#also like on the meta level the ENTIRE thing his character is being used to critique/question is what story elements have been used the irl

[fellhellion]

seeing miguel takes that make u say aloud HE DOES NOT KNOW HE IS A FICTIONAL CHARACTER IN A STORY WHERE THE PLOT IS CONSTRUCTED TO ILLUSTRATE A CERTAIN POINT/MEANING BRO 😭

#why can’t Miguel recognise the importance of trying and failing to save the police captain #BECAUSE HE DOES NOT KNOW HE IS A FICTIONAL CHARACTER HE DOES NOT KNOW ABOUT CHARACTER ARCS #ALL HE SEES ARE REPEATING PATTERNS ACROSS THE MULTIVERSE #HE DOES NOT KNOW HES IN A STORY GUYS COME ON STAY WITH ME HERE 😭 #tunes talks spiderverse #also like on the meta level the ENTIRE thing his character is being used to critique/question is what story elements have been used the irl #writers of spiderman to ‘legitimise’ a spiderman. what do those repeating patterns say about us that women die for Spider-Man’s pain #etc etc what does it say about society irl that miles was seen as such a challenge to the spiderman mythos by virtue of being a black kid #you’re having a character In the STORY look at those repeating patterns and ascribe it as fate BECAUSE WHY WOULD YOU NOT YOU DONT KNOW YOU #ARE FICTIONAL #but what highlighting those patterns asks US the audience to question is why is that suffering necessary for a spiderman story why does it #always have to play out the same #why CANT miles save his father #miguel is only interacting with the concept of canon as a way to understand and conceptualise these pattern events and the damage that can #be done to the dimensions/multiverse when certain parameters are met #he does not KNOW about the meta commentary guys PLEASE 🚬

[asha-mage]

Since it's my birthday my friends got me the amazing gift of 'watching the Wheel of Time show while occasionally stopping to discuss/let me loose my mind' for which I am incredibly grateful. A few random observations from this time through, as I attempted to view it through the lens of the entirely WoT uninitiated (as my friends are)-

The group shots, where the camera passes from one of the Emond's Field 5 to another, do this clever trick where Rand is never actually standing on his own. He's always standing beside or behind someone in one of these shots, so the camera doesn't actually have to cut or pan away from someone else to get to him. This serves the purpose of highlighting him in contrast to his friends, but also to subtlety downplay his presence to the audience, and build up to the Dragon reveal in episode 7 very effectively.

The cinematography in general is so exceedingly rich and delicious- the stark white of the Whitecloak camp contrasted with the bloody reality of their actions. The bright primary colors used to make the Aes Sedai visually pop and feel magical and strange, even as they are dressed (for the most part) practically for their traveling (a complaint I had about the Witcher, aside from everything being brown and grey all the time, is that the mages show up to battles dressed in ballroom dresses instead of you know, clothing that would make sense). The subtle use of lighting and camera angle to create a sense of vast isolation of Shadar Logoth, fear and danger in the Ways, and cramp sweltering heat in the Blight.

Moiraine's opening narration in episode 1 is essentially a summary of the information we get from one of the epigraphs at the ending of the Eye of the World prologue, to whit:

"And the Shadow fell upon the land, and the world was riven, stone from stone. The oceans fled and the mountains where swallowed up. and the nations where scattered to the eight corners of the world. The moon was blood and the sun was as ashes. The seas boiled, and the living envied the dead. All was shattered, and all but memory lost, and one memory above all others, of him who brought the shadow, and the Breaking of the World. And him they named Dragon." - Aleth nin Tearin alta Camora, The Breaking of the World, author unknown, the Fourth Age "The world is broken. Many many years ago men who where born with great power attempted to cage darkness itself. The arrogance. When they failed, the seas boiled, mountains where swallowed up, cities burned, and the women of the Aes Sedai where left to pick up the pieces. These women remembered one thing above all else, the man who brought the Breaking of the World. And him, they. named Dragon." - Moiraine

This makes me suspect their was an earlier version of the script that actually used the epigraph (maybe even both of them). I have mixed on feeling on this, as the epigraphs are one of my favorite artistic choices of Jordan's and really help emphasize the history and depth of his world, but I think filtering it through Moiriane and making it slightly less opaque was a smart choice to convey the information to the audience. I also think this works on a character level as well- here is Moiraine's understanding of this information, shaped by her biases.

Every re-watch also makes me more and more comfortable in my 'the show is a future/past turning of the wheel from the books, the broad events and truths being the same, but seen in one of those endless variations we hear about' interpretation of the series. The heart of the story and characters is the same, and the broad strokes and framework are the same, but it's in the details where things emerge as different. This interpretation has the benefit of fitting really really well with the meta-narrative stuff Jordan always liked to pull, and in freeing I think the show expectations of being a one-to-one recreation.

That said I defiantly felt the cracks in the final two episodes as a result of the Covid shutter and loosing Barney Harris more strongly this time- some of that being that this is my first re watching of season 1 since I've seen season 2. You can practically see the things they wanted/planned to do that had to re-worked because of circumstances beyond their control. Mat's absence in the group argument scene (and the 'I am so tired of you two fighting over her' line that was clearly meant to be Mat's), as well as the lack of bigger/more cohesive battle scene in Tarwin's Gap. You can also tell they hadn't quite figured out how they where going to re-work season 2 yet given that the ending for season 1 had to be changed last minute (for example, their is no reason for Moiraine to just outright admit that she released Lan's bond unless they hadn't yet decided that was where their arc was going yet).

I think the show does an exceedingly good job of structuring it's exposition to the un-intiatited, trying to stagger it so that audience is largely learning new things in pace with the characters. I know people where frustrated that things like the War of Power have yet to come up in earnest even in the Latra and Lews scene, but I think the slow and steady reveal of things matches both the core idea of 'their is always more you don't know', and trying not to overwhelm the audience. My friends had no trouble following what was going and picking up the bigger implications/subtext that underpins a lot of information. 'But why did the Dragon try to cage the Dark One? It doesn't seem like it was that simple.' came up a few times especially.

The detail that what jump-starts Perrin's wolf brother connection is having his wound healed/cleaned by the wolves in that scene from episode 2 is so incredibly clever, and a good twist on the traditional 'werewolf bite' mythology.

I love the deliberate choice to incorporate so many random ruins and remnants of things in the background of shots. Not just the 'dilapidated stone buildings' that the characters camp in, but things like the trio of carved faces that Egwene and Perrin run past while fleeing the Whitecloaks, or the boundary stones Mat and Rand pass on the road, or even just the small carvings and pillars scattered about the cave where they are holding Logain. It all helps to make you feel that ancientness, that brokenness of this world more effectively.

The reoccurring use of the Dragon's Fang to symbolize violence and destruction: the Trollocs using it as a scare tactics, it appearing in the blood in the pool after Nynaeve kills the Trolloc, being burned into Siuan's ruined childhood home....and the way that contrasts with it's use in the finale episode, when we see it whole and unbroken in the seal/yin yang symbol for the first time was really really clever. One of my friends actually gasped out loud and went 'oh' at the first shot of the whole seal when it clicked.

The show does an exceedingly good job of maintaining that core idea of the series that it's about our relationship to violence- violence never being casual or simple or easy, but always raw, hard and bloody and a little bit ugly. EVen subtle things like the way the show depicts Moraine hurling stones at the Trollocs with uncomfortable frankness, trying to literalize what in most fantasy media would be an abstract. Take it from I cast stone 2, to I inflict horrible blunt force trauma on another creature. And of course everything re: Perrin and his ax.

I have more thoughts, but I think I'll save some of them for after we watch season 1, because they relate strongly to stuff from there.

#WoT #Wheel of Time #Wot On PRime #Wheel of Time on Prime #WoT s1 #WoT Meta #Wheel of time Meta #WoT Musing #Rand al'Thor #Moiraine Damodred #Perrin Aybara #Egwene al'Vere

[kradogsrats]

Schrödinger's King in the Bird Box

Time for a return to the single topic that most torments me in this entire franchise canon: is Harrow in the goddamn bird or not?

Except not really. I'm not going to go over the evidence again. I've done it before. Almost everyone has done it before. It has only gotten stronger. At the absolute minimum, an attempt was made to put Harrow in the bird. That's not really disputable. I admit it. It's over.

This is actually the second time that I've struggled with narrative cognitive dissonance regarding a real core factor of this show (like not "what's the deal with Archdragon reproduction," but something that is clearly supposed to be thought about with the intent that it will eventually make sense), and eventually managed to rotate it so hard in my mind that the way I wanted to see it slipped out of my grasp and I saw it the way it's actually intended. Ironically, I think I may have been thinking about the Ocean arcanum at the time.

Anyway, what previously always bothered me about this question was mainly two things:

It would have a devastating impact on Ezran's character development if Harrow reappeared during s1-s3, but the timeskip and arc of s4-s5 made it so it would also be deeply weird for him to reappear before the show ends.

If Harrow is in Pip's body, both Viren and Pip's subsequent behavior, as well as how Pip is treated by the narrative on a meta level, make absolutely no fucking sense.

But... if Viren doesn't know whether the spell was successful or not? If we are meant to not know whether the spell was successful or not, because it's not going to get resolved in the show itself?

If we accept that the earliest point with any chance of the hooks for this plot being set is late s7—because yes, Aaron Ehasz would do an exact beat-for-beat repeat of Zuko and his mom—that both puts Ezran far enough in his growth for it not to be threatened by the "real" king returning, and keeps Harrow out of the loop for long enough that it doesn't really make sense for him to do anything but step down from the throne in favor of Ezran, anyway. As for Viren and Pip's behavior, if the show isn't going to advance that plot much further during its runtime, there's no reason for us to be constantly reminded of it. The setup has been made, and they can just let it stew because it's not actually relevant.

That being said, Viren's behavior actually does make a lot of sense if "is Harrow in the goddamn bird or not" is a question that is also tormenting him. To that end, I'll be doing some digging here on the nature and context of the body-switching spell, Pip/Harrow's behavior post-swap, and what the hell is going on in the Harrow section of Viren's dark magic dream.

The Spell is Made Up (Unlike All Those Real Spells)

First of all, I think there's been some long-term incorrect assumptions made about the body-switching spell. It's not a known spell: this is Claudia and Viren essentially flying by the seat of their pants... but we rarely stop to think about how that contextualizes the rest of the discussion around it.

The initial plan is to find the assassins and ambush them before nightfall. As Soren points out and Viren himself confirms: if they fail, the assassins will be unstoppable under the full moon and Harrow is as good as dead. Claudia decides to put her mind to that problem, so naturally she stops to flirt with Callum in the library and gets the inspiration for the spell from something he says.

(Fun fact: none of that happens in the novelization. Zero amount.)

She brings the idea to Viren, and they develop the spell from there. It's not really clear if Claudia actually knows whether something like that would be possible, but Viren does know that transferring the essence of a person can be done—he's got a nice little coin collection that proves it.

As for the snake, there's no way Viren "acquired" a two-headed soulfang serpent because he has a book somewhere on how to use a rare, malformed specimen of a dangerous Xadian creature to switch people between bodies. He probably thought "that's weird, but could be useful," or maybe whoever sold it to him just had a great sales pitch. A non-trivial amount of success at dark magic is in having access to rarer and more powerful reagents than your competition.

Anyway, what this means is that Viren has absolutely no idea what success looks like for this spell, particularly when using it on subjects of different species. When he describes it to Harrow, he is 110% talking out of his ass. He sounds like he knows exactly what the spell will do and how, and I think a lot of us kind of fell for that. He needs to sound confident, because if he admitted that he doesn't know if it will even work, with a possible failure condition of "snake eats your soul," well... a) Harrow rightfully wouldn't go for it, and b) he'd look incompetent, which is the worst thing ever.

When he goes to Harrow's room, he casts the spell... but did it work? I think that whatever it did, it did it in a way that Viren can't tell whether it worked or not. Maybe both Harrow and Pip passed out. Maybe Viren just didn't want to hang around for the aftermath—in the novelization, when he exits the room and runs into Callum, his eyes are still black from spellcasting.

Activities of Dr. Pip Harrow, Ph.D.

Probably the thing that has always bothered me the most about the entire Harrow-Pip theory is that yes, literally everything in the lead-up and immediate aftermath of the assassination points to that being exactly what happened... and then the narrative lens of the show completely drops the rope. Pip doesn't even appear in the novelization until Viren's pre-coronation scene, which is funny given his looming presence over half the scenes with Harrow in the show.

Pip appears exactly twice after the assassination—once in s1 and once in s2—otherwise he goes completely ignored. He's not in the background of Viren's office, or the throne room, or Harrow's bedroom. No one ever mentions him ever again. Ezran never mentions him again, in the show or in any supplementary materials. You'd think the boy who can talk to animals might have some interest in his dead dad's beloved pet... but who knows, maybe Pip has always been an asshole and Ezran's actually like "thank goodness I never have to speak to that dude again."

Anyway, in all of Pip's appearances, he behaves like... a bird. A trained bird—Harrow can rely on him not just fucking off—but he doesn't demonstrate human-like intelligence the way Bait does. That being said, Bait is essentially a main-cast character (at least as much as, say, Corvus... maybe even Soren) while Pip is a plot device, and even then it takes until well into the first arc for Bait to show the kind of complex reasoning and initiative that separates him from an unusually smart dog. Pip's human is also a stressed-out king, rather than a rambunctious ten-year-old, so he's probably a bit more sedate overall. I would personally bet, given the way the show has progressed with regard to Xadian creatures, that Pip is as intelligent as Bait.

The point of that is: even if Harrow's consciousness is occupying Pip's body, he's not really doing anything with it. He's pissy, sure:

But is that Harrow's pissy-ness or Pip's? Even if Pip is only as intelligent as a trainable bird, that's plenty intelligent enough for both grieving/confusion that their human is gone and holding a grudge against obvious assholes. Viren cages him, but is that because he flipped out and got bite-y? And was it Harrow flipping out, or Pip? Or is he caged just because Viren's of the general attitude that animals belong in cages? Those who fail tests of love... We just don't know.

A lot of us also, to circle back to assumptions about the spell, have tended to think of a body swap between Harrow and Pip resulting in Harrow flailing his arms around wildly and screeching... but again, we know literally nothing about this spell, nor do we actually know anything about Harrow's behavior after Viren leaves his room. Maybe his body sat catatonic on the bed until Runaan came in and shot him. Maybe Pip, being intelligent, was able to maintain the facade—once everyone's in the heat of battle, it would be hard to notice even significant deviations from normal behavior. Even if "Harrow" appeared to fight only halfheartedly, or give up entirely... well, he hasn't been the same since he lost Sarai. Maybe the spell only partially worked, and only half of his soul is inside Pip, with minimal or no influence over the bird body's behavior.

Viren does appear to take some precautions in case Harrow is alive inside Pip. The cage, for one... but he also has nearly all subsequent important conversations outside of his office. Like I said earlier, Pip's cage isn't rendered in the background of any scene, but since he escapes from Viren's office I'm assuming that's where he's been. Even if Pip was just out of frame in every scene in Viren's office post-assassination through end of s2, the only things he's seen are... Viren eating butterflies, and the conversation between Viren and Claudia about the mirror and her side mission to bring the egg back at all costs. He doesn't know about Soren's instructions to murder the boys. He knows about the mirror and Viren's obsession with it (which he could have known before), but he doesn't know about Aaravos. He may know that Viren stole his seal but only if Viren was stupid enough to stamp the letters with it in front of him (which... look, he could be). The only things he's really learned are that a) his sons are alive, and b) Viren lied to him and the egg is alive.

Now, realistically, if we were meant to hang on to the is-Harrow-in-the-bird plot thread because it's going to be significant within the scope of the show... I'd be expecting to see at least one cut to Pip glowering at some point during all these machinations. If it weren't for the mirror and Aaravos, I'd expect Viren to be yelling all his monologuing at Pip, too. But the show does none of that. Instead, the next time we see Pip, we see him peace-ing out of the show for at minimum the next three seasons, and possibly the remaining two, as well. If Harrow's in there... why? Did he go to find Callum and Ezran himself? It's not actually clear that he knows Ezran can understand animals, so it would be reasonable for him to think Viren is his only chance at ever not being a bird again. Maybe he thinks that chance is gone with Viren's arrest and would rather not spend the rest of his life in a cage. Maybe he really isn't in control of the body.

Back to Viren, though: since Pip refuses to demonstrate any behavior that could be taken as distinctly Harrow's, Viren actually has no idea at any point whether Harrow's in there or not. He doesn't know if Harrow lived. He doesn't know if he succeeded or failed. It's a constant reminder that he's almost, but not quite, in control. Almost, but not quite, good enough to achieve what he wants.

It probably drives him absolutely insane.

Did You Think You Were Somehow Getting Out of This Without Me Mentioning Kpp'Ar?

Just kidding, it's finally time to talk about Viren's dream. We've gone two entire seasons and a two-year timeskip without any mention of Harrow or Pip (though those maniacs dropped the fucking snake basket on us as an incidental but obvious prop early in s4), and then suddenly we get punched in the face by Viren's subconscious.

First, though, I do actually need to point something out in the scene with Kpp'Ar. Bear with me, I promise this is relevant.

Viren sealed Kpp'Ar's soul in a coin 12-ish years ago, and the coin has been sitting collecting dust in his secret dungeon for... some amount of that time. Now he opens the door and finds Kpp'Ar standing there, free—and I will note that I don't believe Viren actually knows how to free people from the coins, or whether it can even be done. His reaction is surprise, followed by suspicion and wariness:

When he encounters Harrow—dead—his reaction is horrified shock, which is fair since the last time he entered the room that way there was no surprise body chilling out waiting for him in it:

Then, when Harrow speaks to him, suddenly alive and unharmed, he drops straight into relief:

Some of this is undoubtedly due to the differences between Viren's relationship with Kpp'Ar and his relationship with Harrow. With Kpp'Ar, after that initial moment of confusion, he's absolutely determined to not show a single hint of ignorance or weakness—this is a trick, or a test, and a passing grade in "light verbal sparring with the mentor you're pretty sure you remember betraying" is a thing that is both normal to want and possible to achieve. For Harrow, who he wants so desperately to call him brother, who he walked into this very room ready to die for, before everything went horribly awry—he not only immediately and willingly goes to his knees, he literally prostrates himself.

... I'll give everyone a moment to get all the innuendo and suggestiveness out of their systems, because that's not the point. This time.

What is the point is that Viren's reaction to Harrow isn't disbelief, but relief. Hope. Kpp'Ar is supposed to be in a coin, and Viren immediately questions how he got out. Harrow is supposed to be dead but Viren doesn't give a second thought to how he's not. Fortunately, Harrow helpfully explains:

Fun fact: back in s1, we don't actually see Viren actually taking action against the assassins. We don't even see evidence that he re-entered the room at all—it's only Soren and Claudia who participate in Runaan's capture.

I haven't actually touched a lot on the complex shit going on for Viren, emotionally, throughout all of this—I mentioned it's was probably driving Viren insane over the course of the first two seasons, but let me elaborate. If Viren successfully switched Harrow and Pip, that means Harrow survived... but he expressed his feelings on the proposal in no uncertain terms, and there's a good chance he will literally never forgive Viren. I don't think Viren thought far enough ahead to consider how to get Harrow into a human body again, but I do think he's dragging his feet on it a little because if he can work things to his advantage—unite the Pentarchy against Xadia and follow through on the war Harrow was avoiding—he'll prove to Harrow that he was right all along. Any chance of that flies out the window with Pip at the end of s2.

If the body-switching spell failed, it means Viren essentially killed Harrow himself. That's the reality I think he grows more and more resigned to over the course of s1 and s2, when Pip remains unresponsive. He had no choice but to take the best chance at saving someone he loved—but this time, instead of saving Harrow, he murdered him.

In the dream, Harrow has not only survived, but credits Viren with his survival. He doesn't just dismiss Viren's show of remorse, but makes his own apology to Viren. He calls Viren brother. After an impossibly long nightmare, everything is okay. All is forgiven. Maybe there was nothing to forgive, in the first place. Maybe Viren was right all along.

Then it all turns sinister with the callback to the coin incantation, and we have a sharp return to reality:

The cinematography here treats Pip a lot more like how I would expect him to be treated in s1/s2 if we were meant to know he was actually Harrow. There's focus actually on him, instead of just other characters' reaction to him. He "speaks"—as I noted in another post—in raspy sounds very unlike his songbird chirps from s1. This is absolutely Harrow as Viren actually left him—even if he's not dead, he's in a warped prison of dark magic, a perverse mockery of himself.

Oh wait.

Harrow-who-is-both-human-and-alive was never an option, and what we've got now is mirror images of Harrow-the-dead-human and Harrow-the-live-bird, and they're going to do to Viren what he did to them.

Now, it's not that none of this makes sense if Viren knows for sure that Harrow is in the bird... but it makes a lot less sense and has less emotional resonance. If Viren knows Harrow survived as Pip, he'd be more likely to question Harrow's human form than his survival—the way he does with Kpp'Ar. He might be more guarded, expecting hostility—which, I will note, is what he gets when Pip enters the scene. Instead, because until now he believed that he actually killed Harrow in his attempt to save him, he's so relieved to see Harrow alive that for that one moment he loses all pride and is ready to beg for forgiveness at Harrow's feet.

Since legitimately none of this makes sense if Viren didn't at least attempt to put Harrow in the bird, we're left with Harrow maybe or maybe not alive, Viren having maybe or maybe not been the one to actually kill him (gonna be a fun one with the Runaan context), and a plotline that is definitely not going to be resolved in the remaining two seasons of the show. I'd be kind of surprised if they even did any more setup for it (like Callum/Ezran finding out it's a possibility, or even a hint drop like Runaan being all "it was fucking weird, he just sat there" or something) outside of future supplemental media.

Conclusion

Either Harrow is alive and in the bird, with the future intent being to do a spinoff story The Search-style, or we're in for a huge bummer of a "actually, it was Viren all along who killed Harrow, therefore Runaan is a good guy and we can all be one happy family" pile of absolute bullshit. Yes, they said Harrow's dead. Harrow's body is dead, we knew that all along. There's a note in the artbook that Viren was actually going to rip the shroud off at Harrow's funeral in order to publicly prove it's his body, because that is an extremely normal thing to do.

The show just treats it extremely weirdly because, even as the only person with any chance of knowing, Viren is in the same uncertain boat as the rest of us. (Actually more uncertain than the rest of us, since he's not genre-aware.) Also it's another chance to torment Viren emotionally, and they'd never pass that up.

Thanks for coming to my absolutely ridiculous TED Talk on this topic, I hope this screenshot now does as much psychic damage to you as it does to me:

#the dragon prince #viren #harrow #pip #for once i was wrong... but now i'm right #oh my god this is so long i'm so sorry

[orionsangel86]

I have been doing this meta analysis thing for a long time now and one thing that I have always tried to make clear in meta analysis is that for it to be taken seriously you must keep your personal biases out of it. You must come at it as objective as possible.

Rant under the cut

Its not always easy to do when you are dealing with difficult topics, or shining unfavourable lights on characters you love, or coming to conclusions that you werent expecting (recent meta discussions about Morpheus in the Sandman comics would fall into these categories).

What meta analysis should never be used for is to back up ship wars or specifically to shame fandoms for liking certain characters. If the meta isnt providing valid evidence to support the interpretations, and instead has fallen into name calling and mockery of fandom, its no longer valid meta.

I got this ALL the time in SPN fandom. Destiel was a huge fandom but as meta writers we stuck with what we were given by the source material and interpreted it with valid evidence. We understood that multiple interpretations were possible but we made sure that whatever we were analysing made sense and had some source backing. This wasnt always the case because meta writers are not a monolith, but the bigger blogs who wrote meta frequently at least understood this and would not be stretching to support their own claims if canon didnt back it up. Now no one is perfect of course, but the point is, proper meta writers understand that where they make a claim or interpretation of the source material, they have to site examples and evidence to back up their claims and also take into consideration any evidence to the contrary.

The people who hated destiel and made that their entire personalities didnt do that so much. I read a lot of their meta out of curiosity and every time I was baffled by where they were getting their claims. 'Destiel is necrophilia" was a big one which canon disproved almost straight away in season 5. "Destiel is rape" was another because Cas was using Jimmy as a vessel and yet canon confirmed Jimmy died at the end of season 4. Cas' body was remade by God in season 5 and has remained his own ever since. These are just two of the ridiculous examples supposed "meta writers" among the destiel hater communities would come up with and still use today.

I find it extremely infuriating when I see character/ship hate loosely disguised as meta analysis. I can give people the benefit of the doubt a lot of the time, as fandoms are usually highly emotional spaces, but when there is zero canon evidence to support the claims, when connections are being made on the absolute thinnest of threads, and when far more obvious interpretations are being clearly ignored to support certain viewpoints in such a stunningly obvious case of confirmation bias I have to throw in the towel and stop taking said meta seriously.

One thing I have loved about Sandman fandom so far is the meta. It's such a rich text to analyse, and the show adds an entirely new level to it which makes it all the more enjoyable. I've made no secret of my support for Dreamling and I wrote a very long meta series on Dreamling and how the show in particular uses certain tropes, symbolism, visual storytelling cues, and music, to name a few, to overload a 25 minute sequence with queer coding. It is completely understandable to me why anyone going into the show even without thinking about shipping, would feel like Dreamling hit them like a brick to the face. The creators weren't subtle with it.

Its also totally valid to find romantic interpretations of other pairings within the Sandman. I personally think Morpheus x Johanna was laid on pretty thickly. Morpheus x Lucienne is equally an interesting ship to analyse. But heres the thing, if you ship these other ships and are frustrated that Dreamling has "taken over" thats valid. I get it. I would like more focus on the other characters too. I would particularly like to talk about Lucienne x Gault and have a meta piece in progress about them.

Whats not okay however is for other shippers and people frustrated with Dreamling to go the way of the Destiel antis. Dont make shit up that has no basis in canon just because you need some moral high ground to shit all over the ship you hate. Don't call fans that see Dreamling "deluded" for seeing it. They aren't deluded. It's right there in the subtext. Dont resort to name calling and "gotchas" and use inflammatory language to bait people. And please, I'm begging you, stop claiming that people who ship Dreamling are somehow all overly fragile white racists. You're wrong.

The racism discussions about Hob's past have their place, but these things ARE being discussed, if anything I feel this fandom has done a far better job of handling the issues of slavery than another popular fandom has (looking at you OFMD). No one is forgiving Hob for his slaver past. But you have to acknowledge that the entire point of the story in The Sandman is about change, and growth, and how we can become better people. As another excellent short meta post stated recently "we are more than the sum of our transgressions". The Sandman is all about the shades of grey. No one is morally righteous, but most characters are not completely morally bankrupt either.

Hob Gadling is a controversial character who is often misunderstood by fandom but anyone with proper critical thinking skills and a decent understanding of what meta analysis is, should understand that Hob is a metaphor for humanity first and foremost. He is the average everyman from the perspective of an Englishman and therefore above all else to understand Hob you have to look to England, to Englands history, and to its current status in the world. A lot of blood on its hands yes, but also at least a century of trying to make up for it, a leader in the world in human rights and trying to do better. I have to believe that about this country, so I believe it about Hob too. Whilst I'm not interesting in getting into huge geopolitical debates about England, I hope that we can all agree that the average Englishman today is not a blood thirsty evil slaver/rapist/murderer or whatever else ive seen people accuse Hob of being even in his modern era.

We can argue the faults of the show downplaying slavery for sure. Its a valid criticsm. We can argue that not enough time was given in the show to show that Hob had changed and regretted his former actions. We can critique these things based on what the show has and has not told us, and also pepper in information provided in the comics and what we know about future Hob panels as well.

But when it comes to the blank spaces in between frames, in between cut screens, we can do whatever we like. Because that is where meta analysis ends and fanfiction begins. You wanna write about Hob joining the abolitionist movement and fighting hard to end slavery? You can. You wanna write about him ignoring Dreams advice and continuing to be a brutal slaver right up until slavery was ended in England sure, you go for it. But don't call either of these "headcanons" meta analysis.

Dont use meta analysis as a cover to shit on fandom. The minute you resort to name calling and mockery its no longer meta. No matter how frustrated or upset you are with the current fandom situation. There is always space to criticise fandom. But ask yourself what your end goal is here? What are you trying to achieve? Is it truly because you are on a righteous path to end fandom racism? Or do you just really hate a popular ship and want people to stop shipping it? If it's the former, then focus on that, ask what solutions we can put in place? Where we can truly tackle it on a larger scale, raising awareness of things that people may not realise are racist but are common tropes in fandom (like how making female characters all mothers or sassy gay best friends is misogynistic or how certain stereotypes in fantasy creatures are anti semitic) but if its the latter, then its disingenuous to use racism in fandom as a shield to hide your ship hate. It reduces an important topic to something shallow and irrelevant.

In ending this rant I will just say this. I'm not interested in engaging further on this topic. I'm legit gonna start blocking if anyone attempts to twist my words here. The civil discussions on this matter ended when people started name calling and flinging around accusations without basis. I am more than happy to engage separately in ways to improve fandom spaces for poc, because thats important, but ship hating has no place in that discussion. Drop that aspect, and there'll be less resistance in these topics.

#rant #fandom discourse #the hob gadling matter

[avelera]

Where the heck is Satan in Good Omens S2?

And could we perhaps find evidence of him in the places where the furniture used to be?

For reference:

Hastur & Ligur, 1.1: "All Hail Satan." "All Hail Satan."

Crowley, 1.5: "I never asked to be a demon. I was just minding my own business one day and then… oh, lookie here, it's Lucifer and the guys."

Adam Young 1.6: "You're not my dad and you never were."

Satan, 1.6: "No, no, no!" (He promptly dissolves into black ash and vanishes. Immediately after, Aziraphale and Crowley look at their no-longer-flaming sword and tire iron as if not entirely sure why they're there.)

Crowley, 2.1: "Do you ever think, what's the point? ... Heaven, Hell, Demons, Angels?"

Crowley 2.2 (circa ~2000 BCE): "Satan and his diabolical ministers..."

Gabriel 2.3: "I remember when the morning stars sang together and all the angels of god shouted for joy.” (emphasis mine. Lucifer/Satan was the Morning Star. Why the heck is morning stars plural??)

Edit: Shax 2.6: “I demand that you hand over both Gabriel and Beelzebub as gifts for Satan, our master.” (Could debunk the whole theory, might not only because she seems pretty low-ranked and could be going through the motions even though he's gone, but we'll see. Including to get all the evidence down.)

... And I think there's some other S2 references to higher ups and "Our Lord" by Shax supposedly, but I'm too sleep-deprived to go combing through for them (I'd be much obliged if anyone else could grab any other exact quotes that mention Satan by name or seem to refer to him in Season 2.)

Let's first get the Doylist explanation for why Satan might not be around out of the way: Satan was the Big Bad of Season 1. He's been dispatched. Furthermore, he's played by the most likely very expensive Benedict Cumberbatch, so he's not likely to be back in a hurry if it at all can be avoided, and alluding to him at all might just create confusion with viewers who will then expect to see Satan.

(Below the cut: but what if there's more to it than that?)

But as others may have seen with the, "Metatron is actively editing the Book of Life in S2 and that's why things are weird," meta, there's quite a bit of speculation going around that something fucky is going on in S2.

However, while I agree that some points in S2 are certainly fucky I'm not convinced on all or even most of the supporting evidence. Most of the explanations have a Doylist counterpoint like "It's just bad writing," or "They just wanted to bring back some actors they enjoyed working with," or, "The film crew just made a mistake," or "They just forgot that bit of continuity." After all, half of the original writing duo is tragically no longer with us, so there's going to be some level of story drift regardless.

While in general I find the, "It's not that deep," explanation more plausible in most instances, I'd be a very poor disgruntled English Major indeed if I made sweeping claims that the wallpaper being blue is always a coincidence. It's muddier with TV because there's so many proverbial cooks in the kitchen and plenty of human error to go around, but I'd equally never claim that I think Good Omens S2 wasn't a labor of love by those who worked on it, and certainly there's evidence that care was taken in its production, so everything that's off being a mistake is also not a sweeping generalization I'd want to make either.

Which is my way of saying that I'm not convinced by the Metatron meta but I think some of the ideas there are on to something. I don't think it's plausible that a writer would in S3 reveal that in S2, the heretofore largely off-screen character of the Metatron was actively editing the story as we went with the heretofore only mentioned once, never seen, and immediately denounced as a joke Book of Life. BUT, there is some fucky stuff happening that I won't say was the result of some Genius Mastermind Writer deciding it was a good idea to actively write badly and provide stories with no payoff, but I will consider that some of the apparent continuity errors might not be so accidental as they seem, because this was a labor of love and at least on this count, I don't think that Neil was necessarily that careless. Or at least, I'm more inclined to look for clues in places where I can see logistical choices being made, rather than in more subjective claims like "This bad writing is meant to be Bad Writing and therefore a Clue." Because writing is hard even under the best of circumstances, especially in TV and having lost the aforementioned half of a beloved writing duo.

Moving on! Thing is, if we're to believe that there's some sort of mystery hidden in plain sight that was introduced in Season 2, then it did not pay off yet. This makes me a little suspicious of the overall claims that there was a hidden Season 2 mystery, because a good mystery really should pay off within the text, and expecting the reader to keep their unsatisfied suspicions in their heads for 3-4 years for a later satisfying conclusion is... optimistic at best and downright sloppy at worst.

Unless, the mystery spans the entire show. If the clues we're seeing are meant to pay off in S3, and we assume some level of competence, then more likely these are series spanning mysteries that will be satisfying when one is able to watch all three installments. And that means, if there is a mystery in S2, we should be checking back with Season 1 to look for the roots of it.

Which is what brings me to Satan.

What on Earth happened to Satan?

Is Satan still around?

Now, my theory would be much more satisfying to me, personally, if Satan's name was never spoken in S2 but alas, there is the Book of Job episode and I believe some other mentions by name, mostly by Shax? I'd love some backup on that. But I very deliberately don't count demons just saying things like, "Our lord" or making vague referrals to the powers that be to be references to Satan because if he's vanished, someone could have easily filled the power vacuum or there could be an empty throne room somewhere and everyone is just going through the motions (or he's become the Sandman Lucifer who fucked off to lie on a beach, which would be delightful. Anyway).

When Hastur and Ligure showed up in 1.1 they specifically said, "All Hail Satan," and Crowley was shown to be an outsider that he did not return this familiar call-and-response. Yet no one in Hell in S2 uses the All Hail Satan greeting. The references to Satan are few, even in Hell. There doesn't seem to be a lot of fear of Satan either, but more around other higher-ups like Beelzebub, Duke of Hell, who appears to be the highest ranking person we see in Hell?

And also interestingly, Crowley and Beelzebub are both lamenting how pointless all of this seems. Kind of interesting for two individuals who still despise Heaven too and, presumably, took Satan's side once long ago when they all Fell. The political fire has definitely gone out of them, which can be plausibly attributed to the Apocalypse failing and/or the two of them falling in love with their Angelic counterparts, but it's also just kind of weird that suddenly they both really don't see the point in any of these conflicts that once defined their existence.

Perhaps, and this is where I go out on a limb or ten, because Satan isn't around anymore?

Is there no longer a hand at the wheel in Hell, reminding everyone of their loathing of Heaven?

Is there no longer someone actively above Beelzebub, telling them what to do, such that they have the freedom to sneak away and pursue a romance with an archangel and not have their boss show up to stop them the way Gabriel's did?

Did Adam, when he made Satan not his father but more importantly that Satan never was his father, undo more than we realize?

Because that's the kind of Gaiman mystery that I can wholly believe is lurking in plain sight, because Satan was a big deal in S1, he was the Big Bad! It's in the text! The damned book series is built on the idea of a satirical Antichrist take on The Omen. All Hail Satan is one of the first spoken lines of dialogue in the book. Satan is kind of central to any story that's going to revolve around a battle between Heaven and Hell!

And yet... he's barely mentioned this season. And demons suddenly don't remember what they're fighting for. How odd.

Maggie and Nina's actresses also played nuns of the Satanic Chattering Order of St. Beryl. If there was no Antichrist, isn't it possible that neither of those women would have become Satanic nuns and might, instead, own a coffee shop and a record store somewhere?

If there was no Antichrist, isn't it possible that through some convoluted series of events, Madame Tracy, a witch, fell afoul of a demon or managed to become one herself?

Isn't it possible that once you open the door to the ripple effects of a Satan who either never existed (though the Fall still happened) or who only existed up until at least Job, but who was never Adam's father, that some other fucky things could happen too, like Aziraphale suddenly not being fond of alcohol? This continuity detail is much more of a stretch but it is such a plot point in the book that Aziraphale loves to drink and S1 that I do find that particular continuity break particularly vexing and it's one I side-eye the most in terms of "not sure if sloppiness or a Clue".

Anyway, point is:

Satan is curiously absent this season and technically, he was unmade or at least unmade as Adam's father last season. If something is fucking with the timeline, I think that on-screen, very visible event deserves some scrutiny over and beyond vaguely alluded to, off-screen fuckery by the Metatron with no in-text confirmation at all.

There's a lot of weird and bad writing in S2, sure, but some of the continuity breaks do, admittedly, feel too big to be simple oversights and I don't think it's entirely conspiratorial to think something more might be going on and if such a mystery is going to span multiple seasons, we should look back to S1 for the seeds.

It is possible that the unmaking of Satan has had ripple effects that explain some of these continuity changes and some of the cheeky casting of S1 actors in new roles as perhaps not entirely without in-story justification.

So in my mind, the question I have no answer to, but that might deserve some scrutiny going into Season 3 is:

How much did Satan never being Adam's father alter the timeline?

Edit: And here's one last spooky quote to consider: “I remember when the morning stars sang together and all the angels of god shouted for joy." - Gabriel's weird prophecy / quoting of God

Why single out the reference to morning stars plural? Lucifer is very famously the Morning Star, you can't accidentally allude to morning stars in this context without referring to him, you just can't. So what the fuck is going on with this Biblically sourced quote that sort of alludes to Satan, but not by name, and makes the reference to the Morning Star plural?? And even though it is the original text, apparently, it's still a choice by the writers to really highlight the line about morning stars and give that line to Gabriel to say in the present too. Something is sus.

#good omens #good omens spoilers #good omens meta #spoilers #IMO THIS is a hidden in plain sight mystery #because Satan is a MAJOR figure in the world of this story and he's just suddenly GONE #there's TOTALLY reasonable Doylist explanations #but at least if we're looking for where the furniture used to be then Where the Heck is Satan is a reasonable question

[raayllum]

Callum 🤝 Stoick

“For you, my dear, anything.”

Everyone loves to draw comparisons between Callum and Hiccup (when they’re pretty fundamentally different people beyond the obvious surface level similarities) but sleep on this comparison! Love it

Gonna go on a deep dive cause Hiccup is one of my favourite characters ever but I've never written meta about him so

In some ways, Hiccup and Callum are similar - especially in terms of how they present. They're both goofy, more than a little awkward, deeply curious and compassionate, extremely loyal once you've earned/have their loyalty, a bit flighty and sometimes focused too much on the big picture in lieu of missing the little things. They both grew up feeling like the wrong fit for their environment/culture and it takes bonding with a mysterious, dangerous enemy and subsequent life changing adventure for them to start figuring out where they belong (and how). I think they'd get along splendidly and would absolutely show off flying tricks

However, they are also radically different, mostly because Hiccup is far more rebellious (and particularly in early HTTYD1) far more selfish than Callum is.

Due to a vicious cycle of "I want to prove myself to the village" -> "I mess up" -> "Village is annoyed by me" and a lack of other tangible options of places and circumstances to go into, Hiccup is about as bullheaded as it gets. Even before he meets Toothless, he's not super concerned about being a Viking according to his people's standards, and we don't know if he actually tried at being a traditional Viking very hard before he switched to machinery and inventing (I've also leaned towards not, but that's up for interpretation). He simply wants them to recognize that he can be a Viking, too, by his own standards - and in some ways better and more effectively than they can because he's using his smarts and not just his ('nonexistent') brawn. He's effectively beholden to no one but himself, especially since his relationship with his father is so strained and Gobber does his best, but is understandably not a perfect substitute / cannot be everything a 15 year old boy needs or wants to have socially. This is also why Stoic's scoldings are so ineffective, because pre-Toothless Hiccup doesn't really care that much if he royally mucks things up for the Village time and time again if it's in pursuit of praise/recognition - which is not entirely unreasonable (we all want attention/positive reinforcement) particularly for a teenager, but it is short sighted and immature.

Then he meets Toothless, and learns 1) how to put something and someone else heavily above his own wants & needs, and 2) how to contribute to the village in a way that would be beneficial for everyone, not just the people (beginning of the movie)/himself, or for the dragons/himself (when he was planning to run away), but for all of them, irregardless of himself. This journey is ultimately what's culminated in the third movie by finally living up to his father ("How do you become someone that great, that brave, that selfless?") by willing to do with Toothless what Stoic was willing to do with him: to let him go, so that he'd be Safe. The first thing Hiccup ever did, that set him on an entirely new path after all, was to set a dragon free. I always thought it was very fitting that was his final act as well.

And it's this journey from selfish slightly sarcastic but intelligent, sympathetically immature teenager to a wiser, selfless, less independent but more reliable adult, aided by the events of the films, the memory/inspiration of his father, everything about Toothless and his love/support of Hiccup, and Astrid being about as devoted to Berk as it gets (which is absolutely something Hiccup needs) that allows him to be a great Chief. He's able to put the greater good of his family and people above what he may personally want in the short term ("I was so busy thinking about the world that I wanted, I didn't think about what you needed") to prioritize his goals in the long term ("And we'll guard the secret until the time comes that dragons can return in peace").

And due to all of this, Callum starts out in a fundamentally different place, because he always has an internal and externally imposed responsibility from the start: Ezran. "Take care of your brother," are Harrow's final, parting words to him, after all, and we see Callum take this with him throughout the series, whether it's trying to be assassinated in Ezran's place, promising to return and help him once Zym is brought home, or rushing to defend him when he thinks there's another plot against the king. This is also where we see Callum's selective loyalty creep in. While Callum would make a great general due to his tactician skills and ability to think ahead, he is ultimately too reckless and obsessive to make a good king - or in the Hiccup comparison, Chief. Although both are leadership roles, having Ezran / others there to temper him occasionally as a general is crucial - he needs that safety net (or someone to tell him to keep his eyes on the road) which him being the final authority on the throne would not provide ("I may be queen but even I can't stop those two when they've set their minds on something") that not being on the throne can marginally provide. This is also one of the reasons why I don't think either Callum or Rayla are really suited to a long term life at court / as royalty, but post for another day <3

Callum also has more of a temper and more of a nasty temper toward his loved ones as well that Hiccup really doesn't have a shred of - he'll be sarcastic and a bit snippy but he'll never aim for the jugular, y'know? (Hiccup is also more marginally prone to self blame probably because he's grown up enough to take full responsibility for his actions after a childhood of mostly shirking/dismissing them, but like side tangent)

So like Callum's consistent sense of responsibility keeps him tempered and more mild mannered and less rebellious (and him and Harrow have a much better relationship than pre-HTTYD1 Hiccup and Stoick, which absolutely helps; each may have resembled each other more in HTTYD2 esque dynamic if Harrow had lived to see Callum mature / grow into himself a bit more) but also leaves him far more selectively loyal / focused on his own bubble most of the time.

Like Hiccup is just loyal enough (aided by Astrid) to his People to like be able to do the ins and outs and enjoy it overall? And I've never gotten the same sense from Callum at any point in the series (which "I'm beholden to my inner circle, not some silly kingdom" - thank you TOX). And I do think the way Callum would want to change the world is more magic based - teaching other people how to connect and harness magic - is more in line for him overall but again: post for another day (and we'll have to see where canon goes). Because of Toothless, Hiccup's bubble expands to Astrid and the gang and his father, fully, and stays expanded; Toothless gave him the family & support he needed to no longer need Toothless to stay in the same manner. For Callum, his bubble is Ezran, expands to Rayla as well over the course of arc 1 at first because of Ezran and because of their own bond - and it doesn't really expand with the same intensity to basically anyone else (see Callum being worried, sure, about Soren in 4x06/4x07 but also a lot more focused in general in how Soren's absence is affecting Rayla and thereby focusing on reassuring her)

Callum is also just way more of a loose canon, at least to me. Trying out the lightning spell just because in 1x05 with no safety net, staying way too long at the Great Bookery in 5x04 when they absolutely could've just come back after stopping Aaravos and co., and again: he just has an edge to him that Hiccup doesn't? It's hard to describe and I don't think there's necessarily a reason behind besides "they're two different characters with accordingly different characterizations" but I can't see Hiccup doing dark magic or being tempted by it - even if it was to save Toothless, or something? He's just too much of a bleeding heart/animal lover and a lot more Ezran on that level

Long characterization aside, I actually think Rayla and Hiccup are probably more similar in that rebellious / witty streak to your disappointed more restrictive tougher mentor (Runaan, Stoick) but that Callum 100% has Stoick's devotion to Valka down pat. "For you my dear, anything," the slow approach in asking but not assuming she'll be his wife again, the forgiveness and understanding of Valka and Rayla staying away all that time, the "I don't want another. Your mother was the only woman for me. She was the love of my life" excuse me while I go cry.

#httyd #how to train your dragon #thanks for asking #analysis series #analysis #mandaloriandragontrainer #characterization #tdp #the dragon prince #tdp callum

[miixz]

Okay this will be rambly as it's been too long since I've tried to put my thoughts in a coherent meta sort of thing, but I've come to the conclusion I might like how the whipping is treated in erha.

(for anyone following the official english release, beware of spoilers ahead)

It was something that threw me off at first and made me doubt I'd ever really like Chu Wanning, I even compared him to Shen Jiu around that time, but looking back at it having read erha in its entirety I can look at it with a different perspective.

While I do like how having Chu Wanning whip Mo Ran so early on helps present him as the terrible teacher of Mo Ran's altered memories and deceive the reader, I think it's also an interesting side of him as a character that he did that in the first place. To me, it seems that Chu Wanning is one of the people who have bought into the myth of physical punishment which seems to exist in his society. It's not a belief shared by everyone, Mo Ran certainly doesn't buy into it, but it isn't a belief Chu Wanning seems to have taken from within himself or even one that he fully agrees with. 

There are rules on Sisheng Peak which include whipping as a punishment, we see this as the system Chu Wanning uses as a guideline to base his decisions on, not only for Mo Ran but himself as well. His punishments aren't chosen entirely on a whim. 

Chu Wanning looked up to shoot him a glare. The Jielü Elder shut up. “In accordance with the rules, the punishment for this transgression is two hundred strikes, three days of protracted kneeling in Yanluo Hall, and three months of confinement,” Chu Wanning stated. “I do not dispute the transgression, and I am prepared to receive the punishment.” Dumbfounded, the Jielü Elder glanced left and right, then curled his finger. The doors to the Discipline Court closed with a thud, leaving only the two of them standing face-to-face in the silence. “What is the meaning of this?” said Chu Wanning. “How do I say this… Yuheng Elder, it’s not like you don’t know—the rules may be rules, but they don’t really apply to you. The doors are closed; this stays between you and I. What say we just let it slide? If I actually strike you and the sect leader finds out, he’ll have my old hide.” Chu Wanning didn’t feel like wasting his breath, so he simply said, “I hold others to the rules, and I will hold myself to the same.”

Now, that doesn't excuse him, I wouldn't say that's what the story is trying to say and I'm not either. It's more that to me that's part of what makes it forgivable when to other characters it isn't.

There are characters like Madam Yu from MDZS who are clearly using that punishment excessively and unnecessarily, out of cruelty, which I can't forgive. Chu Wanning, however, I'd say is more misguided, which earns him a different approach.

Although he doesn't look remorseful when we first see him whip Mo Ran, we learn later that he was and tried to make up for it in his own awkward way. One of Chu Wanning's most defining traits is his immaturity (in my interpretation anyhow), he is a man that was raised not to be his own person and hasn't been living with others for all that long and it shows.

Huaizui seems to only have taught Chu Wanning shallowly, to the point of lying about the state of the world outside, because he was never meant to be his own person who has complex relationships with others. It makes sense though, why would he do that when Chu Wanning was only a vessel for someone else's soul?

So when it comes to making those difficult decisions, like how to discipline his disciples, he is sometimes lacking and refers to the guidelines that he has. With whipping being an acceptable punishment in his sect and his own issues with anger, I see how he arrived at that punishment at times.

It's an awful thing to do, but I like how it's a mistake that humanizes him and explores his upbringing and the places where he falls short.

And Chu Wanning himself knows, on some level, that this is the wrong way to go. That's why he feels guilty and makes Mo Ran wontons to apologize, but he lacks the ability to choose another course of action, most likely because he's never been taught how.

(And this is something that he does improve on somewhat throughout the book, especially in regards to how he treats Mo Ran, who challenges him to think about these difficult questions and to work on his emotions the most.)

In the end, I think Chu Wanning is someone who truly wants to be a good teacher and a good person that help others, which he does often achieve, but sometimes he is held back from that by his own shortcomings which themselves are connected with the ways in which he's been failed by others (especially those who were meant to care for him).

#erha #erha meta #erha spoilers #chu wanning

[extraterrestrialechos]

Edward Teach: How to (de)Construct a Legendary Villain

The show introduces us to the legendary Blackbeard as a traditional Hollywood villain. He’s positioned, specifically, as Bond villain Ernst Stavro Blofeld, head of the global criminal organization SPECTRE. 

This character came to define the trope of the criminal mastermind, including the trope of never showing the villain’s face. The chair obscuring Ed’s body while his minion takes orders from across the desk is classic Blofeld. 

Along with Black Pete’s story, this is meant to pour in information about and expectations for Blackbeard in the short three episode buildup to his reveal: He’s big news, he’s bad news, and he’s the undisputed big dog whose underlings are cogs in his evil schemes.

Yet even in his first scene, the show begins to highlight the artifice at play and humanize Blackbeard and his subordinate. 

Izzy is doing his level best to play the sufficiently professional henchman. Edward flirts with him until he’s forced to drop the pretense, his henchman act collapsing into an exhausted and familiar “Oh, Edward, can't I just send the boys?”

And, if we look closely in retrospect, the reason Ed doesn’t turn to the camera is that his leg is elevated to give relief to its nagging knee injury. There’s a cane in the bin in the foreground beside Izzy. These stereotypical trappings of villainy are partly a product of Edward’s high seas career wearing his body down. 

On to Episode 4

Episode 4 isn’t a significant departure from any other day at SPECTRE flotilla headquarters for Edward. Yes, he meets a fun new guy. He also shows off what kind of brilliance is routinely demanded of him by his profession (of being a criminal mastermind) day in and day out, even if he hits a hitch. The emotional beat of the episode is exposing how this intense workplace grind is wearing him down. 

Next, he decides he’ll sail with that fun new guy, murder him, desecrate his corpse and take his identity. The kind of nefarious scheme a pro would expect of himself. 

The subsequent plot, then, does not come out of the idea that Ed, as Blackbeard, is any less than a man who’s achieved the pinnacle of Big Bad attainment, who in conversation with his subordinate checks off on killing entire crews as part of “the uzsh.” He really is that good, and Stede really would have made the perfect and unwitting mark Ed identifies him for. 

Two things are true at once:

Blackbeard is his world’s all time pirate villain overseeing the dispatching of countless lives (we see the population of a whole merchant vessel butchered just in Episode 5 — but laugh, because the sequence is shot through with camp), and

Ed Teach “works for Blackbeard.” 

Blackbeard isn’t who Ed is but a product of Ed’s theatrical skills. 

The show has, already, in Episode 4 cast a realistic light on the inevitable psychological toll of being the Big Bad mastermind keeping yourself at peak performance all the time. 

On to Episode 6

In Episode 6, the show deconstructs how one man, who has one gun and one knife just like everyone else, could feasibly construct such a legend.

This is, at the same time, a meta interrogation of how much effort a man like Blofeld and his infinite villainous counterparts across all cinema would have to actually put in to maintain their seemingly effortless style. 

Here, the answer is Ed is a theatre kid at heart, relying on all the same techniques the real life crew themselves are using to bring us the show.

We’re given a scene of Ed seemingly teleporting around a clouded ship, delivering cinematic lines like “Flee and survive, or face me and burn!” 

Barrels of sparklers stream flash powder into the air. The unnatural fog turns out to be the product of stagehands hard at work behind the scenes. We can extrapolate the flashes of lighting were likely, seeing as we can’t assume stage lights, the product of even more flash powder prepped in the style of old time photography. 

Ed ends up in an elaborate harness. One that Izzy’s doubtlessly removed him from countless times, as he reminds Ed if they don’t work together Ed’s balls will chafe. (Ostensibly, this all used to go smoother before stress aged their relationship to the point of its present squabbles.)

Now we can spy back earlier in the show and see even in Episode 3 they were employing theatrics. 

The smoke steaming behind Izzy as he fixes his spyglass on the Revenge isn’t mysteriously atmospheric. It’s from a big cauldron kept stoked on the deck of the ship, the handle of which peeks through. It’s a constant effort to keep the Queen Anne billowing across the ocean. 

And Forward to the End...

Ed goes through multiple phases of trying on different Eds in the next four episodes. From living as tea with seven sugars Ed, to deciding he needs to physically move on if he’s not going to ice this guy but being prompted by Lucius to explore being “being in a relationship Ed,” to us seeing Jack’s Ed and his ability to relish brotivities, to stripped down Ed on the beach, a blank slate now able to open himself to considering what to paint there, to Ed choosing what to paint there.

Unfortunately, while it’s a new work, it's a dark one.

Having been rejected by Stede and Izzy successively as they see him trying out tidying house, become upset for individual reasons, and walk out of the room in nearly identical scenes, Ed takes stock of what he has left and what capacities in his repertoire will assure his future security. 

We now see Ed pinning (stabbing) up a picture of the archetype he’s going to take on. This is Ed in his make-up trailer, looking to a character design by a concept artist and building a costume around it.

Grease paint, sword earring, jacket shrugged back on, full gloves, and, we see later, Stede's black cravat tight around his neck as @speckled-jim describes (and discusses further here) “like the albatross of Ancient Mariner fame,” reminding him that love itself can be a burden and to never allow himself to be that vulnerable again. 

This new Blackbeard variant cuts a genius, poetic, unmistakably more dangerous image than the comparatively relaxed tough biker pirate we first met.

His newer, dialed up villainous persona, the Kraken, is face revealed with, among the many cinematic variations on the trope, what tightly resembles another more recent Blofeld shot, at once telegraphing this Ed is the Big Bad again and reminding us that being any Big Bad is a high camp performance.

The seams are already fraying. Fang and Ed are both shown drinking heavily to help cast off their sympathies for their recent associates and loose their MUAHAHAHAHA laughter. Already, before this scene, Izzy’s “Blackbeard is himself again!” is paired with the manic smile of a man who knows that whoever the new boss is, it’s not the original Blackbeard and he's in over his head.

But the three of them cut imposing figures on deck, and the future will tell if the movie magic holds.

Errata

Why would they think "Blofeld"?

It might be SPECTRE's trademark giant octopus.

#ofmd meta #edward teach #ed teach #extechos #ofmd

[doublel27]

That’s so valid about Owen. “I’m gonna go annoy my kids now”

And there was something so squishy about the 3 of them being a lil family unit now 🥹

I'm sure whoever you are, dear sweet nonny, you threw this in here knowing I would likely meta on about it.

And I've been thinking about the end scenes nearly all day.

I'm notoriously interested in Owen as a character. He's a facinating character who, like his son, has had his life scarred by loss. Owen's whole raison d'etre is saving his brother. It's why saving that one little girl from drowning sent him into a life focused on saving others. Then he lost his entire firehouse in 9/11, and slowly lost other survivors of 9/11 to cancer and mental health disorders.

Then, he has to bring his son back from the dead and moves him to Texas in an attempt to save his life and restart, all while diagnosed with cancer. We lose Tim Rosewater which sets Owen into deep levels of depression and guilt, because he'll never be able to keep the promise that everyone who starts a shift goes home at the end of it.

Gwyn is in town, and they're still in love and he's working on making it work. They're gonna have a baby and Owen has a redo. He's got a chance to do it RIGHT this time. Because Owen's fatal flaw is always believing if things had been different, if he had been better, if he'd beena moment sooner: maybe he could have fixed things. He had a whole speech to that effect in last night's episode, where he figured if he'd known about 9/11 ahead of time that he could have prevented his whole team from dying.

Then the baby's not his and Gwyn leaves and whatever Owen managed to cobble together of his mental health for Gwyn and teh baby disipates and there's a lot of very classic PTSD/depressive/anxiety things that come up in Owen.

And then we lose Gwyn which is devestating to everyone but Owen soldiers on for TK, but he's...not doing well, at all. He finally gets his ass to therapy and even though we see him make some progress he's still keeping TK at a distance. Mostly because TK's doing well and Owen CANT be Captain Save a Ho for TK in these moments. He does crop up (usually) when TK's struggling, but only when there's something TO DO.

This episode marked a change.

Owen, in talking with O'Brien, who is giving a speech pretty reminicent of Owen's own speeches, about how he made a promise and he didn't keep it because look at this awful thing that happened, and Owen manages to give solid reasoning to be like "Look, he's alive and his son's alive and that's something."

And then it's like the lightbulb goes off in Owen's brain as O'Brien takes off after his great nephew - that Owen is indeed alive, and his son is also alive, and that's something. He may not have saved everyone but he saved TK.

Then, Owen goes and picks up food (which is really one of Carlos and TK's main love langauges, is feeding people - TK does it with takeout because he shouldn't be in the kitchen) and brings it over. But he doesn't just pick up any take out, he picks up the chinese food that TK introduced Gwyn to that they used to eat as a family.

I take this to be significant in multiple ways:

One, the Gwyneth Morgan of it all. Owen picked something that was a family thing and brought it over. Which is a very significant thing to do.

Two, it's one of the few times that food is involved and Owen doesn't mention the healthy/unhealthy nature of the food. Look, I could probably write a whole disertation on why Owen Strand, who has survived 21 1/2 years post 9/11 is obsessed with his health, but nearly every interaction with food, Owen has a coment about it. He doesn't make a single comment about this round of chinese food. I lied, he doesn't mention it in 3.08 either. But that's in the wake of grief, and maybe here Owen's still living in it.

Three, ordering chinese is very clearly TK's comfort meal. Look, a lot of us who are neurospicy joke about TK being neurospicy. And when you are neurospicy, there are certain foods that are..."safe" or an instant "yes" all the time. And we default to them often. I know when I'm struggling when I'm like "It's a comfort food day." (I have a rotation) but it eliminates decision fatigue and the need to emotionally regulate if it's not exactly what you wanted. Chinese food has a connection to Gwyn, and comfort and it comes up a lot when TK's stressed. (Even in 3.03, when Carlos doesn't come home, TK ordered chinese for them)

And then Owen does something he hasn't done...at all...since TK moved out (maybe they did when they moved into Owen's house and I don't know where they had chinese in 3.08) but Owen shows up at their place to share a meal with them.

And it's significant because TK and Carlos have invited him over for many meals between seasons 2 and 3, and Owen never accepts. Or, in the case of 2.11, Owen accepts and then goes off to catch an arsonist instead, which could be his hero complex but could also be a general avoidance of things that are uncomfortable for Owen, like TK growing up and not needing Owen anymore.

For as much as Owen has been an absent father for various parts of TK's life, because of his PTSD and trauma and general *waves hands* Owenness, Owen is a loving dad who would do just about anything for his son. We know this, we've watched him do it. But Carlos is also a competent control freak who Owen trusts implicitly with TK's life on numerous occasions. I do believe there's a big part of Owen's psyche that doesn't know what to do if he's not NEEDED.

But at the end of 4.06, he shows up, with chinese food, which is not needed because TK and Carlos already made a beautiful dinner and are looking very handsome, but he comes in and tells TK that he's proud of him, again. And you know, not trying to blow people up is a very low bar, but you know, TK clears it. And then they stay and have dinner, and Owen inserts himself in his son's life, not because TK needs him, but because Owen WANTS to be there, and that's such a drastic change for these two.

I love that Carlos and TK bring him in. Look, we could punish Owen for his mistakes and transgressions, but that's never been who TK is and this is his last living biological parent (Enzo forever) and TK loves him. And Carlos loves TK and respects Owen and wants them to have a good relationship.

And I cannot wait for Owen to "do what he does best" (owen's words) and be a pain in their asses about this wedding.

#911 lone star spoilers #owen strand #owen strand meta #tk strand #the strands #911 lone star #911 lone star 4.06 #911 lone star meta #doublel27 talks #anon ask #anon reply

[justatalkingface]

The 'Great' MHA Read Along, Part Three (Chapters 8-11): "Support" Gear and Dodging Death.

Well. You asked for this, so I deliver; upon your head be it.

So. We start off with talking about costumes... actually pretty interesting, though, with companies doing these costumes, I'm kind of surprised there's not brand names on them; All Might, Brought To You By Sony, or something. I guess that was a level of realism Hori wasn't prepared to deal with.... (Note Bakugou's costume comments; 'kill with my knees'?) but then we get to Izuku. And I can't help but feel jipped by this, in a couple of ways. Izuku ends up looking... well, like his mom made his costume, a sore, underdressed thumb compared to all the professionally dressed heroes... and he's also the only one whose face is entirely covered for some reason?

On the other hand, though, it is a nice touching scene, the family reconnecting, Inko admitting her mistakes and that she'll support Izuku.... but couldn't it have been done differently? As is, it feels like Inko is being used as a blatant emotional tool to make Izuku different, and that's rough since her character is barely existent in the first place, and quickly fades away into oblivion as time passes. In the same way that Izuku is the only one who can't actually use his Quirk, the same way he's the only one who is so completely unprepared for UA, he's now the only one who who doesn't actually have a proper costume.

I mean, I get it; on one hand, it's symbolic, and the way he eventually updates it shows his evolution as a hero. But at the same time, I've already made it clear what I think of Izuku starting off so behind, so I don't actually like that symbolism, and even if I was, the narrative feels like it's going a little too hard on the 'he doesn't belong' thing at this point. First time around, I was fine with how Izuku was, and even now my dislike of the starting situation is more on a meta scale than anything, despite the bad logic behind it, because it's written in so engagingly, but I never once liked the costume thing.

There's also the question of why she's OK with Izuku going to UA with either, A, no Quirk that she knows of, or B, a Quirk he just... randomly got, somehow, while applying? When, according to a literal doctor (Dr. Diabolus Ex Machina himself; is the fact that AFO's most loyal minion apparently was Izuku's doctor going to be relevent at some point or...?), that was never going to happen? Ever?

There's... there's a lot of questions she should be asking, here, and as far as we can tell, that just never happens. This whole dynamic here, there was all sorts of room to play with it, expand it, develop Inko as a character and Izuku's background more (and look at the fact that she found out her son was Quirkless and... got fat? Because she handled that guilt badly? The way they talk is like they never talked about Inko saying he couldn't be a hero until just then. Did they... did they really just never ever talk about this again until just now? The more you think about all, the more things don't make sense) and Hori didn't just drop the ball with this, he spiked it into the ground rather than use it.

I'm... sort of grudgingly OK with All Might being a not great teacher here, but not really. I mean, it's still in line with how his brain got ripped out of his head after Arc One, which at this point is something I have a well established history of being... not well pleased about, but it'd track that he wouldn't know how to train students in basic heroism, unlike exercising....

But that leads back to the question of, 'Then why is he a teacher if he can't teach?' Him doing something he explicitly has no idea how to do makes no sense. It's super double dumb though since, again, this is All Might's precious powered-time, and he's using it to... not just to teach kids when he could be saving lives, but teach kids badly, and again, that's stupid, and everyone involved, including Nezu, Super Genius, should realize this.

God, he's so badly shoe-horned into all this I'm actually wondering if he was supposed to die in Arc One and pass on his Quirk to Izuku that way, and him being in at all is Hori changing that plan at the last minute.

So, before I start on Bakugou vs Izuku... let's pause it here so I can go on a tangent: Bakugou's support gear.

There's several problems with it as an in-setting item, all focused around a simple fact: they're not there for 'support', they're weapons. Fundamentally, Bakugou's Gauntlets are just... giant explosive cannons, just like the literal grenades he gets, or the edgy machine guns in late story. No other hero's support gear we see are like that, pure weapons based only around harming others (I remember later, a Random Civilian gets his hand on support gear, I think from Detnerat gear, and that's a weapon, but A, that's from Detnerat, and so made to bring society to its knees, literally, and two, the entire point of that little scene was to show how stupid and helpless civilians are, and how they should dare get above themselves and try to defend themselves (which is clearly set up to support sheep narrative of civilians Hri loves to pull, while also making it make less sense since, if civilians doing anything backfires that badly, then yeah, maybe they're right to do literally nothing so they can't fuck it up) and so I am far from giving it the benefit of the doubt.)

I know later, Bakugou take one off and Izuku uses it, and so they're just... literally giant explosive guns, literally just a pair of guns he has strapped to his arms. Everyone else has gear that supports their Quirks, even Snipe with his actual gun (which enhances his Quirk, which is dependant on a projectile), while Bakugou alone has something that replaces it.

Thematically, that's weird and has bad vibes. On a more practical level, someone, somewhere, must have approved this thing, looked at this design with the more or less literal description of 'giant bomb', and said, 'Yeah, this is OK, let's do it'. This basiclly has no purpose other than to kill people or to cause massive property damage; there's no... safe mode, no limiting, it's just point and FIRE EVERYTHING!!! Why? Why did they just hand it to him? (And, as a side note, how was it full enough to use when Bakugou had just got it? There's no way he sweat enough to fill that thing; otherwise he would have collapsed from dehydration.)

So. Yeah. I have problems with that. And now the fight, and I find this fact distinctive:

Bakugou starts off this fight by proclaiming he's going to use this to beat up Izuku. I'm going to be honest here; if I was a teacher? I would absolutely respond to that, somehow, even if it's simple as, 'Bakugou, no, also now I'm watching you'. It's not exactly a reach to call that an obvious red flag.

(Side note; 'Rage You Damn Nerd' or 'Ferocity of a Fucking Nerd'? Really? What the hell is this chapter title.)

Flashback: Bakugou, as a kid, saying to murder those villains. God, really? Was nobody ever concerned about that?

And then Izuku counters Bakugou, and he just... loses it. Completely. Because of course; how dare Izuku fight back! How dare he resist Bakugou's righteous anger?!

And yet another reminder of the cringy fact that Bakugou was first place, despite the fact it's against his narrative set up of being the little fish, just because of how much Hori hypes him up.

Bakugou: I've been torturing you for all these years, and you've been sitting back and taking it. Clearly, you've been hiding your Quirk all this time, just so you could laugh at me!

Me: ????

Holy fuck, the ego on that comment. I've heard about 'everything being about you', but this is nuts.

Izuku builds up courage to face his fears/bully, and meanwhile Bakugou flashes back to how useless everyone else is, and how great he is, and how dare Izuku stand up to him, when he gave him the perfect name to describe how worthless he is? How dare he try to rescue him that one time when they were kids?! How dare he have concern?!?!?!

*leans back in chair*

Hoolyyy fuck, Bakugou, that is a lot of clusterfuck in such a small, three page sequence.

'Ah, Iida. What a wholesome palate cleanser', I think, more or less in lockstep with Uraraka. I love how his big plan is literally cleaning; I mean, I get the logic, but still.

Alas. All good things end.

So, for a lot of people, the big, defining moment of Bakugou's story and how bad they think he is is Chapter One and the suicide baiting. That's obviously shit, but to me, this is the big moment, the, if you pardon the drama (I can't think of a way to phrase it better), the 'original sin' of MHA as a whole: Bakugou tries to kill someone, and absolutely nothing happens.

This isn't an exaggeration, BTW; let me lay out the scene here:

Bakugou is armed with, as I said before, an insanely aggressive weapon, one that has no purpose other than to kill people or destroy things. He is given this weapon with, apparently, absolutely no comments about being careful with it, not to harm someone with it, or anything, and then takes it into an exercise with his classmates.

This exercise takes place in a building, one that can easily be damaged by the blast of that thing. As this is a multi-story building, even a blast not aimed at someone could easily get someone killed if part of the building collapses on top of them.

Bakugou takes this weapon, and he aims it at a human being. To top it off, All Might, who by all means should be an authority in, 'Yeah, this could definitely kill someone', explicitly tells him that, 'No, you'll kill him!' before he fires.

Bakugou's response? 'He'll be fine if he dodges!"

And then he fires.

And the fact that, not only does this happen at all, but this fight continues afterwords, is inexcusable. Blatantly, obviously, inexcusable. This is, unironically, Bakugou attempting to kill someone.

On tape, no less!

I mean, hell, with this one chapter, we have the means (the gauntlet), the motive (Izuku's... existence? The fact that he dares to stand against Bakugou?), and the opportunity (this entire exercise), along with witnesses watching him do it in real time. If this had hit Izuku, the trial against Bakugou would have been a cakewalk.

And the thing is? Everything before this, everything, is something that could be excused. Granted, it would strain the suspension of belief to the breaking point at times, but everyone could be that stupid and/or that biased, in theory.

But this? There is absolutely no way that this could happen, and be acceptable in the logic of this story. I don't care if All Might is literally missing his brain, I don't care if Aizawa just.... hates Izuku with a deep and unexplainable loathing (BTW, I think I forgot to mention last time that Aizawa sabotaged Izuku's scores? Well, considering how Izuku with his super toss was in a contest against a girl that only is invisible, there's no way he was in last place, so... yeah. Aizawa sabotaged him). Forget their heroic instincts, forget all of that; if they let this happen, everyone involved with this would have their lives destroyed. They can't cover it up, because at some point, Inko is really going to wonder, 'Hey, where is my kid at?' and the second she asks that everything crumbles.

That, and why would they try to cover it up? Bakugou's character is, in many ways, the cliche of the sports star from a small school, who the entire school, if not the town, bends over backwards to keep him in that position (which, ironically, never would have helped Aldera that much, because Bakugou, as is, would never give them credit, respect, or money. Bakugou, if he improved enough to give them that? Would give them shit for what they let him do instead. That plan was doomed from the start). The thing is? That tolerance only goes so far; sure, he can bully the nerd all day long, and hell, he can beat him half-to-literal-death if there's no one there of importance to serve as witness, but this? This isn't just attacking the nerd. This is chasing him in a car. And, when the nerd escapes into the school? The jock then drives into the school, and only stops when the car itself gets jammed in a wall.

There's a point, in other words, where all that tolerance ends. This is waay past that point.

That, and the fact that UA isn't a small school, with a sports department propped up by their one good athlete; UA is the school that athlete wants to go to. To UA, Bakugou the metaphorical athlete is completely replaceable; how many students were trying to get in again?

And all of that? All of that is assuming that every single one of them is, in fact, the absolute worse, trash, shallow self-serving shit versions of them possible, instead of being heroes, in a school for heroes, for whom there should be standards all over the place.

So the fact that he fires this shot, and that the flash-stepping All Might doesn't just bitch slap him out of it beforehand, or at least make it clear if he does his heroic life is over, and then afterwards he allows this fight to continue, and then after that, there's barely even a harsh word said in response to this, by anyone, much less any sort of consequences for it, school based or otherwise, shatters my SOD into dust.

The logic and foundation of this setting can not support this sequence of events. So... why? Why did this happen? Why was this allowed to happen?

Bakugou. The completely irrational, completely assholish Bakugou, who would do this, because this falls in line with his behavior from what we've seen of him thus far... if he was held to account for this? Given consequences, realistic consequences, for his realistically horrific behavior? He'd be gone, at least. Out of UA, out of Izuku's life (if only), and out of the story.

But... for whatever reason, even before all the polls came in (I think), Hori just wanted Bakugou to stay in the story. Why? Maybe there was a more proper redemption arc in the works. Maybe it was always going to be like it was now. Maybe Hori just likes Bakugou. Who knows?

The point is Bakugou, The Living Idiot Ball, is born into the story at this moment, a character who makes everyone around him their impossibly worse selves. His behavior will improve, somewhat, but the behavior of those around him won't.

Well, thankfully, the building doesn't collapse on all of them after that (thought maybe it should have? I'm not an expert, but that is a big hole there)... and here's something else that bothers me.

I can't understand All Might's motivation here for not stopping the match, as in I'm looking at his stated motivation for that, and it doesn't make sense.

In his head, he's talking about this will fuel Izuku's growth, basiclly. And, maybe it does, but that's not the problem here. The problem is Izuku could die, and is getting some serious injuries as Bakugou beats the living shit out of him; it's not worth all of that for some extra growth now, when he still has his entire school life to improve. And sure, we know that, in a meta sense, this is A, prep for the villains soon to show up, and that, B, Izuku does not, in fact, have his entire school life to get better. But All Might doesn't know that; All Might doesn't have any reason to think AFO is still alive, much less masterminding an attack. So... why the rush?

Before, he was rushing Izuku's training, but there was a concrete reason: Izuku needed to get into U.A. Well... mission accomplished; he's in. So why the push?

To give a somewhat in character reason, I guess, to try and excuse Bakugou, The Living Idiot Ball.

Meanwhile, all the characters can't stop talking up about how great a fighter Bakugou is, because it's not enough to excuse him from a murder attempt, apparently everyone needs to make sure the audience knows about how much of a 'beast' Bakugou is!

And, all of this, while Bakugou has this crazed sounding rant about how Izuku is 'looking down' on him, when until five seconds ago he thought he was beneath your boot. Even while they're fighting, Izuku can't help but talk up the person who single handedly ruined his entire life.

*sighs for forever*

Anyways, Izuku barely claims a win with teamwork, determination, and the magically ability to remember what his objective is!

(cue funny little omake where Mt Lady breaks her office with puns)

And... the last chapter of this arc: 'Bakugou's Starting Line'. Ugh.

Anyways, Bakugou beats Izuku half to death, but he loses. He loses, and has a mental break down because of that, and All Might is remarkably fine with this whole situation.

Then, Momo proves that she's smart and on top of things (enjoy that while it lasts), the other fights happen, which... brutally honest, I can't care much about, beyond Todoroki proving that, suprise suprise, he's actually the big fish in the 1A lake (enjoy that while it lasts as well! The nerfs are coming for everyone not named Bakugou or Izuku), which is yet more mental damage on Bakugou's oh so sensitive ego.

Izuku, unsurprisingly, ends up needing to be put back together after all that, and Recovery Girl has a rare positive portrayal where she says that Izuku getting beat to hell and back is, in fact, bad, which All Might agrees with like a sheepish child rather than an adult who has carried massive responsibilities for years now and who, need I remind you all, was not too long ago competent and did in fact avoid letting Izuku be permanently harmed... you know, the good old days.

Anyways, everyone is impressed by Izuku, cool, cool, and then... Izuku shits on it by telling Bakugou, 'This isn't my Quirk!', thus locking in his participation in late story stuff forever.

And again... why? Why does he feel responsible for this? Why does he need to make sure he's not... accidently, tricking Bakugou by letting him be an idiot and think he was just... holding back his entire life, and instead all but blows a secret of nigh incalculable value. To his bully. Because his bully felt bad.

*resists the urge to scream into my desk*

And, for a second time this sequence... why? Why would he do that? Why is he simping so damn hard for him?

*spreads hands*

Bakugou, The Living Idiot Ball, whom proximity to drives idiotic and irrational behavior into all.

And then Bakugou has tears in his eyes as he realizes he's not the top dog, and we're apparently supposed to feel sorry for him, and then All Might shows up, burning more of his precious time to talk to Bakugou, not long after his murder attempt, and rather than trying to... chastise him or anything, he rushes to tell Bakugou to cheer up!

I don't know about you, but if I could only give Bakugou one piece of advice, it would definitely be, 'protect your ego!'

Then Izuku affirms to the audience that Bakugou is still the standard he's chasing after, just in case we didn't get the message that Bakugou is the best, because Hori wants to make that very clear in our minds.

Finally: villians. ...Why is the mindless Nomu in the bar?

#bnha critical #mha critical #The 'Great' MHA Read Along #bakugou critical #izuku deserves better #bakugou the living idiot ball #the arc the SOD breaks and never quite recovers #i have no idea what i'm doing #what the fuck did i just bring upon this cursed land

[schafpudel]

Epidemiology of the Raven's Blood

Part 0: Prologue

Realistically, the blood does things because it's convenient to the plot of the anime, and no deeper thought needs to be put in than that. However, while it does explain inconsistencies in its writing, it's boring and not fun to my pattern-seeking brain. I like to piece together coherent internal logic to stuff in fiction, even if I know the authors themselves didn't think that hard about it. It's fun to me!

At the same time, Princess Tutu's meta-fictional conceit does give us some wiggle room to borrow the Doylist understanding and smuggle it back into a Watsonian explanation. So...

In-universe, I think, the purpose of the Raven’s Blood can be understood as a plot device to easily convert a separate “character” and their body into a narrative extension of the Raven; that this is why Drosselmeyer would write it into the logic of his story. Bored of a character you introduced previously and want to heighten the stakes? They're a toadie of the Raven now. And when we go a level down in fictionality...

To the Raven, other living things exist to be exploited. The only use you can have, beyond being a meal, is being a pawn who can get it what it wants – and what it wants is to consume. Like some ancient castle-bound vampire or wicked dragon, its power and intelligence are ultimately in service of a simple predatory desire. If you are neither edible nor manipulable, you are simply a nuisance.

Diseases and parasites will manipulate pain and pleasure, fear and love, the body and the brain. But while a real disease or parasite’s goal in psychological and physiological manipulation is to reproduce, to turn the infected into a means by which to spread itself to new hosts... the Raven's curse is uninterested in this. What matters, to the Raven, is that the cursed becomes a minion and a pawn, who can bring its prey closer to its own mouth.

Part 1: Lay All Your Love On Me

Part 2: Serving Your Heart On A Platter

I’m sure you’ve heard of a sickness that feeds predators their prey. Toxoplasmosis, for example makes male rats as horny and lovesick over the smell of cat urine as they are at the scent of female rats, switching the pathways of fear and desire, to lure them into being devoured. The pathways between the two run parallel, you see. For the infected, every cat becomes a succubus, a siren, a beautiful creature calling its prey to their willing doom. And, if the parasite gets what it wants, this is how the rat dies.

       Why am I talking about this? Because Mytho starts talking about feeding himself to birds literally the day that his symptoms start presenting, in episode 14.

It’s true he’s saying this while antagonizing Fakir, so one could also brush it off as him just Saying Shit to make his roommate as uncomfortable as possible. But also – we know what the Raven wants, in the end.

For most of season 2, however, Raven!Mytho doesn’t continue to talk about feeding himself to crows. He’s mostly focused on seducing sacrifices, manipulating public opinion, having meltdowns about not being loved enough, and being petty to Fakir and Kraehe. His sense of self-preservation (in as much as Mytho has ever had one, cough) seems genuinely intact for episodes 15 through 21. If Mytho is feeling weirdly giggly about getting eaten during that timespan, he’s doing an awfully good job of hiding it.

And then Mytho starts molting into a crow monster at the end of episode 21, and the rat toxoplasmosis symptoms kicks back in.

(We're not told what he's smiling about here in episode 22, but the next episode, episode 23, makes it obvious:)

This does seem likely to be a Mytho-specific symptom; Rue shows no sign of this. The Raven has been particularly invested in eating Mytho’s heart for a long time, after all; Mytho’s job as the Raven’s doordash delivery guy was always going to be temporary even if he hadn’t beeninterrupted every time. It’s entirely possible that other people could end up with this “symptom” too, but we never see it.

The fact that Raven!Mytho proceeds to acts so strangely cuddly after telling Kraehe she’s an ugly fuck (but also that he needs her love) feels somehow related to this enthusiasm for getting eaten by crows. His voice delivery in the Japanese audio for the heart/lips/blood line sounds…  …I hate to say this.

It sounds like he thinks a crow girl ripping out his heart and touching it onto her mouth is really hot.

(Yea, of course she's shaped like an uggo human (and he's in the process of moulting into a majestic raven and he's sosososo excited for that) - but hey, she's technically a crow as far as he knows, and she has black feathers....)

(And while regular!Mytho seems negative to neutral about that in season 1, Raven!Mytho only ever complimented Kraehe for having crow-like qualities.)

Anyways! In Mytho's final state under the Raven's Blood, he immediately obeys the Raven's orders to be devoured, completely ignoring Rue and Tutu's pleas.

...You know, until the Fairytale Confession of Love, because this is a magical curse and it is a fairytale.

Part 3 and Part 4 are not ready yet but are in the works. See you soon.

#princess tutu

[rockinhamburger]

What exactly is empathy?

Back with more Nate meta - shocker! At a basic level, empathy is about widening our perspective to understand where someone is coming from. It doesn’t mean actions taken are acceptable or justified, but it’s an exercise in looking for insight and extending compassion. One thing I’ve noticed can go missing in analysis of Nate’s choices is the limited POV he has throughout the show. People are quick to judge him for his reasoning in the latter half of S2 without recognizing that he’s missing crucial insights, often because he is not in the scene which would provide it. I want to highlight a few examples that I think show this limited POV and, hopefully, indicate where he deserves some grace.

Of course, a straightforward example of this is the picture Nate gave to Ted for Christmas. Nate couldn’t help but notice it’s not hanging in Ted’s office, and that became emblematic to Nate of the abandonment he was feeling. We the viewers know that Ted has the picture on his bedroom dresser next to his picture of Henry. Nate doesn’t know this; he has a limited POV, so in my view it’s a lot kinder and more empathetic to give him grace on that one. But what tends to happen is that a detail like that gets sublimated into justification to continue criticizing Nate. For instance, instead of feeling sorry for Nate, feeling compassion for his limited perspective in that moment, the thinking becomes judgemental and defensive: Why should Ted display it in his office? Ted doesn’t owe Nate that. Nate needs to get over himself.

People tend to be similarly hard on Nate for the moment in 2x11 when he says, “There we go. Give Ted another idea he’ll take all the credit for.” We have a wider perspective than Nate does. We know that Ted doesn’t take the credit; in fact, Ted credited Nate for his decoy play back in 1x03. It’s a great moment that shows us Ted’s integrity - he doesn’t take the credit for that, even when Trent Crimm is audibly horrified that Ted would entrust such a thing to the kit man. It adds to our growing love for Ted as a character.

But crucially, Nate doesn’t hear a lick of it. Nate is yards away kicking dog shit off the field. His POV is limited in the scene, so he entirely misses that lovely moment of Ted giving him the credit. We’re also privy to the article Trent writes at the end of the episode, and he doesn’t mention in there that Nate came up with the play. Why would Nate have any idea that Ted gives him the credit?

“That’s the job, son,” Roy says to Nate. Putting aside that they’re roughly the same age, so it’s more than a little condescending, this comment from Roy doesn’t address the void Nate’s feeling of validation and approval from Ted. In 2x12, Nate says, “And I... I worked my ass off, trying to get your attention back. To prove myself to you. To make you like me again.” I wish people would take these words at face value instead of using them to continue justifying uncharitable readings of Nate’s behaviour. I wish more people would put themselves in Nate’s shoes and imagine for a moment what it felt like to be in the sunlight of Ted’s kind, supportive attention in S1 only to feel like he’d done something to lose it. Imagine wondering what you did wrong to lose the attention and care of the kindest, sweetest man you’ve had the fortune of meeting. Nate is feeling Ted’s absence so keenly by the time he lets it all out in 2x12. He feels invisible and occasionally even outright replaced. Ted laughs at the idea of him being a big dog, and god, that has to sting so much, and then he brings Roy in as coach. People are quick to gloss over this moment, but it’s a crucial one for understanding how twisted up Nate is starting to feel. If he truly thinks Ted doesn’t like him anymore, then imagine what it felt like for him to be the subject of Ted’s laughter and for Ted to subsequently bring in someone he wouldn’t laugh at? And in the episodes following, Ted’s giving Roy the attention Nate craves as the wins pile up, and to top it off, those wins are largely attributed to the Roy Kent Effect.

Ted isn’t there for Nate’s big moment of glory in 2x06. We know why he wasn’t because we got a lot of Ted’s backstory. Nate didn’t. He has no idea what Ted’s going through. One big takeaway from the show is that we don’t know what the people in our lives are going through, and that’s another reason to be kind and empathetic to each other. So yes maybe Nate should have been able to connect some of the dots, particularly once Ted confessed he’d had a panic attack. Maybe he could have given Ted some grace, but clearly Nate was going through some of his own toxic stuff that made him miss a few things, just like Ted. And really, it’s not like people are giving Nate grace given what we know of his struggles. Nate doesn’t realize the extent of Ted’s mental health struggles because Ted doesn’t let him in on it, just like Ted doesn’t realized the extent of Nate’s feelings of abandonment.

One moment I find so brilliant for highlighting just how much Nate wanted specifically Ted’s validation and approval (to make you like me again) is the fact that Roy gives Nate credit and validation for his big win. He tells Rebecca the win was all Nate (but, crucially, Nate isn’t in the room for that) and then afterward he says, “Oy, Nate, great fucking work today.” I think to Nate it feels more like getting validation from a friend or brother. It’s the kind of thing we like to imagine will make a difference and build us up, but usually it doesn’t quite do the trick, not when it isn’t coming from the person we most want it from - in Nate’s case, Ted, and on a deeper level, his father.

In 1x07, when Ted is at one of his lowest points in the series, he lashes out at Nate. We know why he did. We understand that he has to sign his divorce papers, to essentially quit his marriage, which kicks up a bunch of his emotional triggers around quitting due to feeling like his father abandoned him. We also know he’d been drinking. So, we give Ted plenty of grace in that moment because we have the full picture. Nate doesn’t. Of course, Ted apologizes for treating Nate like that the next time he sees him and Nate forgives him instantly. It’s a lovely moment that again showcases what a thoughtful character Ted is, that he can earnestly apologize. But it’s also a lovely moment that shows Nate’s capacity for understanding and forgiveness when he’s been wronged.

As has been discussed a lot since the end of S2 aired, this conversation outside the locker room in 1x07 is the last time Ted and Nate have a one-on-one conversation before the scene in 2x12. I think it’s easy to overlook this turning point in their relationship and to think that everything’s been patched up in the apology, but the damage from that moment in front of Ted’s hotel room is substantial. I did everything I could to make you like me again. I can’t help feeling like Nate looks back on that night in Liverpool and feels that was the moment everything changed, the moment the attention started to shift, when Ted stopped liking him.

I wish more people would extend to Nate the same compassion we gave Ted following his angry outburst at Nate in 1x07. We all make meaning from the limited perspective we have. Nate was lacking important insight throughout much of S1 and S2, and that was compounded by feelings of inadequacy and abandonment. And I think when it comes down to it, Ted knows exactly how that feels. Empathy widens perspective. Ted’s not going to bask in schadenfreude; he’s going to extend empathy and compassion because he gets where Nate is coming from. He won’t take his pain out on Nate, even though Nate did that to him, and if we admire Ted’s capacity for forgiveness and understanding, this is the test of our own.

I hope fandom can rise to the occasion in S3.

#nathan shelley #ted lasso #tl meta #fandom double standards for nate as a poc plays a significant role here #it's not the purview of this meta but i should make that clear

[nicoleanell]

By POPULAR DEMAND (a couple of people said "hey Nicole I care about your Renfield 2023 meta")

Ever since I made this gif set of something that's grown to be one of my favorite moments in the movie, I was a little wary of responses to it? Not just whether the source or my highlighting of it would be interpreted as victim-blamey, but that some might actually use it as a jumping-off point to say something more insensitive and victim-blamey themselves in the comments/tags. (Which thankfully hasn't happened! But the first thing is a take I've seen from a couple of people.)

Now, I feel pretty strongly like "victim-blaming" or being anything but 100% on the side of the abused is the LAST thing Renfield (2023) is trying to do, considering [GESTURES AT THE ENTIRE MOVIE]. But I do think it needs to be unpacked a little bit.

This idea of having partially gotten yourself into a situation and that means you can get out and get better… that's not going to relate to EVERYONE'S experience. (Certainly not, for example, a person whose abuse started in childhood.) It's not a universal truth and I don't think it's meant to be. See that tumblr post going around about how fiction that's harmful (or just lightly off-putting) for some people can be healing for others, and vice versa.

But for this character it IS really important that he's not a perfect innocent victim but not an irredeemably bad person either. And it's also important that any Redemption he's capable of is not through shame and punishment, something he's had quite enough of already, but being alive and happy as the person he wants to be.

They have him acknowledge before the end of the movie - in a way that is framed as correct and honest - that he bears responsibility for where he ended up, on a very literal in-canon level. Although Dracula is manipulative and he's implied to have some degree of hypnotic power to influence/charm people, what did not happen (contrary to some versions of the story) was Renfield having his sanity and/or free will magicked away entirely. He made CHOICES. He continued making them!

But… there's something about the fact that he gets to own that without hating himself. He has to own it without hating himself. A not insignificant thing for him is to be able to say that he made mistakes and bad choices, and he takes responsibility for that, but that doesn't mean he deserves to suffer for those choices forever. He's allowed to move forward and be happy.

It's such a huge and weirdly nuanced take for this movie's version of Renfield to be fully accountable for his actions AND extremely sympathetic AND go basically unpunished.

Relatedly, I love the fact they acknowledge shame as a motivating influence on him, which is so fucking dark and sad and complicated coming from this movie?!?!?! A lot of people took that line to be specifically a queerness/attraction thing, and I think that's there and valid. But I also just took it to be like over time the primary way Drac manipulated him was through his shame over what he'd done & become.

Which is such a heartbreaking thing to throw in there, because everything else on that list (dreams etc) is a positive reinforcement -- the devil on your shoulder appealing to the things you want -- but then it crashes into this understanding that he didn't want to want some of those things, and that was also a button to push. There is something equally powerful to Dracula knowing what shames him and the exact ways he hates himself, maybe to take it away, maybe to just keep pressing it until he agrees he's worthless and deserves to suffer. That is MOST of the dynamic we actually see between them in the timeline of the movie, regardless of what their earlier relationship was like.

So the answer to that is not to say he's totally good and has done nothing shame-worthy, but it's also not to say he should be more ashamed actually, it's just… knowing all this and still believing he deserves to be alive and free.

IRL it's not uncommon for there to be a self-blaming factor within abusive relationships and some guilt and shame that goes along with that. It's not always incorrect to realize like: some of this was in my control, I gave a lot of power to this person willingly. I emotionally relied on them, I let my identity get wrapped up in them, I should've known better or stood up for myself or put up stronger boundaries earlier, and the fact I didn't just reinforced how hopeless I felt. It hits the same way for anybody struggling with addictive or self-destructive behavior. The flip side of all that can be understanding and forgiving that version of yourself and reclaiming that power rather than feeling ashamed and trapped by it.

And again! That's not necessarily the story or mindset that resonates with everyone, and it could be perceived badly if one feels it's speaking for all survivors. But if it resonates, it really does.

Last note: The movie also says very firmly that it is NOT as easy for everyone as simply "loving yourself, standing up for yourself, accepting responsibility etc." Like, I actualy think they made a pretty loud point that when your abuser is violent and vengeful and threatning to hurt you and others, you actually fucking CAN'T get out so easily and the self-help affirmations are kinda bullshit. HE NEEDED ALLIES AND SUPPORT IN A VERY REAL AND TANGIBLE WAY. Without Rebecca and also Tumblr he would've been fucked several times over. :) But the bullshit affirmations were still something that mattered to him emotionally, and something he drew strength from, to even get the belief it could get better into his own head.

#renfield #renfield 2023 #robert montague renfield

[factorialsotherfandoms]

its 6am and I'm complaining myself through the ending of purgatory k? This is just the bitching not a full balanced analysis, bits I genuinely enjoyed are missing so it looks like I have a worse opinion than I did, its below a cut because a lot of people don't want that and that's absolutely good. I'm just processing through.

I think purgatory ending feels bad because we were promised by the way it was advertised and treated the end of the arc, and what we got was another fucking mid point instead. A mid point which after this going on for so long nobody really wanted. Setting up new project cool! But it felt miserable to watch the end. Probably could have been helped if the CCs had more info on a meta level - just the timescales and that this wasn't actually the end of the arc - so they could pace themselves and us better. The eggs missing has gone on for far too long, we've been given far too little to work with, and it's just not fun viewing any more. Which is why my engagement is so dependent on the next little while.

That, plus getting to the boat on foot was impossible without near perfection - something they were never going to all have. I like giving qMaxo his big sendoff with the nuke which solves nothing! But people who were legitimately trying to escape (Cellbit, Tina, off the top of my head - Cellbit just legit got lost in the underground. He said after he decided to stay but like... really? We'll have to wait and see next time he plays qsmp. If nothing else he legit had shit to do planned, and I feel like he would discuss it more with Roier if he was going to perma-kill Cellbit as that's massive to put on someone else's character. Pretty sure ccCellbit was just teasing like he fucking does but we'll see. Also changes what Maxo did if any of them die to it /significantly/. I'll be genuinely worried for ccMaxo if his characters actually pretty neat death arc resulted in a fan favourite character permadying in a game without permadeath) should have had a legit chance to do so. If they were supposed to be able to. I really hope the admins smooth that bit over one way or another, because it just made shit feel extremely bad. Kinda expect the /actual/ ruling to be if one person made it they all did, but dear god they needed to tell the players that immediately after or whatever if so. Failing that you could maybe have the others in the Nether or something, but youd need to coordinate everyone who didn't make it and that'd just suck logistically. The sensible answer is if one person got there they all did because this isn't a high legality sort of game. For players.

Like the other eggs were probably kidnapped by something and reported out? And I'm betting on black concrete plot as that's the plot actually associated with them disappearing in the first place, but for all it's cool moments up until then it just... dropped the ball. Tbh the entire thing with the eggs being involved was a massive ball drop which lead to /one/ cool conversation but otherwise just made everything infinitely less enjoyable.

Poor BBH. Like cc wise. He's one of a whole lot of them who have horrific rp safety practices, but also there's not really anyone to teach them that and that's nothing to punish someone for. Hope it gets hashed out with him. All of them but especially him.

Having players of another project as "advertising" for a new project without them knowing more in advance tastes kinda shitty. Very shitty. We'll see how tied it ends up being but that's just not comfy.

Quackity saying about big stuff planned is absolute ass. Like legitimately and out of character the CCs genuinely need a break for a bit you can't just throw them back into heavy stuff immediately. They need space to breath oc and find their footing ic. Most of them have streamed far more than usual this fortnight, and even for those who do stream daily usually it's been intense. You can say if its hurting them they can just take a break but you cannot convince me they can when their literal irl incomes depend on this. Some more than others, but they do.

Also like the tension just genuinely doesn't hold that long. Most of what I run is combat heavy fantasy events, but I've done horror too. And a big bit of running horror events is studying how pacing and tension works, especially over an extended period (horror events locally tend to be multi-day). You /can/ change the usual layout, but you have to know your fucking shit and be really careful if you do, and the admins and Quackity just don't seem to - as a collective whole, some individuals may - have the experience necessary to fuck with the formula. Like. I'm burnt out, the players are ooc burnt out, the fandom generally seems burnt out - not giving the players a win here was already a mistake, but the tension /has/ snapped. Too many people are too burnt out from playing more than usual and all that, under very high stakes circumstances, for very little reward. There needs to be a break where players who do other stuff can play other stuff and players who don't can take the time to find their footing again. Tension levels are not sustainable and they broke them open. If they hadn't revealed the eggs you could have stretched it another few days, but they did. At which point losing the eggs again is genuinely so fucking unsatisfying. They could have only been shown the winning egg. Like sure fuck with people, that's what's going on IC and OC maybe it was supposed to be reassurance, but it just ended up feeling ghoulish. It was so obviously playing on feelings it just fell flat for me. Not even the fun playing with feelings, just a fuck you.

Also communication has been fucking atrocious. Yes keep twists in the bag, I can see arguments for all plot points, but the players needed to know the timescale, the fact it was a PvP not a lore event, and that this wasn't the end of the eggs missing arc rather an interlude waaaaaaaaaaay earlier. Like they found out as these things became obvious, but given the time commitment it demanded they needed to know like weeks before it started. As soon as it was announced. We can tall all we like about trusting the admins, but the admins have got to fucking trust their players to still make good viewing times even if not everything is a complete surprise. It fucked over Cellbit and Roier and their murder plot planning, it fucked over a lot of people ooc and their streaming schedules and their ability to do actual life things. Forever when given the Judas plot should have been told in advance when it would be activatable. The players - not the characters or the audience, the players - should have known it was 15 days, PvP, only 1 egg was on the cards for now, that the chance to save the others will come later (I have no doubt it will), and that they would need to escape fast at the end. Not the why, not the how, not the plot, but you need to know the fucking stakes.

Like okay let's look at shit I run a sec. Its nor perfect, but we've been building on a 20+ year tradition of larp in the same place and learning from what does and doesnt work. Info players have in advance:

date and time. for things run for and at the university, dates generally are announced start of the year, and which system will be which day is the start of every term. For events for the uni but at an unusual place or time (often an IC dinner party or similar), 3 weeks in advance. For stuff not associated with the university (I help with fewer of these, as far fewer happen and theyte the ones i can still play with my disability)... well, they tend to be multi day in a hired venue and players pay a lot of money to be there, so its usually about a year and a half in advance. The stuff below about pitches are for saturday ones - paid for multi day events all that info is announced at least a year in advance, and for single day non-university ones at least 6 months. But like qsmp is a constantly running thing so the university stuff is a fairer comparison.

Every event has a "pitch". This goes up the Tuesday before for Saturday events - theres a couple of different teams running different genres but same place same time theres a larp every termtime saturday just 9/30 are run by my team. The pitch will contain the information the characters know going into a mission or social or whatever. If theres a twist the twist isn't mentioned, ofc, just the initial setup. Then, there's an out of character section, with stuff like date and time and reminders to weather weather appropriate clothing and sturdy shoes.

If the event is /not/ in the format players expect, in the out of character info including things like the time, we say that. We run combat heavy stuff. If it's purely social, we say so. If it'll be more Freeform than usual, we say so. If the party is getting split we - you guessed it - say so.

Our events have different levels of IC rewards. The basic reward can always be assumed (3 gold, iirc). Theres also 4 and 5 gold days. If its not 3 gold, it says so in the pitch, and players know this is a difficulty rstinf system. 3 is normal, 4 is "this is designed to be challenging for late end high xp characters and is likely to kill lower levels", 5 is "we are actively trying to kill someone". Death is always an option, but the ref team don't usually want it.

Sometimes there are RP rewards too. These are not explicately stated, but are alluded to "you will be paid so long as you eliminate the monster. If you capture it and deliver it to the university, however, the chancellor promises an extra something for you" sort of thing. "The Dowager Duchess is well known for rewarding those in her favour. Impress her, and she may do the same for you".

If there's distressing content that isn't covered by genre and game style, we include a warning. Last time was "this session will include horror elements. A list of content warnings is available from any ref on request", and we DMed players we knew have triggers on that list the same day pitch went out to liase with them. Yes even when the trigger is a plot twist or a spoiler because fuck you player safety will always be most important. One which had content warnings but was not horror "this session contains potentially distressing material. A list of content warnings is available from any ref on request".

And like... call me naive but this is the sort of info the players should have? In advance they should have a summary (yes it's also given IC at the start of the event, but it means they can prep properly), dates and times well in advance (so they can prep their lives and other projects), expected rewards (even if vague), and any particularly common triggers (like say a third party intentionally sewing paranoia and fucking with mental health of characters) should have a "theres triggers here please put a message in your help channel for a list". I'd say also some indicator of where on a plot arc something falls.

We dont give this because our pacing plot arc wise is determined by how we run them. Paid events are all always one offs (I run them with a different group of people but same circle) - except when they aren't in which case this is made clear at the pitching stage- and uni ones its dictated by the university schedule - we run nine main events a year, 3 each term. There's a small climax last linear of every term, and a major one at the end of a year. Yearly arcplots do not always exist but when they do they end with the last linear of term. There are some other plots brewing over longer periods - when those come to a head, they will become the main plot for a year and their climaxes run on yearly arcplot rules. It is never the case that all sessions in a year are arcplot related, to give players not interested in a specific thing something to do.

Other things they could probably do with include a safe word and establishing a way for an admin to indicate a fuck up due to glitch or mistake - probably an "ignore me" emote only admins have access to.

This all being said - the admin team want people to have fun and for it to go well, and the medium is much younger than traditional LARP. Information for their specific media does not exist, and while they maybe should look at rp for ideas they probably look at tabletop and don't even consider LARP - let alone larp styles more common in Europe. I can say things all I want, but I'm just a guy over here. The admins are trying their best and do want the best for their players, and will have a plan. It's just infuriating sometimes.

#fandom neg #qsmp neg

[quibbs126]

So I’ve seen a couple people having ideas of rereleasing Dark Choco but as a Super Epic, and I’m wondering how that’d work, especially since we don’t really have a precedent for this specifically

The only thing close to it that we have currently is Croissant and Timekeeper, as well as presumably White Lily and Dark Enchantress, who are technically the same people, but through whatever means they became entirely different entities, which isn’t really what we’d be aiming for here, it’s just a rerelease of the same Cookie

I mean first off, would they do it? I feel like the requirements for this sort of situation is that you’d need a different design, but also a completely different Skill, or else you could just make it a Legendary costume (or maybe they’ll introduce Super Epic costumes which basically act like Legendary costumes but for Epics). Now, I think that Dark Choco can tick off the new Skill box, since his old Skill comes entirely from the Strawberry Jam Sword, which he no longer has, so I feel like making the skill different entirely isn’t too much of a stretch. I mean you could give him a different weapon, like a bow since we know he can use one

But then if they did rerelease him, what happens to the old Dark Choco in game? Would they just delete him? That wouldn’t really be fair to the players who put in the hard work getting him fully leveled up, promoting him to 5A, and getting all his costumes. Not to mention it’d make his old Special costume a bit of a waste. And I mean, if this new one has an entirely different Skill, why not keep the old one around?

But then there’d come the confusion of having two characters with the same name in the same game together, and it’d be really confusing for newer players who don’t know the whole story yet. So he’d probably have to change his name in this rerelease, right? But then why would he change his name in canon? Going back to Croissant/Timekeeper and White Lily/Dark Enchantress, those pairs look fundamentally different in each form, act completely different, and probably have different ingredients. For Dark Enchantress we know she was rebaked, and I’m not entirely sure for Timekeeper other than all the time rifts slowly changing them over time. So would Dark Choco have to change into a different Cookie somehow? Like he gets rebaked? I mean he can still have his memories and his personality (I mean like his changed one as he goes through his redemption arc), but he’s also a different Cookie? I’m not really sure how or why that’d work

And also also, if they were to make a new Dark Choco that’s a Super Epic while keeping the old one, what happens to the old one? Does he just become obsolete? I mean you can give him a Magic Candy, but what’s that gonna matter when you have the new Super Epic one that’s probably in the meta? And also what would they do for new Costumes, would they have to both get one or would only one get one, leaving the other in the dust? Again I see this being less of a problem if they’re now two different characters, even if they aren’t as fundamentally different as the other two pairs, but there’s still that question of how to justify that

I’m not trying to bash the idea of rereleasing Dark Choco as a Super Epic, I think it’d be cool, I’m just overthinking the whole thing. I’m curious what Devsis is going to do with him in game as right now, he’s like the only character who’s playable self is fundamentally outdated in terms of where they are in canon (as well as being outdated in the meta, but that’s its own separate issue that can be solved by buffs and Magic Candies), and I wonder if they’re planning on fixing that going forward

#I’m overthinking things #but heck it it’s kind of fun #and you gotta consider all the factors #granted I’m now realizing that other people were probably just doing it for fun #and not with the idea that something like this will actually happen #but again I overthink things #cookie run #cookie run kingdom #dark choco cookie #speculation

[stardust-falling]

Hello.... Can I ask your top 5 (or top 3) favorite characters from SVSSS? And why you loved them? And your top 5 favorite moments from the series? Thanks if you want to answer....

Top 5 favorite characters:

1 - Shen Jiu 2/3 - Yue Qingyuan, Shen Yuan 4/5 - Luo Binghe, Gongyi Xiao

Honestly, it's super hard to decide my favorites, hence the 2/3, 4/5 here lmao. Depending on the meaning of "like" I really don't dislike any SV characters (obviously OPM, QJL, WYZ can go get fucked if we're talking about emotional affection/blorbofication, but I do still enjoy them in a meta sense for their roles in the story). But because SJ is both my favorite in terms of "I feel affection for this character and he is my little scrungly blorbo" as well as "I want to study him under a microscope like a bug" he gets the top spot easily.

Top five favorite moments is pretty hard too, since things are my favorite for different reasons... So I'll pick my favorite scenes for analysis, not necessarily for emotional reaction or attachment, in no particular order. Going under a cut because I rambled, as usual:

I really, really like the entire Holy Mausoleum arc, but I specifically like the part where SQQ and LBH are confronted by OPM and QHT. I feel like it's here that we can really see beneath the unreliable narrator and actually see that SQQ truly does love LBH back. Holy Mausoleum in general just says a lot about Bingqiu without saying it directly, and I do encourage everyone who thinks that SQQ doesn't actually love LBH back please reread that part while looking for it because damn, SQQ's narration tries to hide how much he actually cares for this boy.

Qijiu extras, the scene in the Lingxi caves. Between SJ's paranoid and irrational internal monologue that shows that despite everything, he really doesn't actually see himself as he is or as a legitimate peak lord, Yue Qingyuan's appearance at a critical moment to keep SJ from spiralling past the point of no return (contrasting this to his inability to return to Qiu Manor in time), the fact that even though they are not on good terms, YQY is still able to calm SJ down from qi deviation, and that SJ tolerates both his presence and his touch, it shows a lot that despite his paranoia and his hurt, a part of Shen Jiu still trusts Yue Qingyuan. The fact that it's revealed that they're in the very cave that YQY was trapped in with Xuan Su is just the icing on the cake... the truth is laid out before them, just a step from being revealed, but still isn't... I just think this scene really is so important to show how 79's relationship stands on a deep level, both the trust that is still there as well as the barriers.

Skinner demon confrontation, after they're captured. The irony of the first mission being to take down a demon that's literally wearing someone else's identity as their own is great. There's also Luo Binghe's sexual awakening upon seeing SQQ shirtless, which is honestly quite funny to me as an ace person. But my favorite thing, I think, is the way that SQQ sets up Die'er's defeat by using LBH as bait which, while it is successful due to the genre's conventions, also makes Luo Binghe's trust waver... it sort of sets the tone for the entire emotional conflict of the novel. Despite SQQ knowing that LBH will be fine, since it has all been decreed by plot, he underestimates how much it will hurt him-- and he's thinking about hurting LBH in terms of how it will affect SQQ himself later on, rather than LBH's own pain. Then, afterwards, SQQ leaves LBH behind to go into seclusion, he gives LBH the new manual but doesn't move him out of the woodshed, and there's no indication that Ming Fan's bullying stopped during that time either. When SQQ returns, he ends up sacrificing himself and taking the poisoned hit for LBH... in a way this all just parallels the actual plot of the novel in short-form and I think that's very, very neat.

The water prison arc-- everything from LBH's visit where he stops LPM from attacking SQQ, where SQQ refuses to answer LBH's question because of his inaccurate perception of the situation, LBH's volatile emotions in this sequence, Gongyi Xiao's assumptions that LBH had assaulted SQQ and SQQ's complete obliviousness to that possibility, plus just GYX being the best boy ever tbh, he doesn't deserve to live in this messed up book and certainly doesn't deserve to die. This sequence has so much about how inaccurate perceptions of situations can lead to wildly off-base interpretations and how a lack of proper communication can escalate a conflict where it really didn't need to escalate. The "perceptions and interpretations vs. reality" idea is another major theme in SV, and this sequence really showcases a lot of that in a clear way.

Maigu Ridge. This one's controversial. A lot of people have a lot of opinions about it and let me just make a disclaimer that I'm not including this one because I enjoyed reading it on an emotional level. Maigu Ridge is FUCKED UP!! It's a massively fucked up situation for all parties! It's uncomfortable, and definitely something that warrants a trigger warning before reading the book-- and yet, it's so interesting to analyze from a hypothetical standpoint because the situation is just so, so messy in terms of who gives consent and who doesn't-- and does anyone really have the option to consent here, since both parties are under the complete control of the narrative-- in terms of who hurts who, etc. There are a lot of little details to debate, and of course there's the instant, knee-jerk surface reaction that people get, which I can totally understand especially if you didn't go in expecting this sort of scene and ended up getting triggered by it, but once you start to peel back the layers you can actually find that this scene is way more complicated than 'one party as the aggressor/one party as the victim.' It's a deconstruction and subversion of tropes, but also a really interesting place to analyze themes of consent as a whole, and the effects on the individuals involved. For this, honestly, people just need to remember that these are fictional characters. It's not saying anything about IRL survivors, and I'm a major proponent of considering massively fucked up situations through a fictional lens in order to understand the shades of gray that may exist in similar but less-extreme situations in real life, without the possibility of your deliberations causing harm to any party since in the fictional scenario, since none of the characters are real (I can't even begin to tell you how much of my own trauma I've processed based on extreme fictional scenarios). But on the flip side, if the scene upsets you or triggers you, it's perfectly valid to dislike it! It's also perfectly valid for you to dislike the Bingqiu relationship because of it! It's not for everyone and I completely get that, but also, keep in mind that people analyzing the scene in different ways doesn't have anything to do with how they'd react to real-life situations. It's all about what works best for each person.

Anyway that last one got really long, just because I've seen so much knee-jerk reaction in fandom with it and tbh, I feel like I have to cover my bases these days.

A lot of people say that SVSSS is less well-written than MXTX's other books, and while it does have issues, I wouldn't say that the book isn't well-written. I have no idea how much of what I talked about in those scenes above is deliberately intentional storytelling and how much just sort of happened, but those are just some of the reasons that I really do think it's actually a very good book, genuinely, and not the only scenes at that, I just limited to five here.

I hope you enjoyed reading all my ramblings-- SVSSS brainrot is real and the hyperfixation is going strong haha.

#svsss #zhuixing svsss #analysis #svsss meta #as a writer svsss is such an interesting book for me #like anything else that takes on genre tropes in a meta lens #but coupled with characters that i just find myself so emotionally connecting to as well as that i enjoy analyzing #i talk about maigu ridge here but i keep things pretty vague so i don't think it needs a cw #but let me know if you think it does!