Time travel is no longer a surprise to them, at least not at this point in their lives.
Their main plan was to find the chaos emeralds and use them to return to their time, in the future, as thousands of years in the future, as they discovered during their adventure, it would be easier if Knuckles were with them, the echidna had a special gift to quickly find the emeralds, unfortunately, or fortunately, only Sonic, Amy and Tails, they were stranded in the past.
On their trip they discovered that Tails' technology was impossible to find the signal of the emeralds, but luck smiled on them because after saving a young goat and hearing what they were looking for, he took them to the fortune teller of his village, an elderly woman who as soon as she saw them knew who they were.
"I was waiting for you"
They expected some prophecy, that the woman would take out some parchment where her imminent arrival was written, instead the woman only answered:
"I saw you in a dream, that's why I sent Jonathan for you"
Jonathan, the young man they rescued turned out to be the apprentice of Siddhartha, the fortune teller, Tails is not someone superstitious so he was not convinced to want to listen to this woman, Sonic, over time, has learned to respect this type of person, although only 30% of them tell the truth, Amy was excited, they sat around a fire in which the woman had a pot with something cooking, They told him how they got there and what they needed to get back.
"And do you know how to use them to come back?" was Siddhartha's question to his story.
"Hum, well no, but I say I've used them before, it shouldn't be difficult," Sonic replied.
"As far as I know, you've only used them to beat powerful rivals, not to control time."
"How do you know what you've used them for?" asked Tails, "He didn't tell you."
"You don't need to"
The silence reigned and the three of them cast puzzled looks at each other, this woman scares them.
"If they want to go back, they must convince the guardian" Siddhartha broke the silence as he threw some leaves into the pot on the fire and with a wooden spoon stirred the contents.
"The guardian?"
The woman just nodded as she continued her work.
"You mean Chaos?" Amy asked doubtfully, the chaos emeralds and the master emerald were guarded by chaos in their time, weren't they?
"Chaos, wow, if you are familiar with emeralds, He, children?"
Siddhartha shook the spoon before leaving it on a nearby table and sitting in front of them, with the pot and fire coming between them.
"I guess then they also know about the master emerald"
"A little"
"Hm" snorted the woman "Chaos although, he was the guardian of the chaos emeralds and the master emerald, he was not the best, Chaos was once a small chao that the ME transformed into the likeness of its creators, the ancients, thinking that being a pure being would not be contaminated by the ...."
"Wait, wait, wait" Sonic interrupted loudly making a T with his hands, "I thought the ancients had only created the chaos emeralds, I didn't know that the ME too" the hedgehog was interrupted seeing a strange gleam in the woman's gaze.
"The chaos emeralds are just an extension of the master emerald, proof so to speak"
The silence reigned again, and the hedgehog returned to his place among his friends, then the woman continued.
"As I said, the ME thought that being a pure being of Chaos heart would not be affected by the energy of chaos, and he was wrong, not only was he contaminated, but he forgot his duty as guardian of the M.E, in favor of defending his own he led a race to its full extension and to his exile "
The echidna´s, still remember those heartbreaking visions that Tikal showed them so long ago.
"You're saying, Chaos doesn't exist anymore, right?" I question Tails.
"That's right"
"Then who is the guardian?"
"Don't do it," answered the old woman, standing up again, taking some plates from a shelf and starting to serve the soup she was preparing.
"After Chaos' attack, the emerald was left alone, so it created its own guardian, a creature cast of chaos energy, born from within the M.E., an eternal guardian and above all, one who would never abandon his duty"
Siddhartha answered the silent question of the travelers while handing each one a plate of soup, to which the boys were grateful. He allowed young people to organize their thoughts, being from the future does not mean that they know the whole history of the world, and, from their looks, he can tell that his words made them doubt what they thought they knew.
"Only" started the little fox, the smartest of the group from what he has seen, "From the story we know, there have only been two guardians, Chaos and... another guardian, but he does not fit with what you say"
"Really?" the old woman asked with a raised eyebrow.
"If, I say, you are saying that this guardian is made of Chaos energy, that would make him someone much more powerful than Chaos, and Chaos is known as the god of destruction in our time, and Knuckles he, he is not a god, he is strong, but"
"Hm, so Knuckles, heh, I must agree that it doesn't sound like a God."
The betrayed looks of the other two indicate that they didn't want her to know the name of the guardian, ho.
"I must assume, they know more than just a little about the M.E to even know the name of the guardian."
"Okay, if we know enough about the M.E., at least enough to know that the guar.. er Knuckles is not an immortal as you say, ma'am, maybe age is confusing you."
He knows it sounded rude, but Sonic hates how this woman talks about the "guardian", a thing whose only duty is to be tied to that magic stone with no possibility of anything else, something Sonic hates about Knuckles' duty and something they have always argued about, has said before and will continue to say, he is his own person.
"Maybe hedgehog," the old woman replied with a mocking tone.
The little hut where they were was silent, none dared to take the mysterious soup, and let their thoughts wander they know nothing about Knuckles, well this woman could be telling the truth, and that hurt them, doesn't Knucks consider them important enough to tell them something so important? Amy wasn't so excited to meet the fortune teller anymore.
"The portal is ready master"
Jonathan's voice rumbled in the place and all eyes were directed to him making the young man nervous.
"Excellent" Siddhartha turned his gaze to the travelers and said "The portal is connected to the island, it will take you to the guardian, it will be up to you to convince him to return them to their time"
Leaving the plates full on the floor they stood up and said thank you, without really being grateful at all, they left the hut and followed Jonathan towards the portal. The old lady took the dishes and frowned.
"hm, nor my effort in cooking them"
While waiting for the portal to take them to the island, Sonic only hoped that whoever received them was not his friend, he does not know how to handle such information, he does not care that his friend is an immortal or that he is a creation of the M.E, but knowing that he does not trust him, in them, hurts him more than he thought possible.
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I need people to understand how S&P (standards and practices) works in television and how much influence they have over what gets to stay IN an episode of a show and how the big time network execs are the ones holding the purse strings and making final decisions on a show's content, not the writers / showrunners / creatives involved.
So many creators have shared S&P notes over the years of the wild and nonsensical things networks wanted them to omit / change / forbid. Most famously on tumblr, I've seen it so many times, is the notes from Gravity Falls. But here's a post compiling a bunch of particularly bad ones from various networks too. Do you see the things they're asking to be changed / cut ?
Now imagine, anything you want to get into your show and actually air has to get through S&P and the network execs. A lot of creators have had to resort to underhanded methods. A lot of creators have had to relegate things to subtext and innuendo and scenes that are "open to interpretation" instead of explicit in meaning. Things have had to be coded and symbolized. And they're relying on their audience to be good readers, good at media literacy, to notice and get it. This stuff isn't the ramblings of conspiracy theorists, it's the true practices creatives have had to use to be able to tell diverse stories for ages. The Hays Code is pretty well known, it exists because of censorship. It was a way to symbolize certain things and get past censors.
Queercoding, in particular, has been used for ages in both visual media and literature do signal to queer audiences that yes, this character is one of us, but no, we can't be explicit about it because TPTB won't allow it. It's a wink-wink, nudge-nudge to those in the know. It's the deliberate use of certain queer imagery / clothing / mannerisms / phrases / references to other queer media / subtle glances and lingering touches. Things that offer plausible deniability and can be explained away or go unnoticed by straight audiences to get past those network censors. But that queer viewers WILL (hopefully) pick up on.
Because, unfortunately, still to this day, a lot of antiquated network execs don't think queer narratives are profitable. They don't think they'll appeal to general audiences, because that's what matters, whatever appeals to most of the audience demographic so they can keep watching and keep making the network more money. The networks don't care about telling good stories! Most of them are old white cishet business men, not creatives. They don't care about character arcs and what will make fans happy. They don't care about storytelling. What they care about is profit and they're basing their ideas of what's profitable on what they believe is the predominate target demographic, usually white cis heterosexual audiences.
So, imagine a show that started airing in the early 2000s. Imagine a show where the two main characters are based on two characters from a famous Beat Generation novel, where one of the characters is queer! based on a real like bisexual man! The creator is aware of this, most definitely. And sure, it's 2005, there's no way they were thinking of making that explicit about Dean in the text because it just wouldn't fly back then to have a main character be queer. But! it's made subtext. And there are nods to that queerness placed in the text. Things that are open to interpretation. Things that are drenched in metaphor (looking at you 1x06 Skin "I know I'm a freak" "maybe this thing was born human but was different...hated. Until he learned to become someone else.") Things that are blink-and-you-miss-it and left to plausible deniability (things like seemingly spending an hour in the men's bathroom, or always reacting a little vulnerable and awkward when you're clocked instead of laughing it off and making a homophobic joke abt it)
And then, years later there's a ship! It's popular and at first the writers aren't really seriously thinking about it but they'll throw the fans a bone here and there. Then, some writers do get on the destiel train and start actively writing scenes for them that are suggestive. And only a fraction of what they write actually makes it into the text. So many lines left on the cutting room floor: i love past you. i forgive you i love you. i lost cas and it damn near broke me. spread cas's ashes alone. of course i wanted you to stay. if cas were here. -- etc. Everything cut was not cut by the writers! Why would a writer write something to then sabotage their own story and cut it? No, these are things that didn't make it past the network. Somewhere a note was made maybe "too gay" or "don't feed the shippers" or simply "no destiel."
So, "no destiel." That's pretty clearly the message we got from the CW for years. "No destiel. Destiel will alienate our general audience. Two of our main characters being queer? And in a relationship? No way." So what can the pro-destiel creatives involved do, if the network is saying no? What can the writers do if most of their explicit destiel (or queer dean) lines / moments are getting cut? Relegate things to subtext. Make jokes that straight people can wave off but queer people can read into. Make costuming and set design choices that the hardcore fans who are already looking will notice while the general audience and the out-of-touch network execs won't blink and eye at (I'm looking at you Jerry and your lamps and disappearing second nightstands and your gay flamingo bar!)
And then, when the audience asks, "is destiel real? is this proof of destiel?" what can the creatives do but deny? Yes, it hurts, to be told "No no I don't know what you're talking about. There's no destiel in supernatural" a la "there is no war in Ba Sing Se" but! if the network said "no destiel!" and you and your creative team have been working to keep putting destiel in the subtext of the narrative in a way that will get past censors, you can't just go "Yes, actually, all that subtext and symbolism you're picking up, yea it's because destiel is actually in the narrative."
But, there's a BIG difference between actively putting queer themes and subtext into the narrative and then saying it's not there (but it is! and the audience sees it!) versus NOT putting any queer content into the text but SAYING it is there to entice queer fans to continue watching. The latter, is textbook queerbaiting. The former? Is not. The former is the tactics so many creatives have had to use for years, decades, centuries, to get past censorship and signal to those in the know that yea, characters like you are here, they exist in this story.
Were the spn writers perfect? No, absolutely not. And I don't think every instance of queer content was a secret signal. Some stuff, depending on the writer, might've been a period-typical gay joke. These writers are flawed. But it's no secret that there were pro-destiel writers in the writing room throughout the years, and that efforts were made to make it explicitly canon (the market research!)
So no, the writers weren't ever perfect or a homogeneous entity. But they definitely were fighting an uphill battle constantly for 15 yrs against S&P and network execs with antiquated ideas of what's profitable / appealing.
Spn even called out the networks before, on the show, using a silly example of complaints abt the lighting of the show and how dark the early seasons were. Brightening the later seasons wasn't a creative choice, but a network choice. And if the networks can complain abt and change something as trivial as the lighting of a show, they definitely are having a hand in influencing the content of the show, especially queer content.
Even in s15, (seasons fifteen!!!) Misha has said he worried Castiel's confession would not air. In 2020!!! And Jensen recorded that scene on his personal phone! Why? Sure, for the memories. But also, I do not doubt for a second that part of it was for insurance, should the scene mysteriously disappear completely. We've seen the finale script. We've seen the omitted omitted omitted scenes. We all saw how they hacked the confession scene to bits. The weird cuts and close-ups. That's not the writers doing. That's likely not even the editors (willingly). That's orders from on high. All of the fuckery we saw in s15 reeks of network interference. Writers are not trying to sabotage their own stories, believe me.
Anyways, TLDR: Networks have a lot more power than many think and they get final say in what makes it to air. And for years creative teams have had to find ways to get past network censorship if they want "banned" or "unapproved" "unprofitable" "unwanted" content to make it into the show. That means relying on techniques like symbolism, subtext, and queercoding, and then shutting up about it. Denying its there, saying it's all "open to interpretation" all while they continue to put that open to interpretation content into the show. And that's not queerbaiting, as frustrating as it might be for queer audiences to be told that what they're seeing isn't there, it's still not queerbaiting. Queerbaiting is a marketing technique to draw in queer fans by baiting them with the promise of queer content and then having no queer content in said media. But if you are picking up on queer themes / subtext / symbolism / coding that is in front of your face IN the text, that's not queerbaiting. It's there, covertly, for you, because someone higher up didn't want it to be there explicitly or at all.
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