#also me: writes an entire essay on why shes the best written character despite only having crumbs of lore

[whywoulditho]

Do you mind if I ask your top 10 favorite characters (can be male or female) from all of the media that you loved (can be anime/manga, books, movies or tv series)? And why do you love them? Thanks....

god this question is too much for me

like dont get me wrong i can talk about my blorbos the whole day but you want me to compare them and pick favorites?? and narrow the list to only 10?? oh boy

here are ten fictional characters that live very close to my heart, whom i am mentally holding in my pocket, carrying around and feeding cookies. there are probably many others who deserved to be on this list but,,, i hope they will at least forgive me if i give them extra cookies 😔😔😔

10. Anne Shirley-Cuthbert (Anne with an E)

She is everything beautiful in this world. One of the most enjoyable main characters to watch. Kind, passionate, open-minded, strong and fun. I want her to be the happiest person in the world because she deserves the best of everything. I wish I could see more of her, I could never get bored of watching this girl.

9. Paris Geller (Gilmore Girls)

Apart from the fact that she invented being a girlboss, this woman right here is THE main character. She's never been wrong in her entire life. I relate to her an unhealthy amount, seeing this girl get all hyped up about high school debates make me so happy because I was her. I am her. I love her.

8. Mitsuba Sousuke (Jibaku Shounen Hanako-kun)

"Lemme make the most mentally fucked up character in my series all cute and pink so that my editor lets me keep his emo ass in the series." —the author at some point, probably. THIS BOY. ugh. He's so annoying and so unlikeable but he's also got the same middle school trauma as me so he gets to live in my pocket and eat cookies too. Protect him at all costs. (protect him from the author themselves, tbh)

7. Kurapika (Hunter x Hunter)

He's ugly and pathetic I hate him.

😔❤️✨

6. Nakajima Atsushi (Bungou Stray Dogs)

Pretty boi with trauma, INFP, self-conscious, people pleaser, (loser in general): my favorite genre of fictional characters. :D He needs to be hugged. He deserves to be hugged. SOMEONE HUG THIS BOY.

5. Leorio Paladiknight (Hunter x Hunter)

If you've only seen HxH once, you might have missed it but this man. This man is the best person in that whole series. The best in any aspect you can think of, actually. He's the strongest, the kindest, the most important and the most realistically written character of HxH but he looks so lame among all those weirdos that it's hard to notice. I can talk about him for hours. I can write ten different essays about him. He's not just there for comedic relief, he's not just there as the dumb one in the friend group added to the story just to make others look better. He's important. He's the heart that connects people. He's the one that keeps his friends grounded (the friends being a group of major losers consisting of an ex-assassin with severe childhood trauma, a clueless fucking kid with a habit of cutting his own hands off once in every three months, and an angry, chain-licking 20yo virgin himbo.) Leorio is amazing and we should say it more. He's strong. He's pretty. He's canonically got the the most calming heartbeat in the world. He's. He.... Oreo man.

4. Sakusa Kiyoomi (Haikyuu!!)

Listen. He's so important to me. Do you know how much it means to have a character with semi-canon OCD in one of my favorite series? Do you know how seen that makes me feel? I love Furudate for that. I love Sakusa Kiyoomi because he makes me think that maybe, if you work hard for it, a shitty mental illness doesn't have to prevent you from achieving all the great things you could do. I don't know man, I'm probably reading way too much into an underwritten character, but still. He makes me so happy. He's an annoying little shit, he's grumpy and he's too blunt and he's sick in the head but he's also loveable. And I relate to him so much, that when I see people loving him despite everything, I feel like maybe I am worth of that too. This one is very personal to me. I'm just so glad that he exists. Also he pretty. smash

Now for the top 3, I don't have a top 3. I got three of my very own children. I can't rank them at all, they all mean way too much to me. And I'm sorry but top 3 is reserved for them and probably always will be.

Emma, Norman and Ray (The Promised Neverland)

They're a package deal. I couldn’t separate them in the list, but I couldn’t pick who I like more than the other either, so the three of them get to share my top 1 spot. They live in my most comfortable pocket, the one that's the closest to my heart. I love all of them individually, their own distinct personalities that makes them so unique and admirable in their own way, but their bond means so much more to me. I love all of their personalities but I love how well they all fit together more. I love how they complete each other. I love that they're a mess when they're not together, I love that they don't know how to live without each other, I love that their love and trust were stronger than all the things they've been through. This manga is my favorite thing among all the things I've read in my life and it is mostly thanks to them, the best main cast ever. They're irreplaceable to me. I know TPN isn't the best series out there, but it speaks to me in a whole another level. These three are everything I would love to see in a cast and more. They've never bored me in the slightest even after reading the manga three times over. The fullscore trio. My children. My everything. I miss them everyday <3

I think this is it?

Thank you SO MUCH for this ask!! I know you only asked for a list and I bombarded you with paragraphs of me showering my blorbos with love sjjfjskf sorry

#asks #blorbos #the promised neverland #hunter x hunter #hxh.things #haikyuu #bungou stray dogs #jshk #gilmore girls #anne with an e #paris geller #mitsuba sousuke #kurapika #nakajima atsushi #leorio paladiknight #sakusa kiyoomi #NER #top 10

[serpenteve]

why we ship darklina

an essay literally no one asked for

Nobody needs a "reason" to ship Darklina. But considering this is a villain x hero pairing, it got me thinking about why we shipped it in the first place when the narrative and author so badly wanted us to root for the more sensible alternative pairing and why it became the most popular ship of the entire trilogy.

Personally, I find it really interesting (and low-key hilarious) that a lot of the reasons shippers gravitated towards Darklina can be directly traced back to how badly Bardugo bungled Alina's character arc, Mal's entire characterization and narrative role, Nikolai's wasted potential as an alternative love interest, and the noble intentions she gives the the Darkling.

Alina's Character Arc

Alina's character arc doesn't match who she is as a character. I've written more about that in this post, but a lot of readers were introduced to a passive and insecure protagonist who we were expecting to undergo a typical YA coming-of-age character arc where Alina acquires self-acceptance, confidence, and embraces the full breadth of her powers over the course of the trilogy. Instead, Bardugo gave Alina the kind of character arc that's usually deserved for power-hungry anti-heroines or tragic heroes with a fatal flaw to punish.

The plot offers a strange binary: either Alina suppresses and hides her powers and therefore stays away from descending into villainy OR Alina attempts to find Morozova's amplifiers in order to defeat the Darkling but then becomes corrupted by power in the process. Alina's journey to self-acceptance and exploring her own powers are unfortunately entangled with her relationship with the Darkling. The only way she is allowed to move forward through the plot is to succumb to the corrupting influence of the amplifiers.

For better or for worse, the first character to really embrace her powers instead of thinking she's a fraud or that she's weak or that she's an unholy abomination is the Darkling. He's the first person to recognize her power for what it is and accurately judge its potential and implications for the rest of the world. He advocates for her in front of the royal court, in front other Grisha who think she's weak, and even against Baghra who is initially a very ill-tempered mentor with little to no faith in Alina's abilities. He even rather ironically advocates for her even when the heroic person who's supposed to be supporting her (Mal) does not.

At the start of her journey, Alina is insecure and in constant need of assurance and validation. The Darkling's role as her mentor and guide into this unfamiliar world of Grisha makes him the perfect advocate not only for her powers but also to help Alina see her place in the world. However, once he is revealed to be the villain, Alina also fails to realize that it's time for her to advocate for herself and throws the baby out with the bathwater.

Mal's Characterization & Narrative Role

When Alina loses the Darkling as an advocate in S&B, Mal steps up to take this role. Alina is still rather passive for the majority of the first book and it's Mal who originally wants her to have Morozova's stag as an amplifier if it will mean being able to stand against the Darkling. Bardugo intended for him to be a heroic love interest as a foil to the villainous love interest and I believe she mostly succeeds for the first book.

However, because this is a story about punishing Alina's "evil ambition" (despite there being very little evidence of that) Mal is supposed to serve as a voice of reason in the narrative. Once Alina considers the necessity of acquiring more amplifiers to defeat the Darkling, it is Mal's role to warn her of the potential consequences, to remind her of her inner humanity, and to ward against the corrupting influence of Morozova's amplifiers. Mal's declarations that he wants back the old girl he knew without any power is meant to drive an ideological wedge between them, yes, but he's also meant to be Correct™ because, again, Bardugo is writing a story about a corrupted power-hungry heroine who goes too far and needs to be punished rather than the arc we were all expecting and the one that Alina's character needs: a coming-of-age story of self-acceptance and personal growth.

Some point after the backlash of Siege & Storm, Bardugo seems to have become aware of her mistake and attempts to scrub Mal's character to be more sympathetic. There is a bizarre exchange half-way through the third book when Mal finally declares:

"I wasn't afraid of you, Alina. I was afraid of losing you. The girl you were becoming didn't need me anymore, but she's who you were always meant to be."

This is an interesting line because it's a complete reversal of Mal's narrative role so far. He's supposed to be her voice of reason that opposes her at every turn but readers interpreted him as being resentful of Alina's powers and angry that she was no longer dependent on him. Bardugo is forced to retcon Mal's entire role in the narrative from being a voice of reason that opposes Alina's quest for power to a supportive friend who will fight by her side. But this was never her initial intention and I believe this change was brought on 100% by audience reaction because she failed to understand the arc her heroine needed and the kind of story her audience was anticipating for such a character.

Needless to say, having your heroine's main love interest actively resent her quest for power until half-way through the third damn book did not endear many readers to Mal. Because Bardugo failed to understand the kind of character development her heroine needed and failed to understand audience expectations, we hated Mal. He became the embodiment of every toxic chauvinist we'd ever met who can't stand the idea of his partner's success and feels entitled to be the center of her universe. He was not the voice of reason. He was an annoying gnat hellbent on dragging the heroine down and away from her destiny. We did not want to root for him. Even the villain was more sympathetic than him because he could bring her closer to achieving the self-acceptance the narrative was obsessed with denying her.

Nikolai's Wasted Potential as a Solid Love Interest

Nikolai plays several roles in Alina's journey but most importantly in our discussions for why we ended up shipping Darklina, his entire potential as a serious love interest is wasted.

When we meet Nikolai, we have hitched our wagons to the Darklina train because despite being the villain, the Darkling is the only one who will allow the heroine to accept her powers and come into her own. Her heroic love interest, Mal, is actively sabotaging her efforts and holding her back from her true potential. But then, in swoops Nikolai and we pause, wondering if there may be a better heroic alternative after all?

In a lot of ways, Nikolai and the Darkling alike: they are eager for Alina's power and see her as a solution to all their problems. They may want to use Alina to prop up their own agendas, but unlike Mal, Alina's summoning powers are a massive plus, not a burden. Nikolai is the heroic alternative to our villainous Aleksander. So we wait, wondering if Nikolai will be the one to fix this mess of a romantic subplot. His royal connections offer an easy path to upwards mobility for our heroine and we sense that an alliance between them (even if it's initially political in nature) may bring our heroine closer to obtaining more power, influence, and self-acceptance not only for herself, but also for the oppressed minority she is a part of.

But, again, Bardugo is still obsessed with that "punish the heroine for wanting power" agenda so while Nikolai exists as another mentor figure who offers Alina advice on how to rule, how to appeal to other people, how to charm, how to win people over, and Alina learns and applies much of what she learns from him, he is not treated as a real love interest.

Despite Nikolai being written as a fairy tale prince (handsome, charming, smart as a whip, brave in battle, etc) Alina never actually considers him romantically. They are friends and allies at best and the only time she considers kissing him is only when she's pissed about Mal.

Nikolai's proposal at the end of Ruin & Rising feels like one last saving grace, one last opportunity for our heroine to take control of her life and make a dramatic change to break from the past. But this too is rejected because Alina's arc will never let her access any power. She does not reject Nikolai because she wants to marry for love. She rejects him because she has been "punished" for wanting power and has internalized that she must not seek any more power for fear of angering the plot gods (and Bardugo). She must return to being nobody in order to remain a good and moral person.

(And, of course, we resent Mal even more because who in their right mind would choose him over Nikolai? Once again, he becomes a roadblock on our heroine's journey to power. We grow irritated that the heroine is failing to grasp an opportunity to elevate herself. We throw the book against the wall. Why are we even following this heroine?)

The Darkling's Motivations

Still, all of the above might still not have been enough to pull the reader to the villain's side. But the Darkling is the living embodiment of Villain Has A Point™. He is not pure unadulterated evil. He is not Lord Sauron or Voldemort or the Terminator.

He's more Magneto, Roy Batty, or Ozymandias---a man who is part of an oppressed minority who longs for justice and power but is absolutely unhinged in his methods.

Alina runs away because she does not want to be a non-consenting weapon in hands. But we always end up wondering what would have happened had Baghra not warned her. What would have happened if Alina gladly joined the Darkling's side? There's hundreds of fanfics written precisely about this situation because despite the villainy of his methods, we wonder if Ravka might not have been safer after all?

If the Darkling had used the Fold as a weapon against Fjerda and Shu Han, would any of the problems Ravka faces in the later books even exist? Would any Grisha fall victim to the khergud programs or be killed as witches? The Darkling wipes out Novokribirsk and kills hundreds of lives, but how many would he have saved with the Fold as Ravka's greatest shield and sword? 🤷🏽‍♀️

And therein lies the problem with the trilogy inconsistent moral landscape. The Darkling is an anti-villain that exists in a narrative that is very black and white, unlike the rest of the books in the Grishaverse where our protagonists are anti-heroes who kill, steal, and torture their way through the plot with nary a judgmental glance from the narrative. We long to see our heroine give in to her dark side and get her hands dirty because watching a naive, passive, scared little girl grow into a ruthless powerful Grisha would have made for a hell of a compelling story.

But that's not the story Bardugo wanted to tell.

The Greg Trilogy

Despite taking place in a fantasy Tsartist setting, the Grisha trilogy is oddly anti-Grisha. The narrative doesn't spend much time trying to examine the context or implications of an oppressed minority group fighting for power other than to say "magic powers = evil". Nikolai skates by on a throne of inherited wealth, privilege, and imperialism but it's okay because he's charming and witty and the only monstrous part of him is the Darkling's curse. Literally everything is worse for Ravka and their Grisha after the destruction of the Fold but Ravka must move forward into a new age without relying on Grisha power but putting their efforts into new muggle technologies. Alina must be stripped of her powers and returned to her "old self" in order to be purged of evil.

Basically, it's all one gigantic ✨ dumpster fire ✨ of mismatched character arcs, incompatible moral aesops, inconsistent characterizations, wasted potential, unexamined plot points but it's a a dumpster fire we lovingly and spitefully embrace in fanfic.

We don't ship Alina with the Darkling because we're stupid abuse apologists who somehow missed the giant flashing moral aesop of the books---and honestly, who could have possibly missed them when it's shoved in the reader's face every other chapter? We ship Alina with the Darkling because the entire ship is the embodiment of wasted potential (and wasted ✨aesthetics✨ tbqh 👀). We ship Alina with the Darkling because we're sick and tired of stories where female power is demonized. We ship Alina with the Darkling because the plot gave us literally no other alternative to see our heroine succeed except to give in to her alleged villainy.

But most of all, people ship Darklina because Leigh Bardugo utterly failed in writing the story she intended to write because had she succeeded, Darklina would not be the most popular ship of the trilogy.

#darklina #sab meta #grisha meta #grisha discourse #wow im embarrassed by how fucking long this is #but you know i had to write it #anti leigh bardugo #its not really anti so much as it is just pointing out why her story flopped for a lot of readers #alarkling #viv metas

[galadhremmin]

We have derived Caranthir liking the Dwarves (and vice versa) because apparently, Finrod succeeds in every field Caranthir fails, and at this point it's clear this derives from the in-universe writer of the Silm and his own biases. Think about it: "Dark Finwë" , a grumpy, prejudiced lordling, and "Hair Champion", most handsome, noble king, have met with the same people!! Yet the king of the first secret kingdom is everyone's friend, but the prince that trades with them regularly is not... seems sus.

Hence, Caranthir is friends with the Dwarves. (But that is just an interpretation, so you're free to think what you wish, I just have several opinions on in-universe prejudice and the almighty narrative.)

I think that 'we' might actually have been Dawn Felagund years ago. Maybe this reading existed even before that, but I doubt that-- she's been very influential in silm fandom and was long before tumblr was much of a thing. https://dawnfelagund.com/caranthir-the-slandered

I wouldn't say it's 'clear' that what amounts to Caranthir's entire documented personality derives from the bias of the in-universe narrator, though as you can see from Dawn's writing it's a reading you can argue for. There are a number of different approaches you can take to the Silm and its biases anyway. One of the few times when it's absolutely clear the text isn't telling the entire story is when it talks about the Easterlings. I've posted about this before but the recorded names are, uhh.... the ones to betray the elves are unlikely to actually have been named things like 'ugly lord' and 'ugly beard.' 'Dark Finwe' on the other hand is a documented reference to his haircolour being dark like Finwe's own; hardly a negative judgement!

I personally think Caranthir can be exactly as ill-tempered and prejudiced as the Silm paints him without becoming an unsympathetic character. If a writer cannot make a moody, deeply prejudiced man an interesting character that is a failure as a writer; there are after all enough books who manage exactly that. That is not to say choosing not to write him that way is a failure (obviously not), but it's not necessary in order to make a reader feel for him at all.

Just going by the text, I think it actually might make for a more interesting narrative to explore in fic to me. Because he does change his mind about something, and at a very specific moment; when he meets the Haladin. That is much less dramatic if he secretly been as nice and popular as Finrod, and got along with everyone all the time already. He's been raised by Fëanor, who said things like 'No other race shall oust us!' and rallied the Noldor not motivated enough by vengeance for Finwë alone by playing on their deep-seated fear of being replaced by the Secondborn. Very unlikely that had no impact. At best it has made him uninterested in humans in his area (while they're not much of a threat to ruling instead of the elves anyway). The text says they paid them no heed.

And yet! Caranthir sees how brave Haleth and her people are. He 'does her great honour.' He changes his mind and offers them lands. His tragedy to me is not that of a slandered figure, but of this deeply, deeply prejudiced person raised to distrust the motivations of human beings -- who overcomes those beliefs, offers friendship, is rejected! then extends that same trust to the Easterlings anyway... and it's those specific Easterlings, not the ones who ally with his brothers-- who betray them all. And cause the disastrous ending of the Nirnaeth. It's the 'to evil end shall all things turn that they begin well' part of the curse hitting him in the least fair way possible. Someone finally changes for the better, and the outcome is treason and destruction.

That is a very good character arc to me, actually. His aesthetics-based scorn for the Dwarves is reprehensible but strikes me as deeply Elvish, and part of his prejudices. Naugrim is too unflattering a name for them for it not to be common. His temper-- well why can't he have one? Sure there's only one recorded instance -- but that's imo because there are hardly any conversations in the Silm! Anyway I like some people with tempers well enough. Personally I think people are missing out on opiniated grouches.

Obviously the biased anti-Feanorian Pengolodh reading is a nice one, and I have enjoyed a lot of stories written based it. But it's not at all a reading that is necessary for me to read Caranthir as a flawed but sympathetic character. He can have serious faults and still, ultimately, be someone I feel for.

What I was asking though was if I overlooked any canon evidence of Caranthir being particularly, personally fond of the Dwarves; and it seems I did not. Also; there is room for Caranthir growing to like the Dwarves over centuries without an anti-Feanorian bias reading this strong, there is simply no evidence for friendship in the rather barebones narrative (I'm not interested atm because it's wildly overdone to me & I like variety).

That said, in my opinion making Caranthir the hidden, slandered Feanorian Finrod equivalent with a dash of Curufin's Dwarf affection is not as enjoyable as simply working with what little canon character is actually there. Because there is one (and it's not the greedy tax collector of some fanon depictions either imo)

1. To start with, wrt Caranthir as the anti-Finrod, I don't think it works that well. Sure sure dark/light, open/prejudiced, repressed/shouty, but different motivations, different locations, plus they meet very different peoples even if both are Edain-- besides, Caranthir's own older brothers do successfully ally with the Easterlings without betrayal, while Curufin (much more so than Finrod! no Khuzdul for Finrod!) is the Dwarves' Friend(tm). Also, a flawed Finrod already exists. That's just the regular edition. He has his own faults and (very different) tragic arc.

If Finrod never seems to have strong prejudices to overcome, and if he's not confrontational (which... look he's a diplomat. Make of that what you will. Pretty awkward there in Doriath, buddy!) he does have trouble facing his own complicity (he wanted to sail those ships despite the murders) until Sauron beats him to death with it. He leaves Valinor with the idea of ruling but he has to give up the crown. He's ambitious, he seems emotionally repressed, he's.. possibly paying the greater Dwarves to drive the Petty Dwarves out of their ancestral home to build a city? Oops. Depending on the version you go with in that case, of course; there's also ones where he's free of the blame of that one. Not of wanting to sail those ships and being uneasy with the guilt wrt wanting to do so despite their being stolen and murdered for though. No he doesn't kill; but he wants to use the result of it anyway, and to make it worse he is actually half Telerin.

There's also (to be fair, only for sure after the disaster of the Sudden Flame because that's the recorded instance) his guards killing random innocent trespassers to keep his kingdom hidden -- yes, that's right there in Silm, yes he's still King at the time. Beren has to wave that ring. People just seem to miss that he'd be killed without it somehow.

I think it's just too easy to reduce him to the golden perfect opposite of Caranthir. Yes he's described more positively; he's also just mentioned more because unlike Caranthir he rules an actual kingdom, the greatest and richest in Beleriand in fact; and does things that have a lot of very longterm effects, like helping B&L steal a Silmaril. They don't 'meet the same people' anyway -- the Haladin have a different culture from the Beorians which contributes to their reaction to Caranthir (and iirc their later fate).

Sidenote: Dawn's essay attributes the Green Elves helping the Feanorians at Amon Ereb to Caranthir's diplomatic skills; but why not to those of Amras or Amrod? This is the quote; 'Caranthir fled and joined the remnant of his people to the scattered folk of the hunters, Amrod and Amras, and they retreated and passed Ramdal in the south. Upon Amon Ereb they maintained a watch and some strength of war, and they had aid of the Green-elves' -- nothing here indicates it was Caranthir who got them that aid. In fact A&A are the hunters, i.e. more likely to have roamed in various forests where they would have encountered Green Elves, imo.

There's also the very desperate times to consider in which this aid takes place. This is just post Sudden Flame, and even if the Green Elves didn't like Caranthir they probably liked him better than Morgoth. Also, speaking of cosmopolitans, Maedhros allies with, yes, Dwarves (Azaghal), Grey elves, Easterlings (and you might say: Fingolfinians); even part of the remaining people of Dorthonion rally to Himring post sudden flame (that means Edain and Arafinwean followers in Himring, at least for a time), and he manages to be friendly with Felagund despite calling him a badger. ;)

Finrod is not the only other leader to forge diverse alliances, and though B&L ends happily his people mostly do not. Caranthir's not much like Finrod in any way. Not in motivations, temperament, tragic arc. That's fine. No hidden kingdom for a dragon to eat either. Finrod could probably do with being a little less like Finrod sometimes, though he's well-intentioned and likable. Caranthir loves to shout and isn't sneaky. Good for him.

2. Curufin also already exists. His love for Dwarves is one of his defining and redeeming characteristics and boy does he need them. He's daddy's favourite, a sneaky overambitious bitchy bastard who is also a talented smith and linguist, and truly considered a Dwarf friend, which is apparently exceptional. He's quite flawed; tries to help Celegorm force a political marriage, laughs with a bruised mouth, seeming to lose his mind while attempting and failing murder after first losing his own stronghold and then the city he tried to take from his cousin. He's just... a personality. Mostly a bad one! You can feel for him though, because he seems like an utter mess. Many 'i would love to study you' feelings on my part. Would hate for him to be real but also I'd pay to be his therapist.

3. And then finally there's Canon Caranthir. A difficult, prejudiced person who despite that (which doesn't at all have to mean there is no despite, the despite is what makes it juicy)

- seems to be responsible for re-establishing (large scale?) trade with the Dwarves, whatever he might think of them (and they of him) to their mutual benefit. I don't think he's greedy either. It seems like a mutually profitable situation. Access to Dwarvish goods seems pretty vital to Beleriand, and facilitating trade is a real service.

As someone pointed out in the replies, the Silm does mention Dwarvish companies travelling east to Nan Elmoth and menegroth various times, but quote wrt Caranthir says 'Caranthir’s people came upon the Dwarves, who after the onslaught of Morgoth and the coming of the Noldor had ceased their traffic into Beleriand' and 'when the Dwarves began again to journey into Beleriand.'

They stopped at some point and Caranthir's people made it happen again.

- which means he's practical. He seems like he's good at organising, and setting his own feelings aside if necessary despite his prejudice and temper (which is an achievement it wouldn't be without his, hm, everything). Also he and his people as well as the Dwarves work together well because ''either people loved skill and were eager to learn,' despite their (initial?) mutual dislike. Those aren't bad characteristics; seems like it was an exchange of skill as well as goods and possibly providing safe travel opportunities.

I don't like the 'greedy Caranthir' fanon and don't think it is even that easy support entirely with canon. 'They had of it great profit,' the text says-- both Caranthir and the Dwarves. They exchanged skills and knowledge and Caranthir seems to have helped them start trading in Beleriand again. That's hardly Scrooge Mcduck.

- Another thing we can say about canonthir (lol) is that he apparently attaches a lot of value to aesthetics (was he a visual artist? is a he a sculptor like Nerdanel? WORSE: AN ART CRITIC?! Feanorian art critic is truly nightmare fuel) and that's why he dislikes Dwarves (of all things...). Either way points to 'aesthetics' as something apparently important to Caranthir. Which makes sense given who his parents are. What is interesting to me is that this apparently DOESN'T matter to Curufin, who is a lot like Feanor in most things. That's interesting!

I've never, never seen this but I think it would be very funny to attribute his aesthetic prejudices to Nerdanel. I love her; but why should her opinions be perfect? I know she wasn't considered beautiful herself, but she's an artist. She's got to have had some strong opinions on aesthetics anyway. I doubt it's the beards; Mahtan had one as well. And 'stunted'...at least some of this comes down to the Elvish obsession with height yet again. Hm.

- eventually Caranthir overcomes what have to be some very deeply held beliefs about human beings and their place in the world, and offers what for all intents and purposes looks like real friendship, not the ruling over Men Feanor seems to have had in mind at best. He's capable of real change!

Anyway his character works just fine to me from canon, and what he achieves and the ways in which he fails are more interesting that way rather-- neither slandered Feanorian Finrod 2.0 nor Curufin 'Dwarf Fan' Feanorion without the sneakiness and murder attempts pack the same punch as a stupidly prejudiced grouchy man doing his best anyway for centuries in this stupid ugly cursed land, eventually changing for the better, opening up-- and being brutally punished for it by the Doom.

Dammit. I hope there's therapy in the Everlasting Darkness.

hm a bit long but that's what I get for trying to gather my thoughts wrt why after considering it a bit transferring Curufin's love for Dwarves to Caranthir is a bit boring to me personally. Though there are still stories that still do it very well.

#no one asked including me but there you go anyway #that's what you get when i wake up at nearly 3 in the morning and thnk. FUCK i can't sleep #caranthir

[jackoshadows]

One of the things that totally baffles and frustrates me in the asoiaf fandom is the fanon that Sansa is smarter and more diplomatic than Jon and Dany.

How can anyone read the books and come to the conclusion that Sansa is more diplomatic than Jon and Dany? On what basis is this comparison made? Jon and Dany are military leaders and rulers respectively who have successfully negotiated from disadvantaged positions. What is the equivalent of this for Sansa?

These are the issues that Dany faced in Meereen -  olive trees burned down, winter on the horizon making agriculture disadvantageous, former merchants and slaves with no money and a blockade on Meereen by surrounding regions. Jon has 19 decrepit castles on the wall that he has to refit and rebuild and get ready and he has no money, food or men to do this. What is Sansa’s more smarter and diplomatic tactics to deal with these issues?

What is his tax policy? How does he feel about crop rotation? How does he handle land disputes between two nobles, both of whom think that they should have the village, so they burn it down to establish their claim. This is the hard part of ruling be it in the middle ages or now. It’s not enough to be a good man to be an effective ruler. It’s complicated and it’s hard and I wanted to show that with repeated examples in my books with my kings and hand of the kings - the prime minister if you would - trying to rule. And whether it be Ned Stark or Tyrion Lannister or Tywin Lannister or Daenerys Targaryen or Cersei Lannister trying to deal with the real challenges that affect anyone trying to rule the 7K or even a city like Meereen and it’s hard. You know, we can all read the books or read history and say oh, so and so was stupid and made a lot of mistakes and look at all these stupid mistakes they make. But these kind of mistakes are always much more apparent in hind sight than when you are actually faced with the decision about, oh my God, what would I do in this situation. How do I resolve this thing? Do I do the moral thing? But what about  the political consequences of the moral thing? Do I do the pragmatic, cynical thing and kind of screw the people who are screwed by it? I mean, it is HARD. And I want to get to all of that - GRRM

https://www.youtube.com/watch?v=nJCb3xyWyAg

Where has Sansa dealt with the above issues to make a determination on how she would do better than Dany? Or even do better than Cersei for that matter?

Here is GRRM talking about how frustrating it is that he was not able to compare Daenerys and Cersei as rulers in ADWD:

His biggest lament in splitting A Feast for Crows from A Dance with Dragons is the parallels he was drawing between Cersei and Daenerys.  

Cersei and Daenerys are intended as parallel characters --each exploring  a different approach to how a woman would rule in a male dominated,  medieval-inspired fantasy world.

GRRM, SSM,  July 08, 2007  

George regrets that Cersei and Dany will not be contrasted directly.   He likes the extra breathing room to flesh out the characters. Bran  didn't have any chapters and Dany's ending was different. Now he likes  the way she ended. I think he actually may be doing more with Dany.  

Comic-Con (San Diego, CA; July 20-23)

Where has he talked about contrasting Dany and Sansa? Or Sansa and Cersei? Where are the parallel leadership arcs for Dany and Sansa or Jon and Sansa like there is for Jon and Dany in ADwD?

Jon Snow has negotiated a loan with the Iron Bank, Dany agrees for peace with Yunkai by marriage with Hizdahr and Sansa managed to persuade an eight year old to eat his dinner. How are they even compared at the same level?!

It took an entire book and Ned Stark losing his head for Sansa to realize that the Lannisters were not the good guys. Despite the Lannisters doing increasingly evil things like ordering Sansa’s pet wolf killed. Her younger siblings like Arya cottoned onto that in their first chapters. Sansa then thought that beautiful, charming Margaery was simply the best and the Tyrells ended up using her. She thought Dontos was a good guy. In the Vale, she is pushing the Maester to do what LF wants with respect to SweetRobin. How is she smarter than Jon, Dany or the rest of her siblings? It’s this weird changing of canon in the completely opposite direction. Take the least smart character among the youngsters in the books and make them the smartest in fanon.

I know the show is responsible a lot for pushing this piece of fanon, when Benioff, Weiss and Cogman stripped book Jon and Dany of their leadership arcs and tried to hand them off to Sansa to prop up their favorite character.

But what’s baffling is the so called asoiaf book experts writing about stupid Jon and smart Sansa. About psychopathic assassin murder baby Arya and clever, measured leader Sansa, about ignorant, impulsive Dany and calm, compassionate, hope for the future Sansa. The thing is, no one knows on what basis and metrics they come to this conclusion. It just is. There are no detailed essays comparing Jon and Sansa’s leadership arcs, or Dany and Sansa’s arc of being rulers. But Sansa is still somehow more intelligent and diplomatic.

It’s also connected to this rather sexist strand of thought that only women who wield soft power are smart and level-headed. Tyrion is the only male character allowed to be smart and women who wield hard power like Dany or gnc characters like Arya and Brienne are impulsive, arrogant and ignorant.

In some ways I can see why this has happened. A lot of fandom want Sansa to be special in some way and have an important role to play. And since her narrative story arc is with Littlefinger, she is assigned to be the SMART one. But to be special, she has to be the only smart character.

Plus, Sansa has progressed the least in her arc compared to her peers. She’s a blank slate on whom her fans can project their desires and wishes for her character. The show did something similar - only D&D were too lazy to come up with something original and gave her Jeyne Poole’s story.

But still, there has to be a basis for such statements about the book characters.  It’s not just enough to keep repeating that Sansa is the smartest ever - like ultimate hacks D&D did on the badly written garbage show did. They were rightly laughed at for their ‘Sansa is the cleverest person’ dialogue. But for some reason such statements are accepted for the book version.

The books are well written with gradual character development. Surely, if Sansa is smarter than Jon and Dany we should read that in the books? That this fanon has literally become canon despite not having any basis at all in the books is one of the most frustrating aspects of asoiaf fandom.

#Jon Snow #Daenerys Targaryen #ASoIaF fanon #ASoIaF canon #ASoIaF #anti GOT #GRRM #fandom nonsense #Fandom wank #ASoIaF fandom

[tolkien-feels]

Since you love hobbits - favorite thing about each of the main hobbits?

I know perfectly well what you mean by main hobbits but I'm going to pretend I don't so I can scream about a few other precious hobbits who are really underrated.

Bilbo: Guaranteed to give me serotonin. Has two modes: inspiring and hilarious. Either way if I see his name I know I'm in for a good time. Also I love how generous he is? He saw Smaug and apparently went "Okay so now for the rest of my life I'll hoard nothing" and I respect that. Also only person to do his assigned part in the group work he didn't even wanna join, and that's inherently relatable.

Frodo: Literally the kindest person in Middle-Earth, and he's got some fierce competition. He's just... a profoundly good person doing his best? He's neither perfect nor useless (despite what popular diskhorse would have you believe) but god, he tries so hard to be fair and kind and wise, how can you not love him?

Sam: Has no business being as complex as he is. Does he want a flaming sword to become a war hero or does he want to fill the desolate places on earth with flowers? Who knows, either seems likely. Timid crybaby who'll casually think about making a pile of bodies. I adore the guy.

Merry: "It was a compliment, and so, of course, not true" stole my heart and I'd love him if he did nothing else for the rest of the story. But he turns out to be not just witty but extremely smart and competent in a way I didn't expect a hobbit would be. He's also super loyal and brave, so he's just the most trustworthy character ever written in my humble and correct opinion.

Pippin: I spend the entire book wanting to get him back to the Shire because he's too young to be doing the things he does, but I'm always so proud when he rises to the occasion. An absolute ray of sunshine with an amazing, nuanced character arc. (Plus he's A Took™️, and that's always fun.)

And some other precious Shirefolk, in no particular order

Rosie Cotton: She gets what? Three paragraphs? But she shines in every one of them. Wish she had more than three paragraphs tho. I could write essays on her.

Fatty Bolger: For the sheer character development. I get why people sleep on him but they really shouldn't!

The Gaffer: Wisest hobbit in the Shire. And he refuses to let a nazgul leave a message, which is never not funny.

[amphibious-entity]

TMBS Book 1 Brain Dump

~An Embarrassingly Long Post~

I don’t know why I’m writing this or why I’m so determined to do it. Maybe to finally assume my true form and become a mega dork on main, or maybe just for fun!

This is basically a compilation of all the main points running through my head after reading The Mysterious Benedict Society (2007) for the first time. Rather than posting a ton and spamming the tag, everything’s here in one neat package! (hopefully this gets it all out of my system rip)

Contents:

The Book Itself

The Book Itself, for real this time

The Characters

A Funny Parallel

The S.Q. Section

Lines & Scenes I Liked

Spoilers abound!

The Book Itself

Upon acquiring the first three books (don’t judge me pls), I was surprised at just how long they are. Like, they’re still pretty light being paperbacks and all, but these books are hefty lads.

The first book has this Disney+ Original Series circle thing printed on it, which is kind of unfortunate. Regardless, I love the cover illustration and yellow is actually my favorite color :D It made me weirdly quite happy whenever I saw the book lying around in my room

Also, it’s really cute how there’s a letter from Mr. Benedict at the end! (It only reveals that you can find out his first name if you “know the code”, meaning the bit of Morse printed below the summary on the back.) Shock and horror, though, as I realized I’m starting to recognize some of the letters

The Book Itself, for real this time

It’s wonderful how the tone of the book really shone through to the show adaptation. Something about the deliberateness of the aesthetic, from the set designs to the fashion to scene compositions, that really sells that particular style— like it’s very clear that this story is being told to us, rather than one we’re seeing unfold, if that makes sense.

Where that narration style stood out to me the most was the first chapter. We are told (rather than shown) how Reynie gets himself to the point of the second test, and there’s this whole twisty time maneuver for that whole sequence of events that’s really interesting

A super secret fun fact about me is that I wanted to be a writer when I was younger! So this particular balance of show vs. tell is really neat, since it runs counter to my own tendencies. The sheer amount of commas in every sentence is also kind of comforting, since Ahah, I Do That in those few serious-ish attempts at writing lol

Overall this book’s style reminds me a lot of Roald Dahl’s books, which are very nostalgic for me :D The whole “kids are more competent than adults” angle helps a lot too haha

The Characters

Oh boy here’s where I get a little bit critical! Overall I did really like this book!! it’s just that that expresses itself in all this weird “”analysis”” lol

Reynie - much better in the books than in the show

It’s sort of a lukewarm take but I feel like show!Reynie is kind of boring? He doesn’t have a lot going on flaw-wise, and obviously since he’s the protagonist he can’t have too many weird traits or else the kids watching can’t project themselves onto him as easily

(I call it the difference between an aspirational protagonist and a vessel protagonist. Going off of the Roald Dahl vibes, think Matilda vs Charlie. show!Reynie is more of a Charlie)

Thus when we get to see him really struggle with the Whisperer and doubt himself it gives him a lot more dimension, at least in my opinion

It is a federal crime that the white knight scenes were not adapted into the show

Sticky - my son

I’ve long held to no one besides myself and my long suffering sister that Sticky is The Best Member of the Society

He happened to hit a lot of the Bingo squares of Stuff I Like In Characters: glasses, anxious, nice :), kind of a coward but ultimately is there for his friends, etc

For some reason I don’t talk about him nearly as much as you-know-who, but I love him just as dearly

Kate & Constance - I don’t have much to say

Kate is really interesting in this book! I like how we get to see more of her depths, in particular that one passage about her belief that she is invincible being the only thing that keeps her from falling apart? :c

Also her constant fidgeting is relatable lol

Constance is somehow a lot more tolerable in the book. I think I’m just one of those people with no patience for small children, unfortunately lol

(Some of) The Adults

It’s interesting that they had such an offscreen presence for most of the book. Giving them more time was probably one of the stronger changes of the show

However if that decision was made at the expense of the white knight scenes I think the choice should have been clear

I like the way Rhonda and Number Two are written

Milligan always on sad boy hours 😔✊

The “mill again” passage is touching but kind of messes up the pacing of the getaway, at least for me. Maybe I should read it again to make sure I didn’t miss something

Miss Perumal is much better in the show. We see so little of her in the book she doesn’t function well as an emotional anchor for Reynie, imo

The Institute Gang

Jackson and Jillson serve their purpose well, and Martina was surprising to say the least. I like the direction they took her in the show! I can’t imagine how funny it must have been to watch the tetherball subplot come out of nowhere lolol

These sections were written out of sequence, so random tidbit I couldn’t fit in The S.Q. Section: I like how he stumbles over his words. relatable

Mr. Curtain

While I think I know why they decided to not give Curtain the wheelchair in the show, we were totally robbed of Actor Tony Hale’s performance for the reveal during the final confrontation

Speaking of the wheelchair, it’s such a powerful symbol of his need for control or rather, his fear of losing it

The Contrast between him and Mr. Benedict. This point is expanded on in A Funny Parallel

Mr. Benedict

Oh boy, Mr. Benedict… How do I say this

I find it hard to trust Mr. Benedict, unfortunately

I mean to say, I do in the sense that I know he would never hurt the kids, thanks to knowing that a) this is a children’s book series and b) the meta (tumblr) states that he is really nice and lovable and stuff, but seriously. Why do the kids trust him at first?? I probably missed something somewhere

I like to think I’m an optimistic person, but unfortunately I’m also super paranoid. The premise of “a bunch of vulnerable orphans team up with a strange old man” is just so odd to me I don’t know how to explain it

I don’t know!!! I really want to trust Mr. Benedict

One of the strengths of the show is that we get to see him more often, and thus he gets to acknowledge more often that the plan is weird and that he feels really badly for putting the kids in danger and that he’s trustworthy and genuine

But his lack of presence for most of the book just makes him into something of a specter, invisible and unknowable, speaking only in riddles from across the bay

Which is why the white knight scene is so important!! I loved that scene ;-;

Because here’s an actual emotional connection! We can actually see it happening, rather than only being told that it exists

Reynie asking for advice and receiving encouragement, in words that demonstrate that Mr. Benedict actually cares about him and worries about him and agghh

It is a federal crime that the white knight scenes were not adapted into the show

But overall this whole issue didn’t ruin my enjoyment of the book at all! It’s just ->

A Funny Parallel

Okay, ready for my biggest brain, hottest take ever??

Mr. Benedict and Mr. Curtain…. are… the same

I mean obviously not entirely, given that one is benevolent and kind and the other is… Mr. Curtain

But seriously. Genius old man seeks out children (mainly orphans) to enact a plan. Said children often end up incredibly devoted to his cause and deeply admire him this is a little flimsy

Undoubtedly that’s intentional and is supposed to show the difference between them, like some kind of cautionary tale? “Let yourself be vulnerable and let others help you, lest you turn eeeeviiillll”

I guess that’s where the aforementioned epic contrast comes in. You get Mr. Curtain, strapped into his wheelchair and hiding behind those mirrored sunglasses, terrified (but unwilling to admit it) of ever showing the tiniest hint of vulnerability, vs. Mr. Benedict, who can let himself fall knowing that someone will catch him :’)

Anyhow I have nothing against the parallels, I just think it’s funny

The S.Q. Section

The S.Q. Quarantine Thread so it doesn’t leak out everywhere else <3

I’d like to meet the emo angstlord genius who read this book and decided to make SQ into Dr. Curtain’s son. What in the world

Okay I should probably preface this by saying that I absolutely adore both book!S.Q. and show!SQ with all my heart. Somehow, despite being a completely different character in both mediums, he has managed to be one of the best characters in either and certainly one of my favorites (besides Sticky of course) in the entire franchise, despite the fact that I’ve only read the first book/watched the show so far. I am confident in this statement.

But seriously! How?? Why?? I could probably write a whole other essay about why show!SQ is such an interesting character, and the change works so incredibly well. I’m just. Baffled

Okay, focus. book!S.Q. is such a sweetheart, oh my goodness. Like, 100% one of the most endearing characters in the book. Poor guy. I don’t even know where to start!!

He just seems to be a genuinely good guy at heart, despite being technically one of the bad guys. He’s genuinely happy for Reynie and Sticky when they became Messengers and helped Kate when she “fell” and was concerned about Constance when she looked sick and how he was in that meeting with Mr. Curtain and Martina?!!? aaahhhhghgh ;-; he just wants people to be happy TT-TT

Comparing him against literally every character at the Institute is probably what makes him so endearing tbh. When everyone else is so awful to the kids, it really makes him stand out. Like a cheerful little nightlight in the worst, most humid and rank bathroom you’ve ever been in

It’s kind of pointless to theorize about a book series that’s already concluded (I think?) but. Is the implication of S.Q.’s forgetfulness supposed to be that Mr. Curtain used him in brainsweeping experiments somehow? The timeline probably definitely absolutely doesn’t line up but like. How did he get to being a Messenger being the way he is now, given how cutthroat the process is? And then of course Mr. Curtain keeps him around as an Executive because he’s fun to mess with and presumably his loyalty. I’m very curious as to how their relationship develops in the other books, if at all. Those are probably where the seeds of the “let’s make them family” logic were planted

But wouldn’t it be hilarious if the reason we don’t know what “S.Q.” stands for in the books is that he just. Forgot

Another thing that occurred to me. Given that he and the other Executives were Messengers at some point, what were their worst fears? What is S.Q.’s worst fear?? Inquiring minds need to know

One last horrible little anecdote: I was thinking about book!S.Q. while eating breakfast, as one does, and suddenly it hit me.

I want to believe The Author Trenton Lee Stewart had the name for a character, S.Q. Pedalian, and was like, “Hm! What sort of quirky trait should this young fellow have?” Because, of course, in this style of fiction every character has to have at least one cartoonish or otherwise distinguishing trait to stand out in the minds of children. (For instance, Kate has her bucket, Sticky has his glasses, Constance is angry, and Reynie is Emmett from the Lego Movie)

Anyhow, he looks around the room, searching for inspiration. Suddenly he comes across a jumbo box of plastic wrap. Completely innocuous in design, save for one line of text. 300 SQ FT.

“…large… S.Q. …feet? THAT’S IT!” i’m sorry

Lines & Scenes I Liked

In no particular order!

Sticky quotes Sun Tzu, The Art of War

Evil combination aerobics/square dancing in the gym with the Executives

Everyone being happy at the end :’)

Everyone partying after Sticky reunites with his parents, and later finding Mr. Benedict asleep at his desk from the moment they shook hands :’’)

Literally any scene with Sticky in it

Any time Kate says “you boys” or “gosh”

[“Um, sir?” S.Q. said timidly, raising his hand. “A thought just occurred to me.” / Mr. Curtain raised his eyebrows. “That’s remarkable, S.Q. What is it?”] clown prince of my heart </3

S.Q.’s determined monologue about searching for clues after he bungled up the first time

Literally any scene with S.Q. in it (please refer to The S.Q. Section)

Reynie trying to resist the Whisperer.

[Let us begin. / First let me polish my spectacles, Reynie thought. / Let us begin. / Not without my bucket, Reynie insisted. He heard Mr. Curtain muttering behind him. / Let us begin, let us begin, let us begin. / Rules and schools are tools for fools, Reynie thought.]

NO MORE HURTIN’ WITH CURTAIN

Milligan showing up on the island!!

Remember the white knight hhhhhh

“controle”

A Super Secret Bonus Section

I would be extremely surprised if anyone read through all the way down here lol. Regardless, here’s a little acknowledgements section :D not tagging anyone since I don’t want to bother all of these people

Special shoutout to tumblr blog stonetowns for unknowingly yet singlehandedly demolishing my reluctance to read the books by posting a ton of cute quotes. Thank you for your service o7

Thanks to the two OGs that liked the post I made right before this one, for being my unwitting enablers and for sticking around despite being a) technically an internet stranger (hello!) and b) someone I haven’t spoken to irl in literal years (hey!!)

Last but not least thankz 2 my sister for putting up with me ranting about the book when I first got it and for asking about “CQ” sometimes lol. (i desperately hope you’re not reading this orz)

#the mysterious benedict society #this took me like three days to finish rip #it’s worked though! i feel less of a Mighty Need to think about this stuff constantly now #however!!! today through some conniving i have gotten the Second Book #now I’m at 3 out of 4 infinity stones. muahahaha #was going to include my villain origin story about why i like show!SQ so much but cut it for being too long and irrelevant. however #if the words jeff naomi and Sweet Dreams are Made of These mean anything to you please hit me up. it’s kind of a funny story

[anasticep]

Why Julie and the Phantoms is a masterpiece of a show. Part 2. Heroes and Villains or Let that foil shine

NOTE: Thanks again for your kind response to Part 1. I never expected that. It being my first tumblr post and a first meta in quite a long time I was blown away. I read all the tags, some were really hilarious. About having more than one brain cell xDDD I laughed so hard. It means a lot.

NOTE2: Please remember that the gifs are made by me, so don't crop, edit or give as yours.

Part 1.

Before diving into meta, I have to mention that the Villain of the story is actually one of the best in the decade. He’s cool, evil from the start, we understand his motives and we certainly are not supposed to love and make excuses for him. The writers made sure of that. So back to the main topic.

A foil is a character who contrasts with another character; typically, a character who contrasts with the protagonist, in order to better highlight or differentiate certain qualities of the protagonist

Foils in literature are not necessarily antagonists. A friend can be a foil or sometimes even a thing, a song. Whatever can make a good and real contrast to the protagonist. But it’s not very simple to use this author’s device and not fall down a deep hole. Because you have to make sure you did just the right amount of work to make it understandable for a reader, the things you want to contrast are definitely there and still you don't waste a character. On TV it can be even harder given limited air time. And, well, I don’t come across this device being used in full very often nowadays. It’s usually good and evil fighting for the plot. That’s why I personally appreciate JaTP so much.

Caleb is clearly a foil to Luke. As much as I’d love to say that Julie also has one, that’s not entirely true, at least not this season. Carrie is not her foil though it may seem so, and I really think that’s cool as Julie’s journey is being presented through her own demons and I'm going to cover that next. That being said, of course Caleb doubles as an antagonist plotwise, but I personally consider him being written more as a contract to Luke so we could see and appreciate his character and journey better.

1. Origins

Caleb and Luke have extremely similar backgrounds. They are both natural performers. They know how to deliver, because c’mon, “Now or Never” is something and so is “The other side of Hollywood”. Stage is their natural habitat, their element, power. Although they channel this power from completely different places.

Let’s start with our little ball of energy. It’s emphasized TWICE that he doesn’t care about the money aka the physical side of art.

All Luke wants is to make music. Connect with people. He is so happy just to be heard despite him loving to perform. Making music is what makes him feel alive and basically that’s enough. I think if there was no “hologram” magic at all, Luke would have still been extremely happy to make music with and for Julie. Because that’s the way he is.

But Caleb doesn’t know that. He knows, and I’m standing by that, right away that Luke is the one to aim at. Because we always feel the similarity in people. If Luke said yes, Reggie and Alex would have followed. So Caleb recognizes the passion and shoots at them what he thinks is appealing. And, oh boy, he delivers.

“The Other Side of Hollywood” is a perfect song to emphasize Luke and Caleb being foils for each other. Follow me here:

But these lines come from very different places. For Caleb the only thing that matters is himself. He owns the show, he IS the show. It’s about being famous, drowning in applause, admiration. Look at how he performs. Confident, yes, but still very much in control. He must keep his perfect face. No flaws, no real emotions, no real connection (Did you miss ME? I did too // This band is back). Whereas Luke is simply living the best time of his life each time he performs. Is it just jamming? Bring it on. Doing fun riffs? He’s all for it. He doesn’t care how he looks (though who could deny gorgeous sweaty Luke), he owns the show just because he is a natural.

So back to the business. Caleb immediately puts the boys in his own shoes:

On the other side we live like kings // Your soulprint on the walk of fame on the boulevard of your wildest dreams // I got your glamour, got your gold, got all you’ll ever need

And, I mean, he is not that wrong. You can see the appeal on the boys’ faces. They are young, passionate, handsome, talented musicians. Of course they wouldn’t deny fame. Of course they would want all that to some extent. And Caleb is very sure he pulled the right strings.

Watch me make a move, I’m your number one choice

Also I have to mention, as we are talking about TOSOH (IKEA name again) and it being a foil for Luke, thy lyrics still don’t forget about what is important for Reggie and Alex (we’ll talk about that just a bit later):

Welcome to the brotherhood -> Reggie

Where you won’t be misunderstood -> Alex

Then again, lots of foreshadowing in the song, if you listen carefully the lyrics are stressing the true colors of the offer:

A tomb with a view

Man, what a metaphor. I would have run out of there the minute I heard this line. But our boys share one brain cell (I can’t get over how funny this is) and it’s currently taken by Julie, so I don’t blame them.

Disappointment is huge. Caleb read it all wrong. So we are moving to the next point in our Heroes and Villains essay.

2. Recruitment

It’s very cool that Caleb offers the boys to join his band right after Luke offers Julie to join Sunset Curve. They both are going out of their ways to get that (although have different budgets apparently. But look, they live in a garage). Luke made a hit with a bunch of Julie’s not very well structured lines (I love Flying Solo with all my heart as a song, but as a poem it just looks weird to me) to impress her, and we all saw the show Caleb had thrown to impress the boys. Plus food. And fancy dancing. But here is where contrast comes again.

Caleb offers to join the band, yes, but only as backup singers. It’s his show, remember? It’s only about him. He doesn’t care if they are even good. He wants their magic under control.

Share the spotlight with ME / How do you like MY new band?!

Luke offering Julie a spot in the band is a completely different story. He saw what she is capable of. He instantly knows she must be the key to a new sound, a new level. And he, a natural performer, frontman, lead guitarist, steps back and gives the spotlight to Julie. To think about it, he could have just got her magic under control by giving her simple lines, incorporating piano in the songs and that’s all. They would be visible, he would still be a center of attention, and Julie herself wouldn't mind that much. But that’s not who Luke is. Yes, there is a funny scene of “Hey, I’m your lead singer” and “you don’t have to be mean”, but it’s just messing around. Because right after that he finishes Flying Solo, writes several other songs with Julie, seeks her approval of Sunset Curve songs and basically follows her around like an adorable excited puppy.

Moving on and back to the rejection. Again the writers are mirroring them. Julie quits the band & the boys decline the offer. What does Luke do? Well, he tries the way he knows: books a gig, makes Reggie and Alex sing in perfect harmonies and does his puppy eyes thing. And it doesn’t work. And Luke goes to reflect and then probably try to come up with a plan. But something tells me he would not have haunted Julie until she joined them.

What does Caleb do after the initial rejection? Puts a cursed stamp that leaves them no choice but to join HGC. You don’t need to say more.

But in fact the more I think about it, the more I suspect Caleb also not possessing enough mental capacity for a human being. Like, if it wasn’t for Willie, how would they even know? Has Caleb planned to simply show up one day and casually explain? Look, foils in everything.

“You’re in a tough spot… So, you wanna join the band?” | “Looked like it hurt… you know where to find me”

But we sidestepped a bit.

3. Pulling the strings

After the song Caleb comes out to consolidate his success. What he does is clever and, btw, that’s the only time he becomes Julie’s foil. They are stating basically the same thing.

Again, Julie is concerned about the band and the boys, while Caleb is only concerned about having them under control. But they both are pulling basically the right strings.

What is interesting, Caleb actually impressed the wrong person (and that person is our sweet Reggie). Luke follows the string Julie pulled. Although the offer is tempting, he insists twice that they are in a band already directly to Caleb and then in Eats&Beats he says "It's like Julie said, we have a new band, a new sound». No matter what Caleb promised, Luke is not affected at all although Caleb’s offer is a very-very safe choice.

Speaking about using friends as foils, Alex and Reggie also serve as contrast characters for Luke at some points. Luke’s indifference to money is first stressed through Alex who is clearly the chief accountant for the band. His lines about not getting tips, living in a garage and «it’s a little bit about the money» are waved aside by Luke. Reggie is clearly the most affected by the whole Bobbie thing. His lines «I don’t care what Julie said, I’m glad we scared Bobbie», «So we’re gonna forget about getting back at Trevor?» are getting a clear contrast by Luke’s «It’s what Julie said, we have a new band, a new sound» and «He has to live with that guilt».

While editing the article I realised a very cool thing I haven't noticed before. How badly Luke wants to go on tour. And again that's another thing Caleb offers as if reading his mind. That's actually brilliant, to think about it.

Caleb is a VERY good reader. He tests the waters with a speech about disappearing from stage and going around the world and all dreams coming true. Still he doesn’t know the boys and especially Luke, so his phrase “no real connection” doesn’t register that much.

But he learns. Remember the lines I’ve marked before?

Reggie is afraid they will not be together after they cross over. He is in desperate need of a family. So wouldn’t it be nice to spend the rest of your afterlife with your brothers? (Reggie's main insecurity is loneliness, feel of a broken family. That's why he is the most concerned about crossing over. Will his family stay intact?)

Alex is insecure, and not being understood by the people closest to him will always hit hard. So welcome to a place where you won’t be misunderstood. And actually we know there is a guy you like and find comfort in. (Alex's insecurity is growing up in times when he could not truly be himself even with his family and for sure not believing he would ever be able to find someone meant just for him)

That mirrors the whole Luke’s beach speech perfectly. Only comparing them we can truly appreciate why Luke is the leader. He shuts down his own demons to make Alex and Reggie remember that they are not alone (“and I believe in you”. sorry. Olicity fan).

Caleb makes them suffer to get what he wants. But this time he is careful with the words aimed at Luke. Yes, he repeats his words about vanishing and applauses BUT he makes sure that his words about CONNECTION are the key words for Luke. Intense look, calming voice, touching - these are all elements of hypnosis. And Luke is in a daze. (Continuing the parents' thing, for Luke the main insecurity is not managing to connect with his mom. Maybe that's such a big thing for him: through all these people he wanted to find that connection with her)

4. The Hero’s journey

That’s the best part actually but I won’t be saying anything new or that you don’t know. Luke is made of lyrics and music. That’s his soul, heart, that’s the feeling running through his veins. He doesn’t need anything other than that in his life. Playing for eternity is “a gift no musician would ever turn down”. But he actually does turn it down. As well as his dream to go see the world with his band (is there covid in jatp universe?). He is the one who resists the hardest to the pull. Luke, who always has a guitar in his hands, doesn't want to play. Because it’s not only about the music now. He has this amazing girl in his afterlife who was willing to accept them for who they were, helped Luke battle his own demons, eased his pain and made him open up. And it doesn’t make sense any longer without her anymore. “And you’re a part of me now till eternity”.

Caleb, being Luke’s foil, completely misses the whole point of connection. It’s not in his nature. His house band are just recruits (Just so happens you’re in luck we’ve got a vacancy). For Luke his band is his family (We are the only family we ever gonna need). The Connection theme is one of the main in the show. And it’s so cool to show it focused through Luke whose best way of interaction is a touch. But not being able to touch Julie Luke has to find other ways, although it’s not that simple for him. And Julie backs that up: We connect in so many other ways. They literally touched each other's souls. Without knowing she put a stamp of her own on Luke, Alex and Reggie. They’ve never felt loved enough, appreciated enough, supported enough. They’ve only had each other. And Julie’s stamp is love. And for Luke (as well as Reggie and Alex) from now on this girl is worth dying for all over again.

_______

So yeah. I hope you enjoyed it, as I for sure enjoyed writing. There is gonna be a part 3 about Julie and a few honorable mentions of parallels of the Pilot and the Finale (I hope at least to do all that). I’ve also figured very very cool connections in the songs and I can’t wait to share.

Also as I was heavily speaking about The Other side of Hollywood, @catty-words has a wonderful meta on rain metaphors here (sorry for tagging, if you don't want to be tagged), check it out if you somehow missed it. It's super clever.

#jatp #julie and the phantoms #julie molina #luke patterson #reggie peters #alex mercer #jatp meta #jatp analysis #my gifs #my edits #don't crop #please be nice #caleb covington #ana's meta #am i smart? i am #having more brain cells then sunset curve

[im-still-watching-anime]

warning: this post is just me ranting about the writing of the naruto women for far too long

i honestly feel that one of the most frustrating/vaguely hilarious aspects of naruto is how naruto ended up being - and bear with me here - the best example of the extremely specific female archtype that kishimoto seemed to be obsessed with. 

like when you focus on sakura and hinata - arguably the most important female characters in the show as the two male leads’ respective end game love interests - you can break them both down into the same general mold:

- both devoted to the same boy their entire lives

- both are shown chasing after their crush in order to stand on “equal” footing (i.e. sakura’s “i finally caught up to them” and hinata’s “no longer chasing but standing by your side” mentalities)

- both suffer and try to overcome feelings of inferiority in their respective character arcs

and i want to be clear that while female characters who fit this mold aren’t usually my favorite thing it can definitely still work when written carefully and written well -  to be blunt i personally think both hinata and sakura are awesome character concepts and both had SO MUCH potential and i love their fanon interpretations but i feel that canonically they were poorly written, underdeveloped, and flat characters

most of their canonical character motivations revolve around their love interests - which really sucks because i would have KILLED for a deeper look at everything involving hinata and the hyuuga or even more about sakura’s development of her medical ninjustsu so much got skipped when it came to them which definitely didn’t help anything - that aside this is especially true in og naruto though to be fair - sasuke was still in konoha in og naruto and team seven was together for most episodes which made it especially prevalent in sakura’s case

the point is by the time shippuden came around it was extremely obvious that efforts were being made to improve the female characters - sakura now had much higher combat ability from the start of shippuden and, though she gets much less focus hinata is repeatedly shown doing brave acts and pushing herself to become stronger. and while i really loved the effort and it was definitely an improvement from especially sakura’s original character - it still fell flat to me.

sakura’s fight with sasori was perfect and a great way to revive her character but then she was pretty stagnant in a lot of the following arcs - i.e. injured in the reunion arc, not very important during the two saviors arc, her weird fake love confession during the assembly of the five kage arc, etc. - she constantly bounces between “now i’m strong” and “i still don’t measure up” making her character development - especially pre-war - virtually nonexistent because every step forward gets followed by a step back.

hinata is a bit more difficult simply because she’s such a minor character for so much of shippuden which is insane since she’s literally the protagonist’s future wife. regardless, looking at hinata’s big moments: her fight with neji in og naruto, blocking naruto from pain in shippuden, and the Smack during the war (there’s a few i’m missing i’m sure but those are really what constitutes her biggest moments to me during the meat of shippuden’s actual development phase - not the post war resolution phase) two of three of these moments precede her getting very heavily and soundly beaten which personally irks me - even if i don’t particularly like it i can see why and it makes sense to me she didn’t win the fight with neji or her pain confrontation and it definitely shows that she is brave and emphasizes the all-important devotion to her love interest aspect of her character BUT it’s also a little obnoxious that we never get to see her be REALLY victorious in her major moments.

so to sum up so far: sakura and hinata are both meant to be perceived as innovative and strong female characters but this perception doesn’t work in sakura’s case because she immediately repeatedly reverts back to the damsel in distress archtype and it doesn’t work in hinata’s case because the few strong moments she has are highlighted by failure.

and also the all important point that the majority of their “strong moments” are driven by their love interests - not a bad motivation except for the fact that that is one of their ONLY motivations

to the main point i’m trying to make: lets compare naruto (obviously take this with the understanding that naruto has a MAJOR advantage of having way more screen time and development as the titular character)

in regards to sasuke, naruto:

- is extremely devoted

- repeatedly chases after sasuke to match-up with him and improve

- and, especially in og, struggles with feeling inferior to sasuke

the context is a little different and the motivation behind some of the points changes between the two but it’s the exact same mold as sakura and hinata

the major difference between the two and the main reason that so many more people get frustrated with sakura’s devotion to sasuke and not naruto’s really boils down to development

sakura barely had her own character outside of loving sasuke and when she did, it immediately got downplayed in some way - just look at the war arc and her triumphant “i finally caught up to them” right before both sasuke and naruto essentially gain godlike powers, she then spends the war constantly distracted by sasuke even when fighting “sasuke isn’t worried about me at all” which really downplays her role.

on the flip side, even with his main goal of bringing sasuke back to the village, naruto has tons of motivation and character building outside of sasuke - ex. becoming hokage, gaining everyone’s acceptance, fixing konoha, living up to his parents/jiraiya’s expectations, bringing peace, protecting everyone he can, freeing the tailed beasts, etc. etc. you could go on forever the show is named after him after all.

we are told that sakura always chooses sasuke and nothing else about it but then we are told that naruto chooses sasuke despite everything else.

to sum up: the traditional female love interest that kishimoto wants to invent is the woman who is devoted. she puts the person she loves above everything else because she loves him. she’d do anything for that person even if it puts her at risk, etc. but at the end of the day there’s still the tired trait of still relying on the man in her life for certain things. and he doesn’t bother to expand characters like sakura and hinata beyond that. (great examples of characters who are almost completely separate from this mold are tsunade and temari - though one might argue about the way they were written designed to fit specific tropes for comedic moments - personally i think they manage to dodge that for the most part though)

with naruto and sasuke - naruto manages to fulfill every roll sakura is meant to in a much more elaborated and better way all without the curse of the female love interest that sakura and hinata bear. it’s hard to accept sakura and hinata’s “i’ll love you no matter what” when naruto is already actively outright doing that with sasuke. the roots of sakura’s feelings for sasuke, hinata’s feelings for naruto, and naruto’s feelings for sasuke are all exceptionally similar to one another which is what shoots kishimoto’s main romances in the foot - because it’s hard for them to measure up to the main “platonic brotherly” relationship he built between sasuke and naruto.

this post is obviously disregarding a lot of the Other really deep parts of sasuke and naruto’s relationship and some important points about the other women of naruto. also it’s important to think on the time period naruto and naruto shippuden were written in. we’re in a major incline period for improvement in how women are presented in fiction - just look at the difference of women between og and shippuden. obviously it doesn’t completely excuse anything but it’s a point to consider.

sorry for the rant and sorry if this is all really obvious to you or if it’s worded poorly, kinda just needed to word vomit my thoughts. i really like analyzing how women are represented in fiction and how the representations have developed over the years. i wrote a few essays about it for some of my courses and now i think about it all the time. obviously i’m not claiming this is how everyone should view these characters or anything i just had lots of my own thoughts about the entire situation and dynamics that i had to put SOMEWHERE. if you have any thoughts about it or points you wanna bring up feel free to do so i love fiction analysis a lot so i love hearing other people’s opinions

#naruto #naruto shippuden #naruto analysis #20 years old and doing naruto analysis in my spare time rip #long post #pls ignore my messy thought process i haven't been sleeping super well so i'm not sure about the clarity on this one tbh #also sorry i know this isn't like my usual posts was just in a Mood #if any of you like my awful takes let me know because i have tons of them i just never post any because the posts end up stupid long like so #anyone who read the whole thing im sorry are u okay? #my posts #also i know sometimes these posts can bother some people so let me know if i need to add any tags to help with that! i gladly will

[13shapeshifters]

(Ok so this is obviously going to contain huge spoilers for the Raven King) @girlbossfarooqlane , this one goes out to you

When I first listened to the chapter at the end of the book of Cabeswater sacrificing itself to save Gansey, my first thought was that Cabeswater was creating Persephone- was making itself Persephone- to be exchanged for Ganseys life.

It might sound a bit strange in the beginning but hear me out! I have some (good, if i might say so) reasons:

The chapter I'm talking about is chapter 67 of the Raven King. In this chapter we learn quite a few things about Cabeswater, that we know to be true because it’s literally written in its perspective:

Cabeswater is made and remade all the time. It is impossibly old and always young at the same time.

Cabeswater is not quite mortal and can’t sacrifice itself for Gansey, who is quite mortal

The sacrifice has to be a life

Adam/it's magician is the one trying to convince him of saving Gansey, giving it ideas and explaining in what limited way of communication they have

The easiest way of saving Gansey would be to make a copy of him, but Cabeswater knows that that isn’t what the Others would want and Cabeswater is all about making wishes (and not-quite-wishes) come true, so that isn’t what happened

[I would, at this point, like to point out that the way the chapter reads it sounds like Cabeswater is making Gansey new: “But it might be able to refashion him into something new” but that sounds like making a copy of Gansey but since They don’t want a copy of Gansey   Cabeswater shouldn’t be able to do it (see point 5). Although it might be (probably is as far as i understood that scene?) that Cabeswater remade Gansey entirely. As in from the moment he died the first time, the moment Gansey received “a new heart” from the ley-line to save him from certain death by wasps. That moment is the reason why Gansey is a mirror like Blue, the reason why he died the moment Blue kissed him. They kept reflecting power back at each other, stronger each time, and the weaker one had to break.

But if we ignore those two or three sentences I can just continue with my theory I spent too much time on, yknow?]

Cabeswater can’t just kill itself because a) it’s not really mortal (see point 2) and b) it’s all about creation which is- as you might know- pretty much the opposite of murder

Cabeswater mentions that the life-for-a-life sacrifice would only be possible for itself if it created itself a human shape. Let’s go with this. The rest of the chapter is Cabeswater not understanding humans but trying it’s best at creating authentic life

7.1) Cabeswater has no idea how humans are supposed to be

7.2) Cabeswater is going away to create its new life

7.3) Cabeswater keeps coming back to remember what humans are like, which likely results in life that is not quite what it’s supposed to be like but it’s close enough

7.4) It takes Ganseys wonder and regret, his humanity and puts it inside the new life. I will read this as Cabeswater copy and pasting it and not outright stealing it

Cabeswater has a very calming effect on Adam

This is just a collection of facts (with a few of my comments thrown in) so now let’s get to the things we know about Persephone to start connecting them:

Persephone is described as odd due to her youthfulness being side to side with her old wisdom (taken from the Raven Boys Wiki)

She has a concept of right and wrong but it differs very strongly from the “rulebooks” of the Others

Her physical appearance is almost unnatural, especially her eyes. They are described as black, but they turn out to be every color at once. I’m 80% sure that’s biologically not possible

3.1) It could be that her physical appearance is the result of her being a psychic, but she would be the only psychic in the Raven Cycle to have an altered appearance due to her psychic-ness

Maura and Calla meeting was a coincidence (as long as you believe in coincidences, Persephone meeting them was not

Persephone seems to be a sort of mediator of Foxway, she’s pretty much the only calm presence in the books

She taught Adam despite never taking initiative

She dies while scrying

7.1) She can not only see the past, present, future through scrying, she can participate. See: the scene before the discovery of her body in Foxway. She was with Adam one second and the next one she was gone. The cashier said that she was never there. She was projecting herself

So let’s start connecting dots, shall we?

In the chapters just before Cabeswaters chapter the focus lies on Adam and Noah.

Noah's chapter focuses on his life after death and the “time is a circle” theme that has been in every book of the Raven Cycle. Noah goes “back in time” to save Gansey, it turns out he was the one to rescue Gansey, he is the one who started his search for Glendower (which is something I could maybe write another essay on ). So Noah sacrifices his life for Gansey a second time, the first time when he dies, the second time when he moves on.

Adam meanwhile is scrying, getting back his autonomy from the demon. While scrying he sees Persephone, who is dead, and she tells him to take back control. As far as i know (could research) scrying is believed to do three things:

see the past, present and future

give visions coming from the subconscious and imagination

give visions coming from gods, demons and/or spirits

It seems to me that the scrying in the Raven Cycle is based on point 1 since there are multiple occasions where the characters use scrying as a medium to locate the present location of others.

That would not, however, explain the presence of Persephone while scrying.

What Adam is doing can’t be a vision from his subconscious since he is in Cabeswater, he sees how little is left of it.

It could be argued that she too is a projection of Cabeswater, but at that point it’s too weak to do anything, much less create a whole human being while continuously being destroyed.

There is no reason for Persephone to be there, no way for her to be there. Unless she’s part of Cabeswater.

If we start at the beginning (or the end, really) it goes like this: Cabeswater is dying and Gansey saves it. Gansey died and the Others wish for him to be alive again. Cabeswater, being the wish fulfilling forest it is, does everything to do exactly that:

Cabeswater can’t kill itself and a sacrifice would only work if it created itself a human form to inhabit to be sacrificed.

We know that time is not linear, so Cabeswater goes back a few years, and it creates Persephone. It uses up the last of its power to create itself new (always remade, reborn; see facts about Cabeswater point one) and makes itself Persephone.

Persephone is an odd person with eyes that shouldn’t be and who is young yet old and who knows so much about Cabeswater and knows how to help Adam when he is having problems with communicating with Cabeswater.

She takes Adam as an apprentice despite being often described as almost never taking the initiative and as soon as she starts teaching Adam, he stopped having his anger outbursts (See facts about Cabeswater point 8, “Cabeswater has a calming effect on Adam”).

They want Gansey to live so Cabeswater makes itself a person to help his magician help the Others get to the point where they are now (without Adam they would have never gotten to the point of finding Glendower and stopping the demon). So Cabeswater/Persephone gives Adam back his eyes and hands and Adam gives back the idea to trade Cabeswater for Ganseys life in return and Gansey lives. It's a full circle.

But wait! In Facts about Cabeswater point 2 “can’t trade Cabeswaters immortal life for Ganseys mortal one” this theory would be disproven. That's the second purpose of Persephone (the first one being making sure Adam gets to be present for Ganseys death so he can give the idea):

Persephone is the life that gets taken. Her life is the one that gets sacrificed on the leyline so Gansey can live. And one might argue about her dying before Gansey did but I would like to draw attention to two things.

Persephone died while scrying, she went too far out of her own body and never returned.

Adam saw her mere minutes before Gansey died, also while scrying

So Persephone looked into the future and she stayed there, she fulfilled her role as Adams “mentor” and she fulfilled her role as sacrifice for Gansey, giving her soul (not her body) and she never returned to Foxway, dying in the process (see facts about Persephone point 7.1)

This was her purpose, this is her something more that every significant character in the Raven Cycle has.

Obviously Gansey’s quest and sacrifice, Adam’s connection to Cabeswater, Ronan’s dreams.

Noah’s sacrifice for Ganseys life, Neeve’s role in the demon's uprising and end, being the third one in the Maura-Calla party to make it a good number.

Persephone’s something more was to be a sacrifice and she knew it. In that one scene she’s talking to Adam and he asks if she can see her own death and this is her response: “Everyone sees it. Most people make themselves stop looking, though”. She dies in the chapter following this scene, so he knows exactly what she’s doing, that she is going to die and she does it willingly because the Raven Cycle is all about working toward your something more.

Persephone also knows about her origin. She knows about her “connection” to Cabeswater (her being it, really) and it gets “addressed” in the very same scene.

Here a scene:

But Persephone just said in her tiny voice, “But I see now that it could never be. You’re like me. We’re not really like the others.”

Other what? Humans?

[...]

“We’re really better in our own company,” Persephone said. “It makes it hard, sometimes, for others when they can’t understand us.”

^^^The only really “inhuman” thing about Adam is Cabeswater, which implies that Persephone also has a connection to Cabeswater (again, my point here is trying to prove that she is Cabeswater, so that would be the connection) and the talk about not being able to understand them would only prove that further since Adam and Persephones whole relationship started because of communication problems between Cabeswater and Adam.

Here’s the “short” version:

When Gansey died Cabeswater made itself Persephone (with the help of some time warping and circling and stuff) and Persephone/Cabeswater fulfilled her two purposes (it’s just one, really): To make sure that Adam gets to the point of Gansey’s death to share the idea that will save his life and to be the life that is sacrificed.

Her/It’s whole purpose was to give Gansey life and that’s exactly what happened.

#the raven cycle #the raven king #persephone trc #cabeswater #adam parrish #richard gansey

[mittensmorgul]

A lot of people keep saying that 15x20 was Chuck's ending, but... it wasn't? All of Chuck's endings had Sam and Dean sacrificing themselves or one another or otherwise "going down swinging", but what we saw instead was a random accident. No fanfare, no blaze of glory or sacrifice of any kind, no "epic tragedy". Kind of like getting poisoned by a bad taco. Unless Chuck just got fed up with the story and, taking notes from Gabriel, wrote a nonsensical boring ending purely out of spite.

It was Chuck’s ending in that if he’d actually been defeated, Sam and Dean would’ve been free. They were not. One still died “so the other could live,” and the finale even cancelled that bit with the Sam Wig Montage and having him end up dead, too.

For all the nightmare scenarios Chuck showed them, for all the “one brother murders the other” prompting he gave Sam, that was never the true core of his story. It was always about one sibling dying/being removed from the story so that the other could control the entire narrative. That was his original story with Amara. That was the “justification” he sought through every retelling of all his greatest hits. That was ultimately the story that “won” in Supernatural.

I’ve now been discussing this with some kind folks on discord, and we’ve gone down about a million tangents... but I have a few links to meta written on the subject I’ll provide as a result. But first, a short diversion into my own contribution to this conversation:

Recall how it seemed obvious that Dabb's authorial self-insert character was Billie. How from her intro she was both the character most intent on finding Balance in the universe AND had a Final Antagonist coding to her, in that she was the End Of Their Story in a very literal way. [12:55 PM] (I am going somewhere with this, I swear) [12:56 PM] Then she was shown in her library, with the myriad possible deaths Dean could suffer, and we wondered why he had so many books with so many different endings especially when the books could "rewrite" themselves as people lived and made choices that altered their fate. [12:59 PM] Chuck's hand-- even if he couldn't "read" those books himself or mess with them directly-- could "write" so may potential endings for Dean that would all have to be accounted for by Fate. Cosmically gaming the system by making it impossible for Dean to make ANY choice that wouldn't be accounted for somewhere. Which is the hamster wheel Dean described of never actually having lived his own life... [1:02 PM] But this is now making me furious. Because Billie was supposed to be the END of the story. Dabb was supposed to finally CLOSE the book of fate, having mended the imbalance of the universe. But like Billie, who Chuck disliked for "meddling" in his story despite her meddling being entirely focused on repairing the ever-worsening cosmic imbalance his story was creating, Dabb was sort of growing desperate toward the end. He slipped up. His plan to kill God was ALWAYS doomed to fail (because the network forbade it... it was NEVER going to happen, EVER, and loads of US knew that and it left me completely side-eyeing Billie's whole plan with Jack, because I KNEW it could never happen that way... yet Dabb kept driving the bus in that direction despite us all knowing it had to fail, that they would not be allowed to kill God in primetime network tv...) [1:03 PM] And that was Billie's downfall... because "the plan" was doomed to fail. [1:03 PM] And that was also Dabb's downfall, but he held the authorial intent to keep making it seem like a possibility, to his own detriment. [1:04 PM] Once Billie's plan failed, and she was sucked into the empty with Cas, all that was left was Chuck As Author.

I've been thinking of Billie's downfall as a sort of Winchester Derangement Syndrome, [1:05 PM]

There is zero doubt in me that Chuck was the ultimate winner.

But like... secondary derangement as a side effect of her position in the cosmos as the balance point of life and death, and the absolute Chaos Vacuum generated around the Winchesters by Chuck's constant meddling.

but at the end we learn it was ALL CHUCK. The Winchesters wanted to retire from fucking with cosmic forces! They never wanted that AT ALL. That's what Chuck wanted them to play with, though, so kept setting scenarios where they would have "no other choice" but to run headlong into another cosmic battle

every time they mentioned the toes in the sand, or any hint at wanting anything outside of hunting and cosmic disasters, it was a red flag that Chuck was about to step in with a new Hammurabi-Gun-Level fuckery [1:11 PM]

(pardon the timestamps from discord, I’m too lazy to delete them all)

(we’re now discussing how Becky actually was the best writer in the show, how Chuck couldn’t take criticism from her AT ALL and his only reaction to her being literally RIGHT about it being an awful story was to snap her out of existence... so like... makes the ending even that much worse, that it looked like he surface-level stole a few snippets of Becky’s preferred story-- doing laundry and talking to each other-- but then dismissed all that and flipped to Chuck’s preferred narrative of bringing on the monsters. Pointlessly, hopelessly. It’s like a sad, emotionless pantomime of the sort of story Becky would’ve told. But Becky recognized her issues and sought out therapy. Chuck... never would, and never did.)

(lol we’re now serving up fresh shattered glass in the discord server)

There is no explanation for this finale aside from “Chuck’s story won in the end.” He was vindicated by it. It functions as a “moral justification through parallel” of his own actions-- fridging Amara to maintain full control of the narrative.

And now those links I promised... a tumblr post on monsters in Supernatural:

https://trisscar368.tumblr.com/post/638157515063951360/of-villains-and-monsters-and-the-tragedy-of

and a post on AO3 (too long for tumblr, about 7k words about Death In Supernatural... even if you’re not up for a read that long, scroll down toward the end and at LEAST read the tl;dr of the finale segment of the essay)

https://archiveofourown.org/works/28831941

Sorry if this is a bit incoherent. I’ve been tabbing back and forth on this for like an hour now, in abject frustration over it all. If you’d like clarification on any point I attempted to make here, I invite further questions. But short of writing a thesis-length treatise, I don’t know if I can possibly explain it all more concisely than this ^^

#spn 15.20 #spn 15.04 #chuck's process #Anonymous

[fandom-thingies]

My Complicated Feelings Toward JK Rowling

I think everyone who’s read Harry Potter and likes to talk has written something like this by now. It makes sense, right? She wrote possibly the most influential book series to come out in the last century. For me and many others, those books are an unforgettable part of our childhoods, and it hurts for the person who took us on such a journey of magic and wonder to be so unmagical herself.

So, here’s my take.

I think the thing I hate most about JK Rowling is how close she came to greatness.

There’s a reason her books became so popular, after all. For all her faults, (and there are many) she’s an amazing writer.

Every one of her characters feel like they could walk off of the page at any time and into your life. 

Dudley Dursley with his absorption of how his parents treat Harry and how his friends treat him, with his slow growth throughout the books into a person beyond who he was raised to be.

Molly Weasley with her overbearing mother henning, sometimes harmful but oh so clearly coming from a place of love, and her complete willingness to adopt any child that stands still long enough for her to do so. (Except Fleur)

Narcissa Malfoy with her belief in the horrible things she’s doing, without that stopping her from being entirely willing to do anything for her child.

Sirius Black with his tendency to unintentionally echo the sentiments he was raised with, and the tragedy of him losing his chance to ever truly grow as a person after being thrown in Azkaban for twelve years and then dying so soon after, and his complete, unconditional love for Harry.

I could write essays on any of them, and my point is that while JK’s treatment of certain issues and characters makes me want to hate Harry Potter, her characterization itself is both consistent and magnificently human.

Her world, too, is beautiful.

I first read Harry Potter before I turned eleven, and I was one of many across the nation who awaited my letter with eager anticipation. 

Can you blame me? The world she created filled so many children with wonder, made so many of us want so badly for magic to be real, to be ours- 

It was beautiful, and I hate her for what she could have been.

She had this fully realized system of prejudice that canonically created genocidal maniacs and put them in power every two generations or so, and she had this very realistic way of writing horribly flawed people that pronounces them as people without exonerating them for the awful things she’d have them do, and I can’t help feeling like “the horrors of war”, as well as she wrote it, wasn’t the story her world deserved.

But that’s a big idea to tackle, and I think it will be tackled best if I start small. I’ve spoken now of the beauty of her world, of her characters. Now I’ll speak of what marrs it.

Like I said, I want to start small.

So, let’s talk about the house elves.

TL;DR? Hermione was right. They’re indoctrinated from birth into believing the only thing they’re good for is housework, as well as being raised to abhor any elf who chooses to do otherwise. It’s a neat little self perpetuating system that bears absolutely no similarity in ideology to the mythology JK built it off of, and as such loses the aspect of choice that’s so significant to brownies.

Add to that the socially acceptable abuse, and you’ve got something that looks far more similar to slavery than it does little fairies who come to clean your home and get mad if pay them because they’re doing it as a favor.

And that’s why it’s so concerning, when JK brushes Hermione’s campaigning off in canon so casually.

It’s honestly hard to say when I started to be leery of JK Rowling, except that it was several years before the TERF scandal occurred. I think this was probably one of the earlier areas, though.

The first time I remember wondering if Harry Potter’s greatnesses were in spite of her intentions, rather than because of them, though, wasn’t the house elves.

It was, rather, a different contentious issue in the fandom, and one I’ve always fallen quite firmly to one side of, as someone who’s been bullied myself.

The first time I remember being suspicious of JK’s beliefs was when I realized she didn’t write Snape with the intent for him to be a villain.

Snape is not a person anyone in the fandom seems to be able to agree on. Some see him as a flat, cartoony villain, while some see him as a tortured soul who only did all those terrible things because he was hurting inside, don’t you see? 

Personally, I drew the line at him being a child’s boggart, as well as the time he attempted to kill Neville’s toad, Trevor, because seriously; what the fuck.

It had always been my belief that while him being obsessed with loving Lily motivated him to work on the side of good, it was more like Narcissa’s willingness to betray her cause for her son than anything else, being a sympathetic trait without absolving his cruelty.

Then I realized that a bunch of people (likely including JK) view Narcissa similarly to how they view Snape, seeing both as people who do bad but are good, rather than people who do good but are bad, and I honestly don’t know what to say to y’all.

You know having good traits doesn’t make a person good, right? Being capable of affection doesn’t absolve people of cruelty or make it your responsibility to forgive them and try to get them to change, it just tells them that they can do bad things without being punished for it. 

Do you guys need an abuse hotline? 

Anyway, that’s when I stopped liking JK, since I’ve been bullied myself and seeing her treat such a horrible bully as a good person kinda soured me on her. I’m not mad at her for letting her bullies grow and change- I love Draco’s and Dudley’s character arcs. I’m just mad at her because unlike those two, Snape is an adult and she kinda wrote it like forgiving him was an expectation of Harry, rather than a personal choice (and not an easy one either! Forgiving bullies is hard and it’s not always healthy!)

I’m getting off topic, but I genuinely believe that discussing this kind of thing is important, so I’m leaving that in.

Getting back to what this is actually about, I’m the kind of person who sees potential in things, often before I see the work itself, (it’s why I write fanfiction) and Harry Potter has so much potential it hurts, because so much of it is just wasted.

I said, earlier, that “the horrors of war” wasn’t the story best suited to this world, and I stand by that.

The first reason I believe that is because I don’t think that the black and white morality this kind of narrative often creates was well suited to JK’s writing style. JK has a tendency to put her characters in boxes of “good” or “bad” and as someone who doesn’t really believe in inherent goodness or evil, this will always feel unrealistic to me.

Because in the end, it’s JK’s minor villains, the ones not directly involved with Voldemort’s war, that really shine.

My favorite villains in the series were Umbridge, the Dursleys, Draco Malfoy, and Cornelius Fudge, because they were the villains who felt real, who felt like flawed people making flawed decisions because we’re all fundamentally products of our environment-

These are the villains who stuck with me, who I still want to take and shake because they were the kind of cruelty we’ve all faced.

Voldemort, as the main villain of the story, would have been more powerful if he’d been an amplified version of these people. In fact, the story would have been better in general if Fudge or Dumbledore had been the villain, because the problem with Voldemort is that unlike the good villains in this story, who feel real because we’ve all met people like them, Voldemort is and will always be larger than life.

A genocidal maniac is a villain few of us have faced societally, and one none of us have faced directly.

Also, rather than being a worse version of Umbridge or Fudge, Voldemort is more akin to a worse version of Snape. He’s a tortured soul who does bad things because bad things were done to him, rather than being cruel through his choices, his own agency.

That’s the first reason why “the horrors of war” wasn’t the best choice of a narrative for this world.

The second is that I don’t think JK sees anything wrong with her muggle hating characters.

She clearly thinks killing muggles is wrong, of course. She’s not that bad.

But, well, the muggle characters in Harry Potter are consistently kind of awful.

First there’s the Dursleys, selfish, entitled, egotistical, and cruel to anyone different from them. Then there’s Snape’s muggle father, who was horribly abusive, as well as cruel to anything different from him.

Then there’s the muggle prime minister, who despite being an important figure, is left completely out of the loop for anything concerning wizards, pretty much only used when the ministry needs the muggle news to say or do a certain thing, like when Sirius Black was declared a criminal.

There’s also the family at the quidditch world cup, of whom who only meet the patriarch, a somewhat stupid man who remarks uncomprehendingly on the oddness of wizards trying to assimilate into muggle society, a man who is canonically obliviated ten times a day.

And that’s it, that’s all the muggle characters I can remember. Aside from the Dursleys, none of them are given more than a page or so of screentime, and none of them do anything significant.

No, wait, I did actually forget two.

Hermione’s parents, who are obliviated and sent to Australia when the war starts, because the only thing they could ever do in a war is be victims.

Muggles in Harry Potter are consistently stupid, ineffectual, and cruel to anyone different from them.

Out of the entire massive cast of Harry Potter, there are few enough muggles that I can list them all off the top of my head without googling and the only muggle in the story ever given the all important chance to be kind is Dudley Dursley, who is taken out of the story the moment he stops being an awful person.

I’m sure you see the problem.

The issue with Harry Potter is that JK acts like the problem is solved when muggles are no longer being actively persecuted, when in reality that’s only the beginning of solving the prejudice that plagues her world.

Voldemort is frequently called “wizard Hitler” and I think that’s more accurate than people realize, because as with Hitler, people easily see the problem with Voldemort committing genocide, and they’re fine with working to stop that, but the moment they’re asked to examine their own biases, their own small cruelties and exclusions, the ten thousand cuts they’ve inflicted with their own hands…

The moment people are asked to examine themselves, to look close at the mirror and point to what allowed someone like Voldemort to gain a following in the first place, they turn away and go back to turning a blind eye to the fact that if you don’t address the societal issues that made him gain a following in the first place, there’ll just be another when it’s been a few years and people have forgotten.

In the end, Grindlewald is wizard Hitler. Voldemort and the death eaters are wizard neo nazis.

I’m not Jewish, though, so I’ll let them be the ones to expand further upon this, as many have.

My point here is that JK’s story would have been more powerful if it had been about addressing the issues that underpin the death eaters, rather than killing their leader and acting as if that’ll solve anything.

JK Rowling is antisemetic, racist, and a TERF, among other things, and while I’m glad it shows in her work as little as it does, it does show, and I’m not going to cover that in this because a thousand other people have covered it better than I ever could.

Suffice to say, I’m nonbinary, and I’m glad I was disillusioned with her before I knew she was prejudiced directly against me, because loving her before she said the things she said and did the things she did would have hurt.

The fact that her world shows so clearly the consequences of her beliefs, even in the context of a prejudice that doesn’t exist in our own world…

I guess she’s always been too good a writer for her own good, in the end.

#harry potter #jk rowling #harry potter meta #harry potter criticism #tl;dr i hate harry potter because it came SO CLOSE to greatness and then JK just SQUANDERED it and i'll die angry

[creativenicocorner]

Slides a ⭐ for a star person :p

Holy shit it took over a year and I barely remember which fanfic ask this is about...I think it's like a director's cut one? REGARDLESS! I do remember the star was to like talk about whatever - and while looking for a WIP I came across an attempt to answer this WITHIN a wip? Past Nico what were you thinking?!

I do know this was written sometime before Ch15 of Terpsichore came out, because there were a few references? But I rephrased the wording a bit.

Forgive me for using this as an excuse to just babble on about how I choose the music titles for chapter sections in Terpsichore, but also, I'm not entirely sorry haha Without further Ado! Here’s hoping this rambling makes sense haha!!

⭐ AN ANSWER!（♥￫ｏ￩♥）

So it’s taken me a long time to figure out how I wanted to answer this. For a while I was going to ramble about M*A*S*H how it was a rather formative show for me growing up, especially in its anti-war message as well as how it feels like a comedy played in a minor key. There was even going to be a link to a video essay on the show, and then I was going to hint at a want to write a series following the changelings in a pre-show context in the sort of vibe M*A*S*H gave.

But it got lost, and weighty…and…idk, I can’t seem to stick to a lot of things these days? I don’t know.

But there’s always been in me the want to attempt to explain why I choose the music pieces I choose to title the sections in each chapter. Cause despite the little message at the bottom of the first chapter and the last chapter talking about motifs leitmotifs…writing prose is nothing like composing music.

And not only that I’m sure less than half of the people reading the fic will listen along with the playlist. Which is 100000% fine! I anticipate it even!

Because at best, those sectional pieces serve less as soundtrack more like a silent movie’s musical medley.

Because it’s the written word, and I’m not Andrew Hussie ldgj though the day I find out how to put a little ‘play button’ to listen to music during a fic, I might do that. But at this point in time Hell No haha.

Despite this, there is a process behind my music selections.

There is a difference between what I consider ‘corpse de ballet’/ ‘ensemble’ sections, and ‘leads’ / ‘duet’ sections.

Or what my poor readers go through as ‘a shit ton of prospective shifts’ and two prospectives at best, at the same time. I don’t know why I’m such a fan of bouncing between perspectives so much that you probably feel seasick. I always consider it a miracle anyone understands what the heck is going on dfjglk The answer is probably because I like third person omniscient writing, and am a sucker for situational/character irony. But I’m also a grammar school drop out haha and don’t actually know the rules of writing by heart? I’m just a fool with a bunch of vibes and a dictionary doing their best lol.

[ stressed coffee sip ] Fake it til you make it baby

But yeah! Enough borderline weird self deprecating! Let’s talk music!!

So! Usually when writing a section I try and think about who are the central characters in the section, and or what is the theme/emotion I’m trying to call on. Is there a motif, or a reference I can play on musically? An idea or concept I can echo or even enhance? Will it be a specific genera of music tied to a character because that character embodies and or is known for a specific genera (example: Nomura and Opera- more on that at during ACTII )

Once I answer those questions, I’m able to narrow down my music choices. Which, again, acts more like a book of suggested musical medley orchestras and musicians would purchase during the silent movie era as like a cheat sheet of what they could play during a specific scene.

So…for instance, for a character like Barbara Lake I wouldn’t use video game music -or maybe I could…but it would only be in terms of perhaps referencing her son.- who I would have a higher chance at choosing to select a video game music piece for (hang on to your butts ACT II Zelda soundtrack).

In the fic I’ve built the idea that in order to explain Barbara’s ability to paint, that she not only took classes but was part of the production team in putting on a play, mainly in set design painting props. Which opens me to a world of musical options when it comes to Barbara’s character. Especially when certain musicals hold songs that can be really fitting to her character later on. An example of this can be seen in ch3 “Aquarius”, and ch14 “Julia”.

Ch3 is Barbara’s big planned picnic date. The first date she and Walter go on after she ingested the binding spell. The two of them coming together, but also the magic of which awakening something magical inside.

And Ch14 in which the binding spell is broken, but also whatever was holding Barbara’s potential to reaching towards that magical something inside her is also broken. And in a sort of my own attempt at written diegesis between the narrative and the song selections in the sections, the lyrics to Aquarius is written out as Barbara depends into the water. In which it is no longer the dawning of Aquarius, Aquarius is starting to take center stage. Their cue is played.

That would be my example on a very character driven musical choice.

Not only that, but it is at Ch3 where Walter is influenced more and more to Barbara’s appreciation to musicals, so much so that it begins to influence his own array of music pieces. His dreams no longer dialogue from movies he fell asleep to, but sometimes full on reproductions of staged musicals and plays. An example of this can be seen in Ch11 On the Right Track from Pippin the Musical - which oof I could go into a full dissertation on in regards to changelings/Pippin and The Pale Lady/Leading Player.

Not only that, but due to influence from Barbara’s love we get the moment of Walter’s ‘I want’ section piece in the form of Ch9 “Corner of the Sky” (aka Pippin’s I want song as well). The moment before this happened there was the interaction with Angor AND Otto AND the repercussions of Angor attacking the school. It is clear to these characters that Strickler is not giving his all in killing Jim, and perhaps never tried to give his all. Something that Otto proclaims as Strickler making excuses, and Strickler insists is tact.

Then there is the situational character driven choice.

I’m going to continue to use Barbara as an example here, and say that THIS can be seen in Ch2 “No. 9 – Finale Andante” and ch12 “Le Lac Des Cygnes Introduction: Moderato Assai”

Both of these music pieces come from Swan Lake. The reasoning behind the choice is probably asinine in thought process (Barbara Lake, Swan Lake), but also thought out in the sense of the following:

In Season3 of Trollhunters Morgana, in order to attempt to reacquire her shadow staff from Strickler (“The Exorcism of Clair Nuñez), transforms herself to take Barbara Lake’s physical form.

IN THE BALLET SWAN LAKE The wizard Von Rothbart, in order to obtain what they want, transforms (granted someone else) Odile to look like the hero Odette in order to trick the prince into proclaiming this imposter Odile as their one true love. In which Odile is the mirror to Odette, and while looking similar (in fact typically the ballerina who performs as Oddette would also perform as Odile) are opposites in spirit.

And, at least in Terpsichore, what near primordial eldritch force can rival that of the Eldritch Queen that we know from cannon will inevitably impersonate Barbara Lake?

But wait, there’s more.

In chapter 2 the piece used in section 2 is the end of ACTI from Swan Lake. The music hints not only the arrival of Odette, but also her inevitable tragedy. What is written in this section, briefly at that cause we watched how the scene plays out in the show, you don’t need me writing that back at you, but I digress- What is WRITTEN in this section is Barbara sipping the enchanted tea that binds herself to Waltolomew Strickler. Something that you, the viewer and fan will know ends in tragedy, as do I the writer and also fan knows will end in tragedy. The only people out of the loop here are the poor poor characters.

And then the revolving door of bad situations that is ch12 happens, and we return to Swan Lake with “Le Lac Des Cygnes Introduction” In which Barbara is introduced to Jim Lake’s Trollhunting world, finally. But wait! There’s EVEN more.

Because not only is Barbara introduced to Jim’s Trollhunting world, Barbara begins to allow herself an introduction to that weird magical more that’s inside her via dream. And YOU/WE the reader/writer/audience, are introduced to the strange figure Giselle is talking to on the beach of Lake Superior…who…well, you’ve probably already have an idea as to who that figure is ;)c

There are also moments when I just select a song piece because I think it fits Thematially well - ch11’s “Powerhouse” section. Aka the music that plays in Looney Tunes whenever an assembly line montage occurs - to which in that section Jim Draal and Walter are putting together the booby-traps to thwart Angor Rot (as well as try to reassemble some sort of emotional connection between them). Or it could be a reference to a meme I really enjoyed, example Ch12’s “Roundabout” aka the music piece known vernacularly as “The Jojo Meme” but also like…meme aside it’s really good and fits and just lkfgjkgsdj I have a lot of feels about Roundabout and I won’t apologize for it haha

And yet, something I pride myself in, is that you don’t need to know all of this to enjoy the story. It isn’t necessary to listen to the Swan Lake pieces or even the Musicals, or even the Jojo Meme. Because, if I did my job right, those echoes ought to be in the writing. The pieces to the section have always been optional. Just little markings in a booklet to be given to you the reader/composer as a suggestion and you can choose to play those pieces along to the silent film, or boot up a ragtime. And that’s the power you have. And that’s equally as wonderful!

#Nico Responds #feather-dancer #Terpsichore #Tales of Arcadia #Trollhunters #Stricklake

[goron-king-darunia]

Annon-Guy: How did you feel about Marta's initial hatred of Colette? Like when she got upset with Colette for what happened to her mom and pushed her, did you hate Marta for that? I'll admit, it wasn't right for Marta to do so. I got upset seeing that despite liking Marta. But wasn't it because she (& Emil) didn't know the true events of the last game? P.S. This is compleatly unrelated to Marta, but like with her issue with Colette, were you also mad at Emil for his initial hatred of Lloyd?

Honestly, Marta being mad at Colette is one of the more realistic parts of the story. Marta doesn't know Colette as anything more than a sort of celebrity before DotNW starts. Like, IDK, if Miley Cyrus or someone went on some sort of global tour and allegedly pressed a button that shot a missile directly at my house which killed my mom on impact, I'd probably be pretty mad too. All things considered, Marta shoving Colette and storming off is a LOT tamer than Emil actively trying to fight Lloyd, but then again Emil thinks Lloyd himself killed his parents. Marta is aware that Colette's responsibility for her mother is a little less direct. She knows Colette didn't, like, kill her mom on purpose where as Emil thinks Lloyd very much did stab his parents deliberately. I think, more than anything, Marta is upset that Colette admits it because she loses some justification for her anger. If Colette had instead said "No, you don't understand, it wasn't me." or "I didn't mean to do that." Marta probably would have been less angry, but also probably would have been, like, unbearably righteously cocky about taking her feelings out on Colette instead. Because Colette admits blame, even when we know it was an accident, Marta loses some of the justification she had for being mad at Colette because the story Marta always told herself about Colette was that she was a coward who ran away from her responsibility as Chosen, and her cowardice is part of why the Giant Kharlan Tree was able to go rampant. Colette taking the blame is not cowardice. She didn't try to deflect blame. She just said "Yeah, I'm the reason the Tree Destroyed Palmacosta. I'm sorry." That breaks some of the narrative Marta has told herself. Colette isn't the irresponsible brat Marta had imagined and had gotten mad at over the years. And that makes it harder for Marta to hate her but it also makes her angry because her narrative of righteous anger over hating the coward that got her mother killed doesn't get closure right away. All in all, I think that part of Marta's ark was very good, and the fact that she can forge a friendship with Colette and actually get to know her is a great thing that I wish had gotten more attention in the game. Emil has sort of the opposite journey. He sees his "parents" on the ground and they put the blame on Lloyd. Whether Emil fabricates the memories, absorbs some of the REAL Emil's memories, or just pieces things together in Luin, he KNOWS Lloyd is a hero to many people, especially the people of Luin. And that veneration of this guy, without question, is entirely incongruent with what he "knows" about the massacre at Palmacosta. His parents, the people he trusts most, or the people he tells himself he should trust most about that night, TOLD HIM Lloyd did it. But everyone in Luin expects him to worship the ground Lloyd walks on. So the fact that he's expected to worship a person he believes to be a murderer fuels a hatred he already holds for a person he believes killed his parents. So when he finally DOES meet Lloyd and Lloyd dismissively just goes "Not again with Palmacosta," Emil just sort of... snaps. Because this reads as heartless, dismissive, and smug since Emil doesn't know the real Lloyd. To Emil this is basically Lloyd confirming that not only was he at Palmacosta, but he DOESN'T CARE. Obviously, Emil is misunderstanding, but that's what he hears. So not only does this "confirm" to him that Lloyd is just as bad as he thought, but he ALSO feels like Lloyd is evil enough that he essentially tricked everyone in Luin into worshipping him, which is a source of alienation and abuse for Emil because, well, no one in Luin likes Emil because he just hates Lloyd for what they think is at best a misunderstanding and at worst "Lloyd probably killed his parents because they did something wrong." So Marta gets mad with Colette because she's nothing like the monster she'd made up in her mind, and that removes a form of closure she expected once she finally got to confront Colette. Emil gets mad at Lloyd because he seems to confirm himself

to be exactly the kind of monster Emil feared he was. Both of these are very real and very valid reasons to be angry. Not valid reasons to lash out, but valid reasons to FEEL UPSET. So, yeah, Emil should probably not be seeking revenge, even if it was justified and he could prove Lloyd is a murderer because, like, vigilante justice usually ends badly and Richter is a prime example of that. And even if it didn't hurt Colette, Marta shouldn't have shoved her. But their reactions are very human, and that, in my opinion, is good writing. It obviously doesn't make them the best role models because you can't just go around shoving and/or trying to kill everyone you think has done you some wrong, real or imagined, but their reactions are very visceral and very human. How the characters experience and express their emotions is one of the most well-written aspects of the game and I actually like it a lot. Given what Emil and Marta knew or thought they knew about events in the past game is honestly really great and one of the reasons I liked the game so much and why I think a lot of people hated DOTNW. What some people see as retconning or trying to twist the past is just a very real facet of human memory and switching perspectives. If you had never played the first Symphonia, you would also believe that Lloyd and Colette were bad people because Marta and Emil think that they are. You're led to believe the same things Emil and Marta are because you get the same information they do about the past. So I think for some people, the fact that the sequel dared to challenge the events of its predecessor didn't sit well because "They're writing Lloyd and Colette wrong! They're not bad people!" For me that was the best part. "Okay, either the entire last game was a lie and we were playing as villains the whole time like Baten Kaitos or something or THAT guy at the beginning wasn't Lloyd. I wonder who's impersonating Lloyd or what we missed in the last story that explains this." For me I was EXCITED that "Maybe the last game lied to me! Maybe there's a deeper darker secret. Or maybe this time WE'RE the bad guys?!" There were so many ways that Symphonia could still be canon without DotNW also being wrong." But I think a lot of people took the first few chapters of the game as an insult because "Lloyd would never do that, this is character assassination and completely destroying the canon of the first game" and stopped playing before finding out WHY it was like that. What I saw clearly as this story being told from another perspective other players saw as the new game lying to them or the new game trying to tell them the old game was lying to them. Challenging the previous narrative even slightly was seen as a betrayal of the truth. And I think that's a real shame because the first few chapters of the game are a great lesson in how a change in perspective, putting yourself in someone else's shoes, can change what the truth actually is. Even the most righteous hero can be the villain in someone else's story. And even though Emil and Marta reconcile with Lloyd and Colette in the end, I honestly wouldn't have minded if, like, they WERE the bad guys. I wouldn't have minded if Emil and Marta were the bad guys. Somehow I think some of the people that didn't like DotNW have just a very fragile objectivist sense of what it means to be good, and having that challenged was so offputting they started to hate the game because how dare the game question for one single second if good can be evil and evil can be good?! Personally I found this all very fascinating and it made me love DotNW more, the same way I loved Baten Kaitos. Now I kind of want to do a video essay on this...

#DotNW #Letters from Annon Guy #long post #psychology #media analysis #opinions

[filmmakerdreamst]

‘Boy Meets World’ Re-watch (as an Adult)

‘Girl Meets World’ doesn’t count as a sequel. Not because of the writing/tonal choices but because in the original show - despite continuity issues - the characters felt like real people e.g. the way they spoke/acted/dressed was the way people behaved in the 90s where as in the spin off, they were Disney characters e.g. hyper versions of themselves especially Cory and Eric. And the transition between both shows didn’t come naturally. It’s not an objectivity badly written show but it was pretty much a re-do of the old show with the same storylines/tropes without continuing the story. (I say the same thing about ‘The Incredibles’. vs ‘Incredibles 2’.) Also there were too many cooks in the kitchen pushing one way or another. You could see Micheal Jacobs style, all the aspects were there, but he was also creating a ‘DISNEY’ show at the same time. I don’t know about you but the one message I took from the original show was ‘finding out that life cannot be packenged into a lovely little present ’ which kind of contradicts everything that the new show is. If anything GMW is an AU universe (and it really felt like that, rewatching it right after BMW e.g. it felt flipped) almost like Disney’s version of ‘what happened next?’ The primal difference between both shows is BMW is portraying what is real and GMW is based on what is real.

Going off my point, I will however be always thankful that it exists because I probably wouldn’t of found out about ‘Boy Meets World’ otherwise. Although saying that, I never thought that the original show needed a continuation of any kind (a lot of things make sense about the spin off if you acknowledge that Disney requested it - I think it would of been much better off on its original platform) ‘Boy Meets World’ was very much a product of its time i.e. when tv shows were still relevetivley new and had no rules - like there is stuff in there that not even adult shows today have. Plus there was something about it that felt very personal (such as the characters and setting) as if the creator based it on his own childhood growing up and I think that was part of its charm and why it had such a big effect on pop culture - I’m not so sure you can repeat that.

BMW is big on meta I’ll tell you that. I love how it’s so aware of itself. The amount of depth that it has never ceases to amaze me. It’s whole universe is so dense and huge. Every quote/storyline is so unique it sticks in your brain forever. (I swear the humour got more and more deranged every season). The show was also incredibly queer and progressive.  It didn’t give a crap about sexuality. Much more than I remember. Proof to never use ‘but it was made in the 90s’ excuse.        

I loved how the show kept reinventing itself every season as Cory grew up so you really felt you were growing up with him and all the characters. The Character Development on this show was so natural/authentic. Every single character got a chance to shine. No one changed their look in one episode and no one had an intervention every time someone had an identity crisis (GMW) My favourite development was Shawn Hunter. He went from a cool kid to a ladies man to a poetic soul. It was so satisfying to watch.

I realised that Cory Matthews is actually my favourite character (before it was Eric or Shawn) I already have a special soft spot for ‘annoying’ characters because they tend to be the most memorable/real. For example, Karma Ashcroft from ‘Faking it’ was my babe while everyone was hating on her. I really related to his anxiety/self hatred about being average and I loved that he constantly made mistakes. It was very refreshing. He’s also incredibly queer-coded. I found that alot of his mannerisms make sense if you see him with extreme compulsory heterosexuality (because identity’s such as bisexual or gay couldn’t exist normally in the 90s) There are moments in the show where he literally mimics his best friend’s behaviour around girls e.g. when the class pretty much gets brainwashed by the sex ed video in ‘Boy Meets Girl’ Shawn gets asked out by a girl, making Cory jealous - which pushes him to ask out Topanga.

It’s funny how a few years of life experience can change perspectives completely because when I was sixteen (aka the same age as Cory and Topanga) watching BMW for the first time, I was mad at Amy for ‘not understanding that they were in love’ (in ‘A Walk to Pittsburg’) but now that I’m older I’m actually agreeing with her. Yeah, what do they know about love? Because all season long they were acting quite superficially.

Cory and Topanga became somewhat of a toxic couple in seasons 5 -7. Reminded me of my parents relationship because my mum gave up her chosen university to be closer to my dad and they aren’t together any more. Topanga’s love for Cory was very conditional and Cory cheated on her multiple times/openly begged for sex  (Again like my parents) And you should never be in a relationship with someone who makes you say “You make me think not so very much of myself” There are arguably much more signs of emotional abuse than love in their relationship especially from Topanga’s side. Plus their story was altered so many times to give it more basis (they retconned Shawn and Cory’s friendship to do this) I could write an essay on how Kevin and Winnie’s love story on ‘The Wonder Years’ is much more believable because it actually addresses how toxic it was and they grow apart in the end. If GMW was a realistic continuation, they would be divorced with a little girl - leave them in the 90s where they belong.

Alan and Amy were couple goals! Cory and Topanga wish that they could have what they have. Literally the definition of ‘a healthy relationship on tv that keeps thriving and over coming obstacles without big drama’. Best TV parents ever.

I loved the Matthews family; how they all had individual arcs and developments of their own. One of my favourite arcs was in season 5, when Eric and Cory were both jealous of what they ‘didn’t have’ with their dad, so Alan made an effort to give them both that they needed. Honestly, I had never seen so much healthy communication on TV before. Alan is the best father around. His whole personal arc of giving up managing a supermarket because he wasn’t passsionate about it anymore and buying a mountain store was so inspired. I found it funny that the family had more of a relationship with Shawn than Topanga.

Shawn Hunter never caught a break. It got a bit tiring. He was never allowed to be happy for five minutes. Every time he laughed or smiled, 5 years were added onto my lifespan. Why didn’t Johnathan Turner adopt him? I loved their dynamic. Why did he let him go back to his abusive father who just dumped him anyway?

Jack and Shawn’s complicated dynamic was possibly the most unique/interesting arc of the entire show and no one talks about it. I don’t care what y’all say - despite them being very different, Jack was the only one who fully took care of Shawn without second thoughts (Turner and the Matthews family had doubts)

I liked Shawn and Angela. I thought they were much better suited than Cory and Topanga. I honestly wouldn’t of minded if they ended up together even though I always had a feeling they wouldn’t. (Like I’m glad she went with her dad in the end) And considering how important they were as a interracial couple in the 90s, GMW handled that very poorly.

Shawn and Cory should of ended up together. And before you come at me with ‘it’s important to have m/m friendships without toxic masculinity’ (which is an important arguement to have) - yeah no shit there’s an entire Industry based around that/pitting women against each other. While it is important to have those friendships between men that are close and even intimate (take Chandler and Joey, Schmidt and Nick, Isak and Jonas and Jake and Charles for example) there was also another layer to their relationship which the narrative played off sometimes as them “going out” or “in love”.  I actually recently found out that a writer - who came into the show in season 3 - confirmed that she wrote gay undertones into their relationship on purpose ‘In my opinion as a writer, they thought they were “straight”, they both didn’t realise or understand their feelings for eachother’ but couldn’t deliever because the producers wanted to keep the show “kid friendly”. Kind of like Xena and Gabby. I know people prefer Jack & Eric (I love them as well) but everything got ruined for me as soon as they introduced the ‘love triangle’ and I always tend to prefer emotional tension over sexual. They were just so unconditional with each other/ their friendship was so good and healthy and now I’m so bitter that it never happened.

I never understood why Shawn and Cory had to stop being best friends after he got married. He’s not Topanga’s property. I always hated how Topanga tried to interrupt/interfere with their dynamic — although now I realise it was because the two of them purposely left her out. Looking back at it, If it really was just a intimate friendship then why would she get so easily jealous if she didn’t sense there was something else deeper going on? You should never marry someone who puts you second.

I didn’t like Topanga when she was with Cory (or vice versa) Especially after they got married. She was a great character on her own. Feminist before her time. Hermione Granger before her time. I always felt she deserved a lot better than him in a way e.g. if someone I considered a friend speard a rumour around high school that we slept together - I would never speak to that person again. SHE SHOULD OF GONE TO YALE GOD DAMN IT. And as someone pointed out the other day, if the roles were reversed some of the stuff she does or says to Cory would be considered domestic violence. ‘She’s always blaming Cory on shit that isn't even his fault or makes him feel bad or shuts down his emotions and turns it around so he's comforting her instead.’ There was even a moment in GMW (not that I consider that show a continuation) where she locks him out the house for a few days after he insulted her chicken, and his son Auggie had to bring him spaghetti. If Cory was a woman, that would not be played off as a joke - that would be considered abuse. They were however a better couple in GMW ironically.

Angela Moore is now one of my favourite characters on BMW. She was beautiful. Her friendship with Rachel (and Topanga) was the best. And I frickin’ loved her and Cory’s friendship development - when they could of easily not played into that. I hate that she got villiaized in GMW.

My favourite seasons are 4, 5 & 1. My least favourites are 3 & 2 & 7. And even then the show was still pretty darn good.

The back and fourth clash between Turner and Mr Feeny in season 2 was very entertaining.

Mr Feeny and Eric are my favourite relationship on ‘Boy Meets World’. I love how Eric was the only person that Feeny directly told that he loved him. Also, why didn’t Eric become the new Mr Feeny? He showed more traits of becoming a teacher in the show than Cory did.

Eric and Tommy was probably the most heartbreaking plot line in season 6. (That season was an emotional train wreck) I cried for a fourth time. The world doesn’t deserve him.

I loved the development of Shawn and Topanga’s friendship. Even though there was a silent competition over Cory, they eventually became good friends. I found out that the song ‘She will be loved’ was inspired by them which is awesome but it’s also proof that people ship for less if it’s an m/f dynamic - just sayin’. I however see a more convincing potiental romance with the two of them than Cory and Topanga sometimes.

On Cory and Topanga again - they weren’t a bad couple overall. I liked them in s1 - 3. They had some great moments. But upon my rewatch (getting out of that 90s idealised headspace) I found them to be too similar at times - chafing as another person put it - to the point where they cancel each other out. A lot of people pointed out that Riley and Maya paralleled them and I was thinking “That’s not nesserily a good thing.”

‘Dream. Try. Do good.’ is on my mantelpiece.

#each to its own at the end of the day #boy meets world #rewatch #review #cory matthews #shawn hunter #topanga lawrence #angela moore #jack hunter #eric matthews #mr feeny #alan matthews #amy matthews #morgan matthews #girl meets world #cory x topanga #cory x shawn #shory #shawn x cory #shawn x topanga #bmw #tv show #shawn x angela #chet hunter #micheal jacobs #queer subtext #disney + #topanga matthews #corpanga #jack x eric

[laneofpennies]

ok so i’m just gonna get all my thoughts about wkm and folklore out in this post so i can stop being incomprehensible

and yes, this has ego shipping. i couldn’t stop myself.

the 1

Damien and William. I’ll start off like that. I feel like this is a melancholy ballad about a couple who didn’t work out due to maybe distance or misunderstanding- or in this case, being gay in the 1920s- and looking back on their childhood and regretting never taking that step. Also, the addition of meeting someone else and taking them home makes me think of Celine. And the singer seems successful, much like a mayor of a small city.

cardigan

Actor!Mark is written absolutely all over this song, albeit before he was entirely corrupted. But the plot, about someone still being in love despite the other having cheated and being hurt so much time after? That’s Mark, babeyyy. We know his mental state was not great after the divorce- maybe even before that. Celine was his rock.

the last great american dynasty

This tips more into my own canon, I’ll admit. But I always thought Celine and Damien weren’t exactly from the same social class as Mark. So when the marriage between the two happened, people talked. But Celine was always a badass. Even if after the divorce she was persecuted by the media, she kept her head up. Also this song makes me cry and so does Celine so I feel like that’s enough of a connection.

exile (Ft. Bon Iver)

THE MOST Celine and Mark song, well, ever. Miscommunication. References to acting as a career. The longing to make things right. Two perspectives. The third guy, who in this case is William, swooping in. Mark not having seen any of the signs of her discomfort in the lifestyle she led, and Celine just feeling shut out. I also feel like Mark was often worried about her offending other famous actors and she felt suffocated whenever they went out together.

my tears ricochet

Actor. This one might seem like a stretch, but the Mark we know is not the same from before the divorce. He was hurting, and confused as to why this had all happened to them. We know the divorce was messy and ended an entire friend group, and Celine seemed to have taken it much better, leading to the current circumstance. The fear of being home all alone- in this case because of a literal demon.

mirrorball

Since this song is revolving around someone that blends in, changes, can show a million different faces, I think it’s perfect for the DA, aka the viewer. This character had to be written so that we could all see ourselves in them, whether that be for WKM, ADWM, or AHWM. Also the metaphor about broken glass...? That’s just too perfect.

​seven

More of my slight headcanons!! William and Damien growing up as friends must have been very close to this song. There’s talk about haunted houses, best friends, secrets, keeping in the closet, strict parents... I feel like they would be really cute in this song. They’ve been friends for ages, and even now, though they both look a little different. Overall, this song about childhood innocence slowly eroding fits the colonel and the politician.

august

This song is the second in the story about love affairs, excluding Illicit Affairs. This one always struck me because of how soft and tender it was, despite this being from the view of the other woman. There is a hint of regret and sadness that they can’t be publicly together, but you can tell there was genuine love between them. I like to think that William did love Celine, and saw the darkness within that house and within Mark. The affair was where it crossed the line, and he knew they couldn’t go back.

this is me trying

This one I see as mostly just about Damien. He had been the glue in this friend group for so long, and was so eager to see them all back together, it only made sense he would take the affair and divorce just as hard as those directly involved. I can imagine him pleading for reconciliation and attempting to help Mark through everything while still staying loyal to his sister. It must have been a struggle, and one he never let go of.

illicit affairs

Oddly enough, this song isn’t directly attached to August and Cardigan, but I feel like it fits perfectly for how Celine felt throughout the entire affair. She lost her love for Mark. She knew it was wrong, but she did truly did fall in love with William. The pains of being in their secret relationship and how useless she feels is perfect for how she wanted so strongly to be out of this situation even if she couldn’t be without either of them.

invisible string

Since the overall theme of this song revolves around the individual lives of two strangers having always been weaved together by fate, I feel like it fits the story Mark is building with all of these characters. Though this song is much happier, haha. This can also point to Mark now wanting us to be the love interest and trying to convince us we had been meant to be from the start, him being the hero and all.

mad woman

OBVIOUSLY Celine. She has her flaws, but she genuinely was a tough character who cared about her family. Even if she had been put down for her fieriness and her hobbies especially being a woman at the turn of the century, this madness is almost a freedom for her. Actor wasn’t the best husband, at least we can assume, and William wasn’t perfect either. And she never confided in her brother until it was too late. So all of this points back to her not trusting anyone in her life other than herself, and being trapped with her own anger and passions. I could write a whole essay on this one, guys-

​epiphany

I guess this one might be fairly obvious. William. The Colonel who served more than his time. Who’s seen horrors that he still has yet to overcome. I imagine this song is specifically about him in the war, fighting to stay alive for his friends, and then him having to adjust and rely on them once he first returned home and had to deal with consequences of everything he saw overseas.

betty

gay and yearning. damien and william. next question.

peace

ok ok hear me out- The viewer about Damien. They’re life partners, whether that be romantic or platonic. Working together, studying together- it’s obvious there’s a really strong connection there. Also, the lyrics describe someone I really feel like fits Damien- honorable, has integrity, kind. Maybe this is self-indulgent but it seems like it really fits them.

hoax 

This song is about a toxic relationship. Taylor knows it won’t work out, but she needs the other. The undertones of standing on the cliffside, the mentions of heroes and scars and the overall theme of faith and dependency make me, again, come back to Actor, thinking about Celine. Say what you want, but he was codependent. 

#actor!mark #wkm #celine the seer #mayor damien #william j barnum #dilliam

[isaacthedruid]

Steven Universe’s Representation and Music: an informal essay

As the first animated Cartoon Network show created entirely by a woman, Steven Universe’s run lasted for five seasons, a movie and a sequel-epilogue series. The show was far from perfect and its fandom wasn’t the best either but there is something so special about a show that followed lesbian space rocks and a young boy saving the world.

More specifically Steven Universe is about a young boy named Steven, who is half-Gem, half-human who protects the town of Beach City from evil. Gems are a kind of alien who take on the form of pastel-coloured women, to better assimilate with the rest of the world.

Rebecca Sugar, the creator, explains her colourful characters in a behind-the-scenes promo:

“I always dreamed of making a show that would have this mix of fantasy and reality. So, I wanted to make these fantasy characters that enjoy being with Steven as much, if not more than they enjoy being fantasy characters. The characters aren’t perfect and that’s what makes them so great.”

Steven’s family are known as the Crystal Gems, a group of rebels who fought against their government thousands of years ago and now live on earth. Steven’s mom, Rose Quartz was at the forefront of the fight, she did extremely terrible things and when she gave up her gem—-so Steven could be born—-she was left unable to form a body ever again. Steven, with only his dad and three alien women, must attempt to fix her messes and deal with the repercussions of his mother’s actions.

One of the main mechanics within the series is known as fusion, in which two or more Gems become a single being who is stronger and more powerful. The fused form takes on the physical, mental and emotional aspects of those who are part of the bond. As mentioned and discussed many times within this blog, fusions are a physical embodiment of different kinds of relationships. And for a show starring a primarily female cast, they do not shy away from using this mechanic to tell queer stories.

So explicitly that in 2018, the show had the first-ever lesbian wedding in a cartoon. Of course, representation wasn’t always as accepted in Steven Universe. Just two years before the big wedding, higher-ups at Cartoon Network told Rebecca Sugar, they not happy with the multiple queer relationships, so much so that they were ready to threaten cancellation.

In an interview with Entertainment Weekly, she expressed:

“If this is going to cost me my show that’s fine because this is a huge injustice and I need to be able to represent myself and my team through this show and anything less would be unfair to my audience.”

Being LGBT herself, identifying as bisexual and non-binary, representation is important to her. For many queer people, especially grown-ups, they hope to see themselves represented in kids’ media today as they never had growing up. They want nothing more for children’s shows to say that being “different” or not fitting in with our heteronormative society is actually normal.

Within Steven Universe, you can find woman-loving-woman relationships, non-binary and intersex characters, woman-loving-non-binary relationships, asexual coded characters and basically every other letter in the acronym.

Rebecca Sugar even acted as the exciting force for LGBT inclusion within Adventure Time, originally working as a writer and storyboard artist before leaving to create her own show. She pushed for making the ex-romantic queer couple to be canonically part of the story and for it to not just coded into the dialogue.

A few years later, she returned to the show, multiple times, to compose over 20 songs that would air over the series 10-year-long run such as, “I’m Just Your Problem” which had lesbian subtext that would be confirmed later.

Some other iconic songs including “Fry Song“, “Remember You“, “Good Little Girl“, “Everything Stays” and even the finale song, “Time Adventure“.

Much like the show as a whole, there is something so special about the music she writes. In total, there were over 160 songs written for the franchise, some being short little tunes, no longer than a minute while others were full-blown musical numbers. No matter, all of them have their place within the show. Often when the character can’t express lines through speech, music is utilized to provide a more raw and poignant portrayal of their emotions.

Why Steven Universe is so widely loved is due to the music, as the overall story is not even close to perfect. Yet, everyone can agree on one thing, the music is unbelievably good. What is interesting is the different styles of melodies and backtracking used in the various songs, even more impressive is that every character has their own instrumental motif.

Steven’s motif is the ukelele as he is often seen playing the instrument himself, performing short little melodies and even writing the in-show version of the theme song. Additionally, Steven’s music uses a large amount of Chiptune synth, electronic music which is created using a programmable sound generator. Both instruments have a very childlike feeling to them, Chiptune especially as it is normally used in video game music like The Legend of Zelda: Ocarina of Time, one of the main musical inspirations for the show. As Steven is the lead, most of the music has Chiptune somewhere in the score and fun fact, the first song in the show, sung by Steven, “Cookie Cat” was actually written on an old Gameboy.

Amethyst is very loud and fun, her motif is electric drums which is extremely reflective of her character. As she can be angry from convincing herself that she is not good enough to happy and giggling from pranking Steven, her instrument can be used in so many ways as she is not a simple character. No matter what, for the few songs Amethyst has on her own (or in the score), her drums provide such an interesting emotional response to the situation.

Garnet is a fusion, so her motif is actually the combination of two instruments. Ruby is a drumbeat as she is a fiery and loud character, she is chaotic while Sapphire is her opposite. Sapphire is calm and collected, she has ice-related powers and is represented by Synth music. The characters together have a perfect unity, expressed by Garnet’s synth bass sounds, she is the equilibrium of two very contrasting characters. The music associated with Garnet, uses primarily the synth bass but Ruby and Sapphire’s individual instruments can be heard throughout her music. All three instruments are also heavily representative as Garnet’s main dancing style is Hip Hop which clashing with others’ softer dancing styles.

Despite, not being alive during the show, Rose Quartz still has her own musical motif as she plays a large part in Steven’s growth throughout the series. As well as being in many flashbacks, she is represented with strings, more specifically, the violin. Rose’s story is rather sad which quite is visible within her associated music, yet, she was also an extremely powerful character as she led the fight against the Homeworld government. Her strength can be heard with strong uplifts and swells in the music. She is never seen playing an instrument unlike the rest of the main characters but one person who plays hers is Pearl, a character Rose was possibly in love with.

For the complex and beautiful character, Pearl, her motif is classical and swing piano. She is visually represented as a ballerina for a large majority of the series, dressed in a leotard, a small skirt and ballet shoes. Apart from Garnet, she is one of the calmest characters in the show. She is a perfectionist and is knowledgeable on many topics. She has a dark past and her fair share of trauma, all of this is wrapped up in her music. From her traumatic past with Rose Quartz, the violin had been heard throughout her music, yet, when she finally dealt with everything, the violin was lost. Swapped out for a new instrument, a bass guitar which she learned how to play at the end of the series. Pearl is a character who has been through a lot and her music reflects it. As she grew, her music changed with her, becoming her own instead of something built off of Rose’s.

My personal favourite song is “It’s Over Isn’t It?” which is this heartwrenching and emotionally painful ballad sung by a broken woman. Pearl was in love with Steven’s mom. Yet, the feelings were not mutual or at least ended being reciprocated as Rose left her for Greg, Steven’s dad. It hurts because Rose didn’t just leave her, Rose Quartz also passed away. As the song goes:

That they didn’t really matter until you I was fine when you came And we fought like it was all some silly game Over her, who she’d choose After all those years, I never thought I’d lose … You won and she chose you and she loved you and she’s gone It’s over, isn’t it? Why can’t I move on? … Who am I now in this world without her? Petty and dull with the nerve to doubt her What does it matter? It’s already done Now I’ve got to be there for her son

Without Rose, Pearl has lost her place in the world as all she ever knew was her. Yet, now she is left to help raise a half-human baby and go on with her life. It makes it more difficult as this baby is the product of Rose and the man that she left Pearl for.

Pearl doesn’t want to hate Greg, she is angry at him but she doesn’t have hatred towards him. They may not be the best of pals at the start of the series but in the song called “Both of You“ has Steven, finally, begging for Greg and Pearl to just talk to each other.

Why don’t you talk to each other? Why don’t you talk to each other? Just give it a try Why don’t you talk about what happened? … You might not believe it but you got a lot in common, you really do You both love me and I love both of you … I know you both need it Someone who knows what you’re going through

An interesting thing about this song is that Steven is this to them, the person with Rose’s gem is singing to the two people who fought over Rose. It makes me wonder if this could be Rose speaking through Steven to her two loved ones. Whether it is or not, doesn’t really matter to the overall story but it is a fun idea to look at.

Overall, these songs are a literal representation of dealing with ones’ emotions in a healthy way, something that Steven Universe actively tries to teach their younger viewers about.

To say Steven Universe is a good show only for its music would be a false statement, it’s one of the strongest aspects but without the story or the characters, the music would fall flat and not have any of its passion.

#isaac rambles #steven universe #lgbt #steven universe music #cartoons #cartoon network #rebecca sugar #cartoon review