with his parents when when we know he is also another character, in the form of Trina, that plus the meaning behind Trina's name, meaning "Triple", additionally it can also mean "pure". So Trina could easily fit as a third character existing in the sphere of the cursed empyrean twins, being the female counterpart to Miquella, much like Radagon is the male counterpart to Marika

Yet i also want to open another possibility, one of Miquella being trina in the most literal way, as in, Trina is nothing more than an alter ego that Miquella used while moonlighting through the lands between in peoples dreams. We see many different characters adopt alter ego's to carry out some duty before being revealed to be someone else, the earliest example is how Ranni introduces herself as Renna until we meet her and she reveals that she is in fact the lunar princess Ranni. Another early example is how morgott disguises himself as Margit, assuming the guise of the fell omen to protect leyndell and slay countless heroes during the shattering.

So we can see that all these characters carry on the theme of adopting multiple personalities and alter ego's to achieve a certain objective, of course these two characters carry out a certain naming scheme that Trina doesnt share, Margit is alot closer to Morgott than Trina is to Miquella name-wise. Yet there is a character whose alter ego has a completely different name, this one being Maliketh.

The first time we encounter Maliketh its through his alter ego, Gurranq, the beast clergy man, who seems to command different individuals to hunt out deathroot and deliver it to him so he can consume it. It isnt until the very end of the game that we learn that Gurranq is in fact Maliketh the black blade, Marika's shadowbound beast. So again, we see someone using a different identity to work on achieving a certain objective. So i think that this could be the case with trina, merely being a second identity used by Miquella to seek out something in the world of dreams, be it aiding those in despair or hunting for secrets. Another piece of evidence that may favour Trina being simply an alter ego is St Trina's sword, which says the following:

St. Trina is an enigmatic figure. Some say she is a comely young girl, others are sure he is a boy. The only certainty is that their appearance was as sudden as their disappearance.

I feel like a lot of people gloss over the Sword description, but i think its pretty important, even tho Fevor's cookbook describes Trina as female, the sword throws us a curve ball and explains how there isnt even a consensous on what this mysterious figure's gender is, only that they are a child (Much like we allready know Miquella is an eternal child) and that they dissappeared rather suddenly much like Miquella has also vanished (this could have happened at multiple times: when miquella encased himself in the cocoon, when he got captured by mohg or when he went into the lands of shadow). Their gender being unknown makes sense, Miquella is a young child with long flowing hair, he is naturally androgynous, so when witnessing his figure in your slumber, it would make sense that you wouldnt be able to tell exactly what or who you are looking at. Also the hilt of the sword depicts trina themselves, a figure with long flowing hair and long robes, much like how Miquella is depicted in statues in the game.

Another thing to consider is what i was saying before about the dual nature empyreans posess, one defining feature about them is how they are at odds with the other aspect they represent: -Ranni is at odds with her empyrean flesh and the fate forced upon her -Malenia is at odds with her rot and battles it throughout her life -Marika is at odds with Radagon, who whishes to perpetuate the golden order while Marika whishes to shatter it. Miquella seems to be the exception to the norm as Trina's and his motivations seem to overlap, particularly in cut content, Trina was much more linked to bringing peace and slumber to those afflicted with frenzy (particularly the merchant's, who would tell you in their cut content, which has been documented and can be found on youtube, that the song they play was once sung to them by Trina) and as we know, the only thing that can supress the flame of frenzy if inherited by the player is Miquella's needle.

In general sleep is shown to be Frenzy's opposite yet at the same time they share something in common.

If frenzy is the violent expression of despair and wish to turn that into a destructive force to bring an end to the world so despair no longer exists, sleep is a way of escaping the despair of the world, avoiding it by hiding in the world of dreams, where there is only peace. Of course not everything is sunshine and rainbows in the world of dreams, as sleep is described as addictive and all ecompassing, compared to a quagmire, it traps you, making you wish you never woke up, after all why would you? its safe in the realm of slumber.

I think the fact that Dreambrew, a drink made by Rhico, a cut NPC, using gathered dream mist is an alcoholic beverage is particularly telling of this. Much like real alcohol, its addictive and it makes you feel good, to the point that you begin to rely on it.

Reeling Rhico is also a particularly interesting cut npc, this charismatic fellow presents himself as a priest of Trina, promising to prepare dreambrew for us if we gather dream mist for him using Trina's orb. This draft of Trina's story forcused more on followers of trina indulging in people's secrets through slumber, which fits Miquella's character, who is described as an intellectual sort, seeking out new knowledge at every turn. Rhico has some pretty neat lines, like this one: "Drink is a wonderful teacher. Imbibe and you will understand; this world's delights, and its futility." More of what i was talking about earlier, through drinking dreambrew and engaging in sleep people feel tired of the real world and seek the quietud of slumber. If we progress Rhico's questline it bring us in the end to Miquella's cocoon, where Rhico reveals that he has been in fact looking for Miquella all this time, and drops us his famous monologue:

"Finally, I have found it!

St. Trina's, no, Lord Miquella's cadaver.

I have partaken of untold secrets.

Such that I might aid you, O Lord.

So please, I hope you can welcome your humble servant Rhico,

Into your dream, the world of your heart.

Indeed, I beg you grant my wish

That when you transcend from empyrean to god, allow me a place by your side." What i find interesting here (besides the entire text, gosh i wish Rhico was still in the game) is how he first talks about Trina but then corrects himself and adresses his master as Miquella, thats who he truly served in the end. he has been indulging in secrets all this time, probably how he found out Trina was Miquella. Trina was just that, a simple alter ego, Miquella was just playing an act in the end. Of course ill say this is all cut content, and could be completely different from the finished product. I just thought it was worth mentioning. So anyway thats about it for now, kind of a messy post. These are just my thoughts and they could be proven wrong by the upcoming dlc. We know that there are gonna be new sleep spells and the trailer showed a very clearly trina coded area with new trina lilies and even a boss of its own, so we are getting some definitive answers and im really looking forward to them!

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queeranarchism · 1 year

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The eating insects thing

A far-right anti-vax conspiracy theory that has existed for a few years now has recently increased in popularity and has been breaching containment, especially in vegan circles, so I guess we have to talk about it:

Keep an eye out for scary sounding posts about eating insects.

Some of the claims to expect are this:

Governments are secretly allowing more insects to be put into food. - It is true that more edible insects have been approved for the EU market lately, but this process is not secret at all.

Some people are allergic to Chitine, which is found in shellfish and hard-shelled insects - this is true.

Chitine is also dangerous to people who are not allergic to it and causes cancer - this is not true. It traces back to study that has been taken out-of-context about the impact of concentrated Chitine in cancer identification and treatment.

Eating large amounts of the insects being approved would damage your stomach lining or other intestines because of ‘toxic chitine’. - this is not true. It traces back to an old dietary advice on a Dutch website which only mentioned that insect consumption was safe up to 45 grams at a time. What this meant was: we didn’t find a study that researched higher doses. There are plenty of studies by now and it turns out it’s fine.

Insects are ‘bird food’ and humans did not evolve to digest the insects currently being approved for consumption. - this is not true. There are 1500 insect species that are regularly safely consumed by millions of people around the world. The insects that are currently being approved for the European market have been consumed by humans for as long as we can trace the human diet and many are consumed by our closest primate relatives.

Bill Gates and other insert-conspiracy-name-here billionaires are buying up farm land to deliberately cause food shortages and to force us to eat bugs - this is not true. Land is just a popular investment right now due to other economic pressures.

Governments are pushing for lower meat consumption to force us to eat bugs. - this is not true. Any minimal encouragement of reduced meat consumption by governments is in response to the impact of meat consumption on climate change.

If you buy in to some of these scare stories, the next claim is that forcing people to eat bugs serves some darker government purpose, either simple misery and humiliation (accompanies by the claim that we’ll be forced to eat weeds and drink sewage water), forced population control (the Great Reset bullshit) or preparing us for the rule of reptilian overlords (antisemitism crap).

Now, let me be clear: there are valid reasons why you might want to avoid eating insects. ‘I just don’t want to’ is a good enough reason. Being vegan is an excellent reason. We know very little about the inner lives of insects but observations suggest that they are intelligent and feel pain. We do not currently know what constitutes a high quality of life or a painless death, so we could not ‘humanely’ farm insects even if we wanted to.

However, most of the claims above are misleading, racist and dangerous. They pave the way into far-right anti-vax and antisemitic conspiracy theories. Recognize them and avoid them. If you see your vegan friends share these claims: let them know what they’re doing. Don’t give this shit space.

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schweizercomics · 6 months

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Companions of Christmas, Day 3: Père Fouettard

Père Fouettard was a butcher and cook whose tavern was visited by three children on their way to boarding school. Seeing their nice clothes, wicked Fouettard assumed that they must be rich, and, being children, would be easy to rob. He killed them with his carving knives, chopped them up, and closed up their remains in a pickle barrel, intending to serve them as meat to his unwary customers to get rid of the evidence of his crime, pocketing the money that they had carried and congratulating himself on how efficiently he had performed this dastardly deed.

That night, his tavern had a visitor – Nicholas, Bishop of Myra, who was ever aware of the plight of children in danger. The evil Fouettard did not want the saintly bishop in his establishment, so when Nicholas requested a hearty supper, Fouettard replied that he had no meat.

“What’s in that barrel, then?” asked Nicholas, who clapped his hands, and the three youngsters, miraculously returned to life and wholly intact, leapt from the barrel. Fouettard was brought to his knees in terror by the evidence of Nicholas’s miraculous goodness, and begged Nicholas to show him mercy.

Nick suggested that the most merciful thing he could do would be to give Fouettard the opportunity to right his wrongs through contrition and service, and ever since that day Père Fouettard has been Nick’s cook, working first to feed the hungry of Myra during Nick’s earthly lifetime, and then as the head cook at the North Pole, satisfying the appetites of the Clauses, their companions, the elves, and any visitors who might stop by.

Though reformed in spirit, Père Fouettard is still short-tempered and surly, and kids in France, Belgium, and the French-speaking cantons of Switzerland know to steer clear of him when he accompanies St. Nicholas on his holiday visits.

••••••••••••••••••••••••••••••••

Happy December, friends! Each year around this time I post up drawings of Christmas and other winter holiday figures, along with narratives to explain the practices with which folklorists and holiday buffs might be familiar. When stories exist, I use them; when they don't, I do what I can to piece together what folklore surrounds them to fill in the gaps (or, in some instances, defer to the theories of my friend and fellow narrative reconcilianist Benito Cereno). I hope you enjoy them!

#Père Fouettard #Christmas #Christmas Legends #Christmas Stories #Christmas Traditions #Christmas Art

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bonefall · 3 months

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Clear Sky is a Monster.

Of all the characters in Warrior Cats, I think Clear Sky was the most heavily mishandled.

At every turn, the narrative begs you to sympathize with him, to "understand" the "misunderstood." To this end, his brother Gray Wing is used to "keep faith" in his inherent goodness, his abused son, Thunder, is forced to go back to him over and over, and his second dead wife is completely lobotomized in death to absolve him of all sin.

Because of this, of all this set-up for the "redemption" arc they're trying to tell in the last three books, DOTC is Clear Sky's story. Everything primarily exists to benefit and serve his arc. Thunder and Gray Wing might have POVs, but HE is the character who truly drives the plot. So in order to HAVE conflict for that back half, two evil foreign cats, Slash and One Eye, are summoned to act as contrast.

Their narrative purpose is to display "true evil" to make Clear Sky look less bad in comparison. Unfortunately, Clear Sky is the most malignant, deadly character who has ever blighted Warrior Cats.

The "pure evil" examples they summon aren't effective contrasts because they're flat. Clear Sky is what real abusers look like.

His rhetoric is what it sounds like when a cult leader is trying to keep control over a group. He lies when it benefits him, justifies his actions with his tragic backstory to assuage his guilt and manipulate others, and violently lashes out when his feelings are hurt before blaming his victim for making him angry.

He only made "some mistakes" in that SOME of his actions were accidents-- the vast majority of them were malicious, self-absorbed, intentional choices to punish, hurt, and kill others.

I've spoken about Bumble. I've tallied his body count next to Tigerstar. I've talked about how his infant son's death was his fault in sequel books, and called attention to the infected wound face shoving scene that no one talks about. I can't fit every detail into a single post-- because he's so rancid that I would practically be posting entire books.

So what I want to do here is tackle the heart of Clear Sky. Everything he does, everything he's motivated by, is absolute and utter control over other people. He leverages his "trauma" to evoke empathy from his targets to make them easier to manipulate. He's a dirty liar. He breaks down to physical violence when all other tactics stop working.

He's one of the most severe and realistic abusers I've ever read about outside of very adult literature-- and when I read the reasons why he's attracted to Star Flower, my stomach immediately lurched.

The Killing of Misty

Starvation Rhetoric and the Memory of Fluttering Bird

Aside; a question

Hunger as a punishment; he doesn't care about starvation

Exoneration arc

Predation: Star Flower is a replacement for his son.

I think that index is an evocative content warning. But to say it again; this post contains child and domestic abuse, physical assault, public humiliation, incestuous grooming implications, and a lot of murder.

I need to start with the death of Misty. I see a few people saying that Clear Sky killed her for "being on his land" or trespassing, but this is actually a misstatement that I feel is important to correct.

Misty and her children were on their own land. It was her house. Clear Sky killed her to take it.

This is one of the most important details to remember about Clear Sky, that this is the consistent end point of his obsessive need for power and control. By harassment, by violence, or by death, he will brutalize anyone who does not give him what he wants, or who makes him feel bad, and find some way to justify it.

This territory expansion was for no logical reason. There was plenty of food and plenty of land. Any aggression that's happening on this territory is in response to how he's been stealing land and mauling people.

When it's found out she was fighting to defend her children, Clear Sky's immediate response is to slaughter them too.

Petal doesn't have milk either. It wasn't about the logistics. He wanted to kill the kids, because looking at them made him feel bad, and she just managed to stop him.

Starvation Rhetoric and the Image of Fluttering Bird

It is often said that Clear Sky is doing this because he's "traumatized" from how his little sister, Fluttering Bird, starved to death in the mountains. That the emotion came from wanting to feed people. That's incorrect. It wasn't about food. Fluttering Bird's death, and all the "starvation" he's faced, are used as manipulation tactics to guilt, influence, and control other characters, particularly when he might meet resistance or be held accountable for something.

It was always, ALWAYS, about control.

He does not care about actually helping people; "Starvation Rhetoric" through Fluttering Bird is an image he can invoke to justify the actions that are as bloody and cruel as the one this post starts off with. Either in his own mind, or in the minds of the cats he's manipulating.

He does this to Falling Feather, before slicing her face open in anger when she doesn't buy it. He does it to Rainswept Flower, before he strangles her to death. And he does it in the chapter just before Misty's murder, both to his Clan and then to Thunder,

Clear Sky climbed up in front of an entire crowd and gave a grand speech about hunger and "adjusting" the borders around territory he plans to conquer. When he gets to "forgiveness" he feigns pain to make his point because he is performing. If the sentiment is not a total lie, then at bare minimum, he is intentionally playing this up for the crowd.

He is rallying the Clan to support his violence against the cats whose land he wants to steal, and selling it with his life's hardships.

The audience is clearly well-trained, because several cats recognize the cue, particularly Frost who is praised for loudly comforting him. This signals "loyalty" because showing your sympathy towards his "suffering" is how this type of emotional manipulation works. It creates a persecuted, righteous in-group.

He's also apparently used this tactic before, since this entire crowd knows what "I Would Never Forgive Myself " means.

He's made sycophants out of his followers. Like a cult leader.

His abused son, however, hasn't been fully indoctrinated yet. Seeing Thunder uncomfortable with the idea of expanding the borders for no reason, Clear Sky calls him over for a personal propaganda session.

Clear Sky begins the exchange by calling this a "duty" and a "great honor." Immediately framing what he plans to do as righteous.

He puts on the act when Thunder shows resistance, dramatically pausing to let the guilt trip sink in.

"Thunder waited, realizing that he said the wrong thing."

And then Clear Sky launches into infantilizing Thunder, talking down to him like a child who's too inexperienced to see the "signs of starvation," acting like he's being "patient" in "explaining" it.

And then we get it. "I know what starvation looks like (so stop trusting your own eyes) because I have been through more than you (so shut up and do what I tell you), and I'm being a HERO for what I'm about to do (so opposing me would make you a bad person)."

Thanks to these crocodile tears, looking "moved," the act works. The victim is immediately wracked by guilt because the abuser seems genuinely emotional.

He even lovebombs him over the corpse of Misty in the next chapter, making Thunder feel threatened.

Thunder doesn't have the words to describe what is happening to him, but he knows that this sudden snap to praise isn't natural. That something is very wrong.

A Question.

Before I move on to show that this IS an act, and that he is lying about how important avoiding starvation is to him, I will ask a question. Please think about it, because I promise I mean it genuinely;

Why does it matter if Clear Sky actually believes this or not?

The victims are just as dead either way, yes? Thunder is just as abused and guilt tripped. The entire Clan has been driven towards violence while coddling and cooing at their Supreme Leader. Clear Sky is slowly annexing the entire forest. If you have ever accepted that he had "good intentions" as an excuse for the harm he did, or that abuse and murder was what he imagined was "the right thing," or that his trauma justifies the way he leverages his own pain to make cats do what he wants... why do you think that?

Why does that make it morally better, as the narrative concludes? Would you accept the same for every other WC villain or antagonist? Tigerstar? Slash? Tom the Wifebeater? Brokenstar? Rainflower?

How could you tell the difference, if you couldn't read their actual thoughts on the page? ...are there any other "good intentions" you've accepted, somewhere else?

Don't share that answer with me. It's a question for you. Sit with it.

Hunger as a punishment; he doesn't care about starvation.

...but, regardless, Clear Sky is not deluded about starvation. It's a justification for his obsessive need for control, and always has been. There was no shortage before stealing Misty's land and kits, he is fully aware that there's more prey than they can eat.

He punishes Falling Feather with hunger and harassment for thought crime, by briefly thinking of leaving. But first, he invokes Fluttering Bird at her like he did before, flying into a screeching fit of rage when she doesn't buy it,

"I'm sorry I hurt you... BUT" is THE wifebeater phrase. THE stereotypical line of a domestic abuser. "I'm sorry I hit you... but it's your fault for making me so angry."

She went through the same exact starvation he did, calls out that he's just framing his greed as being for the collective benefit of his subjects, and is assaulted for that.

When we're in his head, we see his REAL concerns are not about hunger. He invoked Fluttering Bird to try and make her shut up and bow down to him; what he's focused on is her "gossiping" and "whining" about the open wound he left on her face. He's still furious at Fircone and Nettle for how Thunder QUESTIONED him. So he will "strengthen their commitment."

When "starvation" DOES enter his thoughts, it is to assuage his own guilt and JUSTIFY what he already did. What he already WANTS to do. It's post-hoc.

He had to suppress his own guilt at how his greed and ambition made these children into orphans, completely unable to admit that he's ever been wrong or has a change to make, so he invokes the starvation rhetoric at himself to excuse it. So he feels less bad.

Everything, EVERYTHING, in this confrontation is about his pleasure at being able to torment his subordinates. To continue the abuse when the initial confrontation is over. If it isn't pride in his power and control over them, it's plain sadism.

He invokes starvation in front of the crowd, again, after being pleasured at the guilt in her eyes, hoping that everyone sees her writhing with shame and embarrassment. Fear wasn't at the root of why he assaulted Falling Feather; rage was, and now he feels better that he got to humiliate the person who offended him.

Starvation Rhetoric is a manipulation tactic.

It goes RIGHT BACK to his twisted idea of "loyalty." Obedience.

A cat who's actually, primarily concerned about starvation wouldn't encourage other cats to steal her food if they feel like it. He wouldn't be using it as a weapon to retaliate against her because she hurt his feelings.

This is paired with the fact he restricts and monitors the diet of his cats. They eat when he allows it, and only what he gives them, in spite of there being piles of dead animals rotting, going to waste.

We then find he personally doles out food from these piles, plucking carcasses off them and flinging them at his cats, one by one. Probably so he can watch how grateful they are to him and make sure they stay a little hungry-- and definitely because it means he can control WHO gets to eat at all.

If Clear Sky chucked a mouse at Falling Feather and someone took it? She would have gone hungry. For not groveling to him. Like when he decides to starve her brother; a hostage who he promised to feed and care for.

He's a dishonest snake. He lied about abandoning baby Thunder, calling it a "test of strength," he lied about Bumble's death, he lied about keeping Jackdaw's Cry fed.

And he lied about starvation to Thunder, because he was just making up an excuse to steal more land.

He wasn't "seeing the signs" of starvation when he moved to "adjust" his borders. Even FURTHER into this so-called "delusional slip" into tyranny, he's freely admitting that it takes months for a person to starve when it benefits his sadistic need to punish undeserving cats.

"Dumb moor cats, always expecting more than they DESERVE."

Not need. DESERVE. It's not a delusion about starvation and it never was. STARVATION is how he CONTROLS SkyClan, and once again he's angry that his pleasure has been sullied.

The massacre at Fourtrees was started over Jackdaw's Cry catching a bat after being starved, on land that Clear Sky has decided RIGHT NOW that he also owns, because it mades him think about being disobeyed.

The bat is forgotten as Clear Sky pivots into a tantrum, wanting to make his family HURT for being 'disloyal' and 'ungrateful.' For leaving him. He LIKES seeing people grovel, cower, and beg, getting PLEASURE from watching how he can hurt and command other cats, and if you don't give him what he wants he will kill you.

Which, make no mistake, is what the "First Battle" actually is. Clear Sky attempting to murder those who don't worship him or swear their undying fealty to him and his twisted dictatorship. Particularly his own son, the most prominent victim of his emotional abuse.

It's not about the bat. It was never even about food or starvation. It's about retaliation for any perceived lack of control.

Once again he breaks out starvation rhetoric to try and manipulate someone, and when Rainswept Flower doesn't buy it just like Falling Feather didn't, he murders her in another fit of entitled rage.

Exoneration arc.

At the end of this battle that was entirely his own fault, we're introduced to the hollowed-out ghost of Storm. She has been flushed of all personality, so that she can be the perfect narrative mouthpiece.

She accepts yet another Fluttering Bird Invocation in spite of how we saw it's not sincere. He was lying the entire time and using starvation rhetoric as a manipulation tactic to get control over his victims.

And that's it.

That's the consequence. Storm's a little mad at him until he says "Buttering Flird" and she swoons.

He doesn't have to be ""afraid"" anymore because the cats just invented an afterlife to believe in. He keeps all of his power and influence and gets off scot-free, because "guilt" (which we SAW him repressing anyway) is supposed to be the best consequence for murder, abuse, and tyranny.

The husk of Storm even materializes again at the end of book 5 to say it outright; he "never drove anyone away." Not even after Book 4 where it's also his fault One Eye took over his Clan for 5 minutes. It was just destiny.

His "redemption arc" is just an exoneration arc. The narrative doesn't think he really did anything wrong.

EVERYTHING about Clear Sky has ALWAYS been about making grabs at power, but since the narrative didn't see a problem with him extorting his personal tragedy and the death of a child, his own sister, he continues doing it. As if these behaviors are normal personality 'traits'.

Even when that sister COMES OUT OF HEAVEN TO YELL AT HIM DIRECTLY,

He finds a way to COMPLETELY miss the point, so he can interpret her words in a bizarrely specific way that will conveniently end with him being the supreme dictator of the entire forest. Just like he ALWAYS does.

It's the entire 5th book. Clear Sky trying to convince everyone, including himself, that it's Fluttering Bird who wants him to grab at power, NOT himself and his own ambition, that THIS time, he promises, for realsies, it's actually about keeping everyone safe.

But just like ALWAYS, because he does not change, when this tried and true tactic manages to work on Thunder, during ANOTHER exchange where he's dramatically pausing and using the cold shoulder to make his pitiable act land harder,

He lapses right back into bullying his child, creating situations where Thunder will have difficulty or be put in pain, so that he can have an excuse to mock and belittle him.

And this all comes to a head when Clear Sky takes romantic interest in Star Flower, his abused son's previous romantic interest.

Predation: Star Flower is a replacement for his son.

Direct parallels are drawn between Thunder and Star Flower. Star Flower contrasts her loyalty to her father to Thunder's "disloyalty" to his own, in an appeal to Clear Sky.

Clear Sky brushes it off for now, citing that he cannot accept her because of who her father was.

But then, Thunder makes the connection between himself and her, because he knows what it is like to be a victim of parental abuse and correctly clocks that they have this in common,

On his vouch, Clear Sky accepts her into the group. She starts trying to offer himself to him; hunting twice as hard as the others, self-imposing harsh conditions like taking a wet sleeping spot. In their second interaction, Clear Sky begins to take interest in her.

Thunder himself points out that Star Flower is seeking an abusive tyrant to replace her own father, which reads like he's deflecting the stress of how his father is abusing him to deny a connection he already made. As if Thunder sees so much of himself in Star Flower that it makes him (rightly) feel sick that his father is romantically invested in her;

Thunder then goes on to follow his own advice and form his own Clan, because Clear Sky IS like One Eye... while Star Flower remains here. At Clear Sky's side. Because she feels like this is what she "deserves," that she "understands" him, truly believing that her crime (warning her father that Clear Sky brought an ambush in case he lost the 1 on 1 death match he requested, which he did) are on the same level as his abuse and murders.

Clear Sky is attracted to Star Flower because, in his own words;

She is young.

She will not betray him.

She won't question him,

and she obeys him.

We've seen what "betrayal" is to Clear Sky-- not taking his excuses or his beatings. To "disobey" is betrayal. To "question" is disobedience.

These are ALL things he's tried to drill into Thunder. We saw him happily exploit their difference in age to tell him he can't have an opinion. He constructed humiliating games in retaliation for ever being questioned. He tried to murder Thunder and his friends for their "betrayal." Even now, being disobeyed causes explosive reactions.

He was previously grooming the things he now identifies as attractive in a young woman into his child.

If your body becomes too useless to serve him, like Frost and Jagged Peak, you're thrown out. If you don't unquestioningly follow his bloody commands, like Falling Feather or Thunder, you're subjected to abuse and public humiliation. If you're in his way, like Misty or Rainswept Flower were, you die.

If you meet all of his expectations...

You will be in a horrific position where you will never have agency over your own life ever again. Every move, every word, will have to be carefully crafted so that he feels like you're "loyal" to him by the arbitrary standard he feels that day. Never step out of line, never doubt his decisions, never live for anyone except him and the children you will give him, not even for a moment, because then you will not be "worthy" of his grace.

Star Flower would be in serious danger if this series wasn't written by abuse apologists. They accidentally wrote a perfect reflection of how child abuse victims often find themselves in unsafe and toxic romantic relationships with large age gaps which mirror what they went through as kids; but this team doesn't clock it, playing this relationship as wholesome and genuine.

He finally has someone who ""understands"" him. Because they think the character they wrote is misunderstood.

but reality is plain to see.

Clear Sky is a monster. The most realistic monster in all of WC-- far, far closer to real life predators and domestic abusers than the "born evil" rogues like Slash and One Eye. The Erins seem to believe that what separates Clear Sky from One Eye is "fundamental" good and "fundamental" evil, when the truth is that they'd be separated by very, very little.

If they had realistic motivations, they would be exactly like the character their existence is meant to excuse.

Slash and One Eye HAD to be kept flat and one-dimensional. If the book was more earnest, the only difference between Clear Sky and One Eye would have been that One Eye is stronger. So strong that Clear Sky needed to manipulate the other groups into helping him.

While anyone can change, not everyone will, and Clear Sky has no reason to. He sees no consequences. He has everything he wants; power, a pretty and obedient young mate, and unchecked authority over a brainwashed forest cult. There is always a victim on a leash, a naive enabler, or a bunch of desperate and gullible marks somewhere in his proximity to bully into doing his dirtywork

Whether his "intentions" were sincere or not (evidence points towards not) at its root it was always about control. Power is something he perpetually keeps, and continues to violently use.

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jozor-johai · 6 months

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Revisiting the Rat Cook, Part 1: The Best Pie, and Lord Lamprey

This is the first part of a series I've been sitting on for a while, where I'm going to examine the symbols and themes present in the "Rat Cook" story, as relayed by Bran in ASOS Bran IV, and search reappearances of those elements throughout the rest of ASOIAF.

This series is predicated on the understanding that these books are rich with intentional symbolism, metaphor, and allegory, and that the repetition of these symbols and themes adds to their meaning.

In general, the symbols that are present in ASOIAF are limited by their ability to be inserted into the plot of the story (i.e. if the symbol of a stag killing a direwolf is important, there must be a way in which the characters are able to encounter such a scene within the plot's context). However, the metadiegetic legends that exist in-world for the characters of ASOIAF are not beholden to the same restrictions, and because GRRM is able to invent these myths in their entirety without restrictions on any of the individual symbolic elements, we can trust that each separate element of these in-world myths was placed intentionally.

With that in mind, I believe we can use stories like that of the Rat Cook as a sort of "road map" when looking at the reappearance of these same symbols and themes elsewhere in the story; I believe the "Rat Cook" story is the most distilled example of these elements. I don't mean to say that every instance of "rats" references the Rat Cook directly, but that the Rat Cook story provides a place where Martin is able to use these symbols in their most abstract form and describe their relationship to each other, so that when we see them appear again elsewhere in ASOIAF we might better understand what we are being shown.

So, among other things, the Rat Cook story is about a rat which eats rats, or a cook who serves kings; The Rat Cook story is about fathers and sons, about cannibalism, about trust, about vengeance, and about damning one's legacy.

This is likely going to be a 9-part series, but ideally almost all of these parts will be able to stand on their own. Each post will inform the next as I build my analysis, but hopefully each individual post is also interesting in its own right.

RtRC Part 1: "The Best Pie You Have Ever Tasted" and "Lord Lamprey"

This opening part, for better or worse, is going to retread some well-discussed ground: the clear parallels between the "Rat Cook" story and the incident in which Lord Manderly serves certain overlarge pies in ADWD The Prince of Winterfell, a scene lovingly dubbed "Frey Pie". However, as well-established as this comparison is, I want to begin here so I can begin to introduce how a closer analysis of the Rat Cook themes are present in this uncontroversially parallel scene, and how they might add more depth to interpreting that moment.

Not only does the scene evoke the same imagery, serving pie to the Lords amidst conspicuously missing sons, but the connection becomes even more direct when Wyman Manderly looks directly to the camera and says, “Hey reader, if you’re wondering where those Freys are, think back to any scary stories you know about pie”.

Okay, he doesn’t actually say that, but it’s close enough, and as much of a nudge we’re like to get from Martin (and which still went over my head on my first read through). Instead he does the next best thing, cueing Abel to sing while staggering past our POV:

"We should have a song about the Rat Cook," he was muttering, as he staggered past Theon, leaning on his knights. "Singer, give us a song about the Rat Cook."

Manderly seems to acknowledge the similarities himself, and most have noticed as well.

However, making the comparison between the story of the Rat Cook and Manderly’s actions is particularly interesting in their differences.

There are many ways in which Manderly’s pies, as a mirror, are appropriately an inversion of certain elements in the Rat Cook myth.

Returning to the scene as we see it in ADWD The Prince of Winterfell:

“Ramsay hacked off slices with his falchion and Wyman Manderly himself served, presenting the first steaming portions to Roose Bolton and his fat Frey wife, the next to Ser Hosteen and Ser Aenys, the sons of Walder Frey. "The best pie you have ever tasted, my lords," the fat lord declared. "Wash it down with Arbor gold and savor every bite. I know I shall." “True to his word, Manderly devoured six portions, two from each of the three pies, smacking his lips and slapping his belly and stuffing himself until the front of his tunic was half-brown with gravy stains and his beard was flecked with crumbs of crust.”

Manderly takes on only some of the roles of the Rat Cook here. Despite his status as lord, he plays the role of the humble cook, personally serving Roose Bolton, Walda Bolton (née Frey), Hosteen Frey, and Aenys Frey, all standing in for the “Andal King”. In this way, the role of “Andal King” as someone who has official power and the role of “Rat Cook” as effectively powerless dissident are played out straightforwardly. Bolton and his allies are backed by their army and the authority of the crown while Manderly has no official backing of his own.

Wyman even physically resembles the Rat Cook; Wyman’s blue eyes indicate he is presumably pale, and Wyman is prodigiously large, to mimic the descriptor of “white, and almost as huge as a sow”.

However, like the “Andal King” himself, who had a “second slice” of his own son, it is Wyman Manderly, and not Bolton nor the Freys, who devours two portions from each of the pies. In this way, the roles have elements which are interchangeable.

Wyman is acting out both roles, which is especially interesting because in this comparison is a single most definitive contrast: The Rat Cook, most notably, is not punished for serving the pie, as "a man has a right to vengeance". Instead, he is punished for violating guest right.

Now, Wyman—who lost his son to the Freys at the Red Wedding—certainly has a “right to vengeance”, but betraying guest right is something which Wyman Manderly takes great pains not to do. Manderly conspicuously notes that he gave the three dead Freys guest gifts upon their parting, marking them as no longer guests under his roof, and subsequently, theoretically, freeing him to kill them. Manderly introduces the idea while Davos marks the distinction for the reader’s sake in ADWD Davos IV:

“The Freys came here by sea. They have no horses with them, so I shall present each of them with a palfrey as a guest gift. Do hosts still give guest gifts in the south?" "Some do, my lord. On the day their guest departs.”

The Freys, on the other hand, as executors of the Red Wedding, are the most notable violators of guest right, while the Boltons contributed their part as well; both are being punished for that sin by Manderly-the-Rat-Cook here, marking the inversion of the story. In this iteration, the party serving the pie seems to warrant no judgment; instead, the pie itself is the judgment, served as retribution. With that connection in mind, it's worth remembering the other importance of the Rat Cook story, based on its placement in ASOS and which I think has often been overshadowed by Manderly’s “Frey Pies” incident.

In the Rat Cook story, after the Rat Cook's punishment, he spends an immortal future forever eating his own descendants, a scenario in which Bran describes the rats of the Nightfort as “children running from their father”. That eternal, kin- and legacy- devouring doom does not just come secondary to the punishment, it is a part of the punishment following the violation of guest right, and introduces the notion of an entire family being cursed for that violation... and, for good measure, is brought up in ASOS Bran IV, chapter that occurs only a few chapters after the Red Wedding itself.

In one respect, this is just another reinforcement for the reader of the sanctity of guest right and of the laws of the old gods. Coming so soon after the Red Wedding, the Rat Cook story hints at the fall of House Frey. Walder Frey, most culpable violator of guest right, has apparently doomed the rest of his dynasty to death, punished for his actions, the way that the Rat Cook, too, is a patriarch who creates not only his own ruin but also the ruin of his progeny. Although Walder himself is not literally tying the nooses, it is Walder who has metaphorically become the father "devouring his children" indirectly through his ruthlessness. Wyman Manderly, then, is merely an agent of that doom.

On the subject of the Freys being cursed by violating guest right, only one of the named consumers of the pie, Aenys Frey, is truly mirroring the Rat Cook legend by literally eating his own son, Rhaegar Frey. Both Aenys and Hosteen Frey, on the other hand, are specifically called out in the scene as being the “sons of Walder Frey”. It’s appropriate within the mirrored Rat Cook motif to invoke Walder’s name as patriarch as well as the promise of other “sons” that might succumb to their father’s insatiable appetite for status; this sentence invokes the dynasty of the Frey household. Indeed, Walder Frey himself also has shared motifs with the Rat Cook: like the immortal Rat Cook, Walder Frey has nearly innumerable children and grandchildren, and he too seems to refuse to die.

If a named heir in Westeros is like the ASOIAF version of Chekov’s gun, then the Late Walder Frey is sitting on Chekov’s arsenal; once he becomes the late Late Lord Frey, it’s going to explode. If that happens in an upcoming book, then the Rat Cook story might be setting up the idea of how an eventual succession crisis of House Frey might further this metaphorical connection, with this doomed family turning on itself, each running from the shadow of their father’s legacy like the Rat Cook's children run from him in the Nightfort.

Lord Lamprey

Now, to push through a little more symbolic linking between the Frey Pie scene and Lord Manderly:

If we consider the “pie” element as a key part of the Rat Cook story, then seeing a “pie” specifically in the hands of Wyman Manderly prompts a connection with a noted favorite of Manderly’s: lamprey pie. As early as ACOK Bran II, we learn that:

“His own people mock him as Lord Lamprey”,

Interestingly, we see in that same chapter a telling metaphor considering Manderly and lampreys not in a pie:

“Lord Wyman attacked a steaming plate of lampreys as if they were an enemy host”.

Considering Wyman’s lampreys-as-enemy association makes for curious contrast later, in ADWD Davos IV, as Manderly is feigning allegiance with the hated Freys. Here, Manderly has just stepped away from the feast in order to secretly treat with Davos, and the food served may contain more meaning than at first appears:

“In the Merman's Court they are eating lamprey pie and venison with roasted chestnuts. Wynafryd is dancing with the Frey she is to marry. The other Freys are raising cups of wine to toast our friendship.”

The reappearance of this noted lamprey pie might take on more significance knowing that some of those eating it become a pie later on. The reminder of the association between Manderly and his lamprey pies seems even more intentional when the “Lord Lamprey” nickname conspicuously returns as Bolton’s men search for the missing Freys in ADWD Reek III:

"You did not find our missing Freys." The way Roose Bolton said it, it was more a statement than a question. "We rode back to where Lord Lamprey claims they parted ways, but the girls could not find a trail."

Invoking his nickname in this scene draws a connecting line between Manderly’s favorite pie, the “enemy host” of lampreys, the missing Freys, and “lamprey pie” being served as a symbol of the fake “friendship” between the Freys and Manderlys.

If that Frey-Manderly friendship is marked by mentions of lamprey pie, and Manderly loves to eat lamprey like he would eat an enemy, and we see in The Prince of Winterfell that Manderly apparently loves to eat his enemies, having two portions of each Frey pie, we might think that the Freys are being paralleled with Manderly’s favorite pie filling: lampreys. If that is the case, then comparing the punished Freys to lampreys is a scathingly fitting image, and I mean that literally.

Considering that carnivorous lampreys latch onto fishes to slowly eat the fish’s blood and flesh while the fish still swims, then looking at an image like this makes for some serious symbolic resonance if you consider the Tullys as fish (as they often are described) and the pie-filling Freys as pie-filling lampreys. It certainly provides a strong visual metaphor for the Frey’s “late” and half-hearted vassalage to Hoster Tully, how they dealt with Catelyn, and how they are now parasitically using Edmure—he sits in Riverrun at the end of ADWD, but with Freys latched onto him, bleeding him like they did his family.

This series is otherwise about pies and rats, not lampreys, but I will mention a few other interesting associations with lampreys that are worth looking into. The Stokeworths, when they are desperately trying to secure a match for Lollys, serve each of their prospective suitors lamprey pie, perhaps a signaling of the Stokeworth’s parasitic place at court, or the attitude towards their search for their daughter’s match. Note that in that context, Littlefinger remarks that he loves lamprey pie, perhaps fittingly for someone who has risen high by making use of his parasitic attachments to those more powerful. By contrast, when our intrepid advocate for truth and justice—Davos—is jailed after his return from the Battle of the Blackwater, he is served lamprey pie in the dungeons, but finds it “too rich” to eat. We have already seen that Davos has no stomach for the blind flattery that some of Stannis’ other lords have, and this scene describes that same character trait. I believe there are even further associations that are worth investigating, but for the sake of this essay, we must move on and end here for now.

In the next part, I'll focus on how it's relevant that the Rat Cook's pie and Manderly's pie were both allegedly "pork" pies, and where that reappears as well.

#asoiaf #a song of ice and fire #rat cook #asoiaf theories #literature analysis #wyman manderly #walder frey #RtRC

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heliza24 · 3 months

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I'm kind of confused about how you feel about Lydia, I didn't think there was anything negative about the portrayal. You say she was just there for a lore dump but the way I see it, she was talking about her own life, an adventure she'd been on before. I didn't see it as dismissing her as a character

The short answer is that there isn’t anything hugely wrong with that scene. But because it’s the only real scene we’ve gotten with her so far, and because she is the most developed physically disabled character in all of D20, it is not enough.

To expand on that: Sure, she was telling the Bad Kids about her life and her previous adventures. But let’s think about why she was doing that in that moment. She was there because the Bad Kids needed to know more about her embedded crystal/metaphorical chronic illness in order to solve their own personal mysteries. She is a (very) supporting character in their narrative. We don’t get to see her go on a character arc, or change, or learn more about her desires as a character. Her disability story, which is very interesting, is in the show only because it serves the story needs of the nondisabled PCs.

Now of course all stories need supporting characters/npcs, and I am happy some of them are disabled. The problem arises when there has never been a physically disabled PC in Dimension 20. So the only disability narrative we see is in service of nondisabled characters. The problem is not Lydia; the problem is that she is alone.

You might recognize this problem with other media and other marginalized groups. To use a kind of simple example, I spent a lot of my childhood frustrated that the only women seemingly allowed in fantasy or action movies were the romantic interests of male protagonists. These love interests existed to serve the story of their male counterpart (often by dying dramatically and sending the male protagonist on some kind of revenge quest). There are still plenty of movies and shows that follow these tropes, but it bothers me way less now in 2024 because we also have a ton of tv and movies with complex female protagonists. The abundance of representation is what has changed.

I think this problem is extra clear on Dimension 20 because they have gotten SO many chances to center a disabled narrative and have not. They get up to six protagonists every season, which is way more than most tv or movies get.

Compared to a lot of other pieces of media that try to add in disabled characters, Dimension 20 is doing a good job with Lydia. They haven’t hired a nondisabled actor to play her (super common in tv and movies unfortunately) and they’ve clearly worked with consultants on her. I really like, for instance, that her persistence with the crystal prevents her being magically cured, which is one of my least favorite tropes. However, there is a huge trend in Hollywood of hiring disabled consultants when they want to tell a disabled story but never actually hiring a disabled writer for a full time, credited writing gig in a writers room. The players on D20 are the writing room. Why has a disabled person never been invited there?

Imagine, for a second, that we got a Fantasy High prequel season. All the adults we know in Fantasy High are teens, and they’re PCs. Imagine a really talented performer, who uses a wheelchair, playing Lydia. Imagine the emotional scenes we would see! Imagine the insight into her psyche we would get, the way her relationship to the Crystal would be developed. That’s what the scene with Lydia in Junior Year made me long for.

(I do have some frustration about the way Kristen reacted to Lydia, and the way that fandom reacted to Kristen. I did find Kristen offering empathy to Lydia in the form of the help action sweet, but being nice to a disabled person doesn’t deserve outsized praise, because we are not objects of pity. I also think the way that Kristen touched Lydia’s neck without permission is reminiscent of the way many wheelchair users are touched and pushed without permission, which is very violating. I don’t think Kristen would have had that same reaction to Sandra Lynn, for instance. Kristen is really Going Through It right now, so I’m not particularly mad at her for doing that. But it is irritating to see fandom singing the praises of the help action without acknowledging the touching without consent that followed).

Thank you for the question! I appreciate the opportunity to have a dialogue about this.

#dimension 20 #d20 #my meta #my crip media reviews #fantasy high junior year #fantasy high #d20 fhjy #ask box #dropout tv #dropout

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inquisitor-apologist · 3 months

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hi I would personally LOVE to read thousands of essays on your thoughts about the inquisitors, so if you feel comfy posting them just know they will be received with gratitude :)

Alright, I’ve got a 4-hour car ride, so nothing but time.

The first thing that I’d say is absolutely essential to my understanding of/obsession with the Inquisitorius is that they’re expendable. Both in-text and out-of-text, they’re disposable and that is absolutely essential to their whole existence.

On the Doylist level, the Rebels team created them/reincorporated them to canon to be the replaceable early series antagonists. They're there to build the characters up to face the real threats of Maul’s temptation to the dark and Thrawn’s existential threat to the Rebel cause. The rest of the Star Wars media that shows them only reinforces this.

In Kenobi, they're there in the background, to set up Reva (who is, in the show, functionally not an Inquisitor) and Vader, in J:FO they're scary bad guys meant to be defeated and killed for Cal's growth (though, notably, J:FO is one of the only pieces of Inquisitor media that views them as victims worthy of empathy), and, while I haven't read (all of) the Vader comics, they're in the Vader comics, not in their own stories.

On the Watsonian level, they’re a sort of… buffer between the true power of the Sith and the public. They’re the one attacking the regular Force-sensitives and taking babies (someone much more qualified than me could probably talk a LOT about the very interesting ways the Jedi, Empire, and Inquisition (like, come on) parallel and draw from Judaism and historical antisemitism) and they’re the ones the Rebellion direct their anger about the Jedi Purge at. It’s easy for the two masterminds and main perpetrators to hide behind the atrocities of a dozen faceless subordinates.

This is really clearly shown in Kenobi, where the Inquisitors are dismissed as “Jedi who turned to the dark side. Now, they hunt their own kind”. They’re not seen as victims who’ve been forced into self-destructive monsters, but as the perpetrators of their own genocide, personas that they readily claim. I mean, Reva is literally a survivor of the Temple Massacre who was turned into one of the Inquisitors that Obi-Wan dismisses as traitors. They’re very convenient, effective, scapegoats.

That’s honestly a very underrated part of Palpatine’s genius; one of his most important traits is his ability to manipulate the media. By creating the Inquisitors and delegating most of the work of completing the Purge to them, he distances both himself and Vader from any public outcry against the actions of the Inquisitorius (and, to some extent, their own actions), allowing Vader to be seen as a more legitimate military officer and extension of the Emperor’s will, which is itself legitimized by that distance.

The lines between the Emperor, Vader, and the Inquisitors are also very important. There's a very clear distinction between the Sith and the Inquisitors in of autonomy, which is the second thing that defines my view of the Inquisitors. The Inquisitors are largely pawns for Palpatine’s ends, manipulated and indoctrinated kids, and as such there’s kind of a spectrum of the Empire’s Force-sensitive hierarchy between Sidious, Vader, and the Inquisitors.

Sidious is the first extreme, where he chose everything; he Fell on purpose, became a Sith on purpose, consolidated power and killed the Jedi on purpose, became Emperor on purpose. And then there’s Vader, who very much chose to Fall, kill the Jedi, and become a Sith, but he was manipulated and pushed to it by Sidious. He chose, but Sidious kind of underlies all those choices, driving him to them. Lastly, the Inquisitors chose nothing; they were hunted and persecuted by Vader and the Sith, then tortured and indoctrinated to serve Sidious, brainwashed into continuing to serve. It’s really a gradient of autonomy, if you think about it; Sidious is the only Dark Sider afforded full choice, both by the narrative and in-universe.

The Inquisitors are, fundamentally, kids ripped from their family and people, tortured and indoctrinated into self-loathing and anger. They don’t get names; they’re told they were born wrong and tortured until they believe it, then pressed into service, because, while they might have been born wrong, they were also born useful.

This is why I kind of hate the idea of Inquisitors who choose to join, and one of the reasons I’m not particularly inclined to read the new Inquisitor book (also it apparently implies that the tortured inquisitors were actually just. Force-brainwashed??). One of the most interesting and most fundamental things about them is that they are victims of horrific genocide coerced into becoming their own oppressors. If you take that away, you make them so much less interesting—they turn into stock evil traitors.

The protagonist of the new Inquisitor book is, from what I’ve gathered, a jerk who was already half-fallen in the Clone Wars and who seized the chance to gain more power with the Empire. That’s just diet Vader, and I, personally, have seen too much of both real Vader and diet vaders, so I’m not interested.

So, uh, @stellanslashgeode, you asked me for my thoughts on Iskat Akaris, here they are. Sorry it’s probably not what you wanted.

So, like, there’s my opinion on the fandom-and-canon obsession with Inquisitors who chose the Empire. We literally haven’t seen pretty much anything about how the normal inquisitors join, can we focus on the actually interesting stuff? The Inquisitors' lack of autonomy, their lack of choice, is a huge part of what fascinates me so much about them, because it's very unique. Let's not take that away.

Another piece of why I think the Inquisitors are so interesting is how their abuse at the hands of the Empire shapes them, though this part has more speculation than the stuff above due to lack of clear information.

In canon, we know that inquisitors go through fucking hellish initiation criteria (“Isolation! Torture! Mutilation!”), stuff that absolutely breaks them until they no longer believe that the Empire can be stopped at all (“You can’t stop the Empire!” “She said something about becoming an Inquisitor… like it’s inevitable”). We also know that, however it happens, it's very fast and effective. The Vader Comics are set just months after Order 66, and there's already at least ten fully initiated Inquisitors.

Unfortunately, we never directly see the exact initiation protocols the Inquisitors are subject to, but we do get quick glimpses, like in the flashbacks from J:FO, and with Reva in Kenobi. Right now, I want to look at what those flashbacks from J:FO, together with the dialogue above, tells us about what exactly happens to Inquisitors.

In the flashback, we see Trilla, strapped to the torture chair that Cere's in later in the flashback, being subjected to Star Wars' favorite kind of torture, weird electricity chairs. I'm going to call them shockseats, just to distinguish them from real-life electric chairs. We transition from the torture to some time later, when Second Sister has been fully turned, wearing the Inquisitor uniform and everything.

That, annoyingly enough, is all we get to work with. It's basically the "Being tortured makes you evil" trope, but Ninth Sister's dialogue gives it some nuance. She says "Isolation! Torture! Mutilation!", and, well, we just saw the torture part, and I'm guessing the mutilation is the whole thing in the comics where Vader teaches the Inquisitors by cutting their limbs off, so that leaves isolation, which I think is probably a very significant part of the process.

Based on the vault vision and the Fortress Inquisitorius section in J:FO, most of the Fortress's prison has a kind-of panopticon feel, with see-through energy shields, guards everywhere, and several prisoners in one cell, so I'm guessing there are probably some deeper isolation cells. The isolation is probably where most of the indoctrination happens, because we never hear anyone saying anything during the torture scenes.

This is mostly headcanon from the scraps we get, but I'd say initiation probably goes something like this: 1. a survivor is captured 2. They're taken to Nur, and tortured on the way there (per Rebels) 3 The timeline here is annoyingly unclear but I think the ‘isolation’/indoctrination comes before the rest? 4. They're tortured in an attempt to get them to turn to the Dark Side 5. They're somehow fully initiated into the Inquisitorius with their full title and uniform 6. They're trained ('mutilation') 7. They're a full Inquisitor

obv I have headcanons (ie a full-on not-really canon-compliant system that I think works better than the disjointed 'being tortured makes you evil' bits we have now, but I'm trying to stay as canon-compliant here as possible) but I think this is about what we get in canon, and it’s kind of necessary to have a vague idea about what probably happens in order to understand them, and dang is this very important to basically their entire self-concepts.

In Kenobi, Third Sister is hated by all the others, probably for not going through what they did. We see throughout the show that she’s just as good, or better, than most of them, but because she wasn’t tortured (or, at least, not to the same extent), the rest despise her. She does the exact same things we've consistently seen all the other Inquisitor's do, but she's punished and derided for it. In J:FO, Second Sister goes out and threatens civilians in order to draw Cal out, and everyone’s fine with it, but when Reva does it, everyone hates her.

There’s no rational reason; she does exactly what they do , what she’s been taught to do, but she’s treated differently. The only reason for this, in-universe, is that she’s the only Inquisitor we know of that wasn’t brought in for being a Jedi—she explicitly hides that she was one. The rest of the Inquisitors clearly do hate each other, but it’s on a different level with her, because they do not see her as one of them. She wasn’t a Jedi, and thus she didn’t go through the same things they did. There seems to be a sort-of trauma-induced bond between the other Inquisitors. They hate each other, but they all see each other as Inquisitors, largely the same as them. They don’t share that with Reva because whatever happened to them didn’t happen to her, to the same extent.

Connecting to my earlier point about Inquisitors who chose to join, I think that that's WAY more interesting than a bunch of jerk coworkers who just decided to be evil.

These people were family in the Jedi, and then their whole family died as they watched and heard and felt it in their brains, and they were chased and hunted and tortured until they broke and brought back together, warped and different and told to call each other siblings—and at this point, aren’t they? They were raised together in the bowels of Nur, subjected to the same horror and misery; they’ve been through everything together, in the worst way possible, constantly competing and fighting and killing for anything they can get. Who else could understand them in any meaningful way?

I'm getting off-topic, but the physical abuse and torture of the Inquisitors seems fundamental to their identity, even if we don't know exactly what it entailed.

So, with the isolation and indoctrination, I think it's fair to say that there's probably quite a lot of mental abuse there. The Dark Side, in itself, is pretty horrible mental health-wise (the Jedi actively use cognitive behavioral therapy just to prevent the possibility of the Dark) and being literally tortured and forced into it must be like. so much worse. Plus, isolation has been shown to be really fucking awful for your brain and the Inquisitor’s utter hopelessness (they literally do not believe that the Empire can be stopped and are really angry at anyone who tries) kind of seems like the whole being unable to believe that things can be better and getting angry at people who try to help part of depression?

Basically I don’t really know enough about mental health to say definitively, but I’m guessing a core part of Inquisitor Initiation is like. Insane mental abuse to get them to crack.

This last bit is less supported, and I know even less about it, so I’m going to keep this real brief, but I think there’s a possibility of some sexual abuse as well? This is a pretty big thing in fanon with the Grand Inquisitor, and then there’s all the creepy pervy stuff with Seventh Sister that she did not learn from the Jedi, but that’s as much as I’ll say for that because I know nothing about this kind of thing.

So, those are really the three things that define the Inquisitors to me: their expendability, lack of autonomy, and how their abuse defines them. I could write more on this, but this post took a fucking month already, so I’ll stick to those points.

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it-happened-one-fic · 24 days

Text

Bias - Cyno

Author Notes: @milanka1604 So this is the high-fantasy adventure fic that goes with the book that has been lovingly recovered in sun-faded fabric. I helped myself out a bit with the writing by listening to “Legendary Lovers” by Katy Perry which most certainly affected how this story came together. I hope you enjoy!

Type: Gender-neutral reader/ 600 followers event request/ fluff/ high fantasy adventure in a book that has been lovingly re-covered in now sun-faded fabric/ isekai/ romance implied

Word count: 1652

I honestly didn’t know how long I’d been out before I’d woken up, staring straight up at a bright blue desert sky and wondering how I’d ended up here when, mere moments ago, I’d been right outside of my bookshop with Cyno.

What made it even worse was the fact that I also had someone else’s memories dancing around in my head.

Initially, after realizing that there was far more amiss than just my location due to the strange, foreign clothes I had woken up wearing and the odd memories, I’d tried to leave the oasis. But I’d been unable to leave the side of the cool, clear water, and had eventually given up. Opting to instead ponder my situation and try to figure out what, exactly, was going on.

And that was how Cyno had found me, as he’d appeared atop a dune and almost immediately looked my way, like he was somehow honed in on my presence.

I stared up at Cyno from where I sat in the golden sand around the oasis, relieved to see him and finding myself fascinated by the strange clothes he wore.

Dark robes that were wrapped around him, making him look like he was some hero out of some high fantasy story as he pulled down the mask that had concealed all of his face but his bright red eyes.

“So this is where you were… I’d wondered if you’d gotten dragged into this book as well.”

I felt myself smile at his words, nodding slightly as I watched him walk over and plop down next to me with an almost surprising degree of nonchalance. But then Cyno was more used to being in the desert than I was.

But his words told me almost everything I needed to know. He’d reached the same conclusion as I. That we were stuck inside of a book.

The book that he’d spoken of was, in fact, something he’d been investigating as the General Mahamatra and was also quite likely the sole reason we were in our current predicament.

From what Cyno had told me when he’d first received his mission, an Akademiya researcher had recently flooded the book market with some less-than-safe novels that quietly dragged the reader into the story.

Before we’d ended here, wherever here was, I’d been giving Cyno a suspicious looking book that had just recently turned up in my store.

After that, all I could remember was a brilliant flash of light and then waking up in the desert. Each of us in different locations.

At this point, it seemed clear that the book I’d been giving him was indeed one of the novels that was pulling people into it. This one, in particular, seemed to deal with some sort of high-fantasy story set in the desert, if the memories I’d been gifted with were anything to go by.

I could only assume the memories were, in actuality, the backstory of whatever character I’d been slotted into when I’d been pulled into this story. Unfortunately, though, my character hardly seemed to be a fun one.

Apparently, my role was that of someone who had mystical powers that allowed them, or rather, me, to cause oases to spring into existence.

Though such an ability ought to have been a hot commodity in a desert setting such as this one, my character’s memories told a very different story.

Afraid of the mystical oasis-giving powers, the locals of my character’s home village had kicked them out and abandoned them in the harsh desert.

After wandering for an extensive period, my character had then run into a group of power-hungry adventurers who wanted to use my character’s powers to create a corrupt government where all would serve them.

So my character had fled before reaching this place and hiding, and, so far as I could tell, that was around when I’d appeared.

I could only assume that, judging from his rather fantastical outfit and notable sword strapped to his back, Cyno was the hero of this story. No doubt a lost prince or some such character that was off on a great journey and had stumbled across both me and this oasis.

I gazed at him carefully, tilting my head in slight amusement as I realized that Cyno actually fit his role amusingly well. Not only did he look the part with his pale hair and red eyes, he could easily handle any action scenes this novel would throw at him.

That didn’t change the fact that neither of us seemed to know what to do in this situation, though, and I could tell just from looking at him that the young man next to me was tense.

But there was no telling what he’d encountered in this world already if this really was some sort of adventure story.

The heroes of such stories always seemed to lead a hard life, and I could only imagine what Cyno might have already dealt with.

I sat back, letting my hands press into the sand beneath me, “So... What’s your character’s backstory?”

At my words, he looked my way immediately. His eyebrows lifting slightly, almost like he could tell that I was trying to ease the tense atmosphere.

But then he twisted, facing me as he straightened slightly, “I am an adventurer who has been traveling the desert….”

He paused, and I waited patiently, watching as he seemingly came to a decision and slipped into his role, causing me to smile as I watched him play up the drama of his story, “Wandering, in search of some meaning to my existence.”

I snorted, shaking my head at exactly how run-of-the-mill and dramatic he made his character sound. But then, with my character’s backstory, I was hardly surprised.

From the sound of it, we were stuck in a particularly tropey adventure story.

I leaned forward, though, finding myself grinning as I knowingly encouraged Cyno’s rather ridiculous antics in favor of agonizing over our situation.

I’d done that enough already.

“And what have you found in your wanderings, oh great adventurer?” I matched his play-acting, but felt my smile spread as I noticed the gleam in his eyes.

His face remained a staunch mask of seriousness though, not unlike how he looked when he told one of his jokes as he gestured out to distant sand dunes, “Ruins taller than any modern city, though they have long been lost to the sands of time while people remain unchanged. They contain echoes of the time of heroes and monsters… Artifacts from the ages of gods.”

He trailed off slightly, his arm dropping as he held my gaze, “But only one oasis within all of these wonders. One oasis… And you.”

I shook my head, smiling all the while, though I was half-impressed with his play-acting, “That almost sounded like a real line from a campy adventure novel… I’m guessing you’ve been doing some late-night reading?”

He nodded, leaning back and tilting his head as he relaxed once more, “The books I bought from you, yeah.”

He paused, shifting and staring at me thoughtfully before he continued, “I’m guessing you are what my character has been searching for?”

I lifted one shoulder in a nonchalant half-shrug, “Well, my character, yes. Though that would make this a romantic, high-fantasy adventure story.”

Cyno nodded slightly, his expression not changing even as amusement rippled through his voice, “The best kind, then.”

I felt myself smile again, not bothering to comment on the fact that I was relieved by his presence or anything else that might break the now relaxed atmosphere, “I guess you really are getting to live out our favorite cover story of being an adventurer here.”

He nodded, “I even have you as a companion this time around.”

I blinked at him slightly, but didn’t respond. Instead silently watching as he stood, straightening fully so that he cast a shadow over me before he held out his hand to me in a silent offer.

I tilted my head though, looking from his tanned hand back up to his face, “How long do you think we’ll be stuck in this book?”

My voice came out surprisingly soft, giving away my slight nervousness with this entire situation, but Cyno only shook his head, “I don’t know. My best guess is that we’ll have to finish this story’s plot and go where this adventure takes us.”

Where this adventure took us…. At least I wouldn’t be alone. I could relax with the knowledge that Cyno would be by my side. A thought that had me wryly wondering if perhaps I was a better fit for the token character in need of assistance than I’d initially thought.

I nodded slightly at his words, quietly reaching up and slipping my hand into his. Letting him pull me to my feet easily.

He watched me silently, his red eyes holding my gaze as the wind blew the sand across the distant dune, and I wanted for him to say something.

At the very least, it was the perfect scene for the hero to say something.

But Cyno wasn’t the true hero of this story, and he turned, half disappointed me even though his hand was still gripping mine in a way that reassured me that no matter what, things would turn out okay, “Let’s go.”

He was allowed one step forward before the wind whipped the sand around us into a glittering shield that seemed to give way to a blinding light that soon consumed everything around us.

I opened my eyes hesitantly before blinking in surprise, registering the familiar surroundings before I spoke up, squeezing Cyno’s hand excitedly, “Cyno! We’re back!”

It took me a moment to register the slight smile that flickered across his face as he nodded at me, “So we are….”

He trailed off, though, his eyes narrowing at something behind me and causing me to turn as he let go of my hand and stepped around me.

But there, lying as innocently as could be on the floor behind me, was the book that had started our entire, short-lived adventure.

“And here is our perpetrator,” Cyno knelt as he spoke, picking up the strange book that had been recovered in sun-faded fabric before he straightened.

I stared at the book in his hands, quietly frowning before I glanced back at him, “Why do you think it let us out? Because we just completed an important scene or….?”

I trailed off as Cyno shook his head, “I don’t know, but I’ll take this book back to the Akademiya to be examined. Maybe then we’ll be able to catch its author.”

He looked back my way, and I managed a smile, “Just don’t open it on your way there. We don’t want you getting literally sucked back into the story.”

He snorted slightly, a soft sound, but nodded nonetheless, “Agreed. I’ll be back later, though. Our little adventure left me wanting more. Though I’m not sure you’ll have any stories with better characters than ours had.”

I blinked at him in surprise before snorting at his words, shaking my head in quiet amusement, “I might not be able to find a better hero, but a better secondary lead should be manageable.”

He tilted his head, his eyes glimmering slightly with unsaid words, before he bobbed his head slightly, “If you say so…. Either way, I’ll see you later.”

I nodded, finding myself waving in a fond farewell and watching him stroll down the busy street and away from me. Struck once more by exactly how well the role of a high-fantasy adventure hero actually suited him.

But then… that was possibly my own bias showing.

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