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aho-dapa · 2 months

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A personal rant on Nesta and Elain’s relationship and how I feel about it

TW: tbh this is a very personal rant for me given that my perspective on life informs how I see these characters (mostly Elain) neglect, abuse, parentification, fucked up family dynamics basically

For framework of this post, I'm anti sjm, anti IC, and pro character nuance even when it comes to the IC

Yknow, reading ACOSF was actually so difficult as someone who really wanted to see more nuance in Nesta and Elain’s relationship

I hate that Feyre actually used Elain’s packing of Nesta’s old home behind her back as a weapon against her, that it reinforced Nesta’s isolation

I hate that we never really understand what happened between Elain and Nesta before this moment, just that somehow someway Nesta was at fault and Elain was ‘justly’ hurt by Nesta, I hate that we, as readers, never even get the possibility to decide for ourselves

I hate that when they do finally talk to each other it’s this:

Elain: “I know the circumstances got your coming here were awful, Nesta, but it doesn’t mean you need to be so miserable about it.” (In reference to Nesta literally being confined to the House of Wind after getting evicted unjustly by the IC, in which Elain was willingly used against Nesta)

Nesta: “You tell yourself there’s nothing that could have been done because it’s unbearable to think that you could have saved him, if you’d only deigned to show up a few minutes earlier.” (In reference to Elain not being able to save her father and implicitly shaming her for it, noted, this is also a response to the above which matters)

Like, the fuck??

Where was the build up to this moment? Where was the reason?

For one, it’s so gross of Elain to invalidate what Nesta is going through, and is also gross of Nesta to place that blame on Elain

It’s just fucking gross all around

And I would have been okay with it, if it was fucking resolved by the end of that huge ass book, but it’s not

They don’t even talk about it, just a small joke and a truce at that ball, and they don’t even talk about the actual painful shit they said to each other

A personal note on this topic:

I’m gonna be honest, I like Elain (to some extent) even though we don’t know too much about her. All I know are these things, she’s someone who was taken care of from a young age, and relied on Nesta and Feyre basically like how a dependent would.

And tbh, out of all the sisters, despite relating to all of them in some way, I feel like what Elain’s going through is connected to my life more personally despite it not being written from her pov. Elain has all the typical signs of a golden child. Loved and cared for and seen as a the best child but also infantilized. She’s so fucking infantilized at every fucking turn.

(TW: A personal note about abuse and neglect) I had the strange dynamic of being both the scapegoat and the golden child to my mother, whenever it suited her, I was shown off like a trophy to my extended family but also was treated like the poison that was causing my parents’ marriage to fail.

As someone who grew up disabled, not able to walk, I also relate to that depression Papa Archeron inevitably has, despite whatever we want to say about canon and neglect

Elain likely took care of him, while both Feyre and Nesta took care of her

Tbh, the sisters’ dynamic is messy and complicated, and I’m not gonna trust sjm to write it well at all

But growing up as a disabled person, not being able to make choices for myself in my own care, I can understand where Elain is coming from

From the beginning by Feyre, Elain is casted in the light of childlike ignorance and while not entirely blamed for it, is also never confronted about it. Elain is doesn’t know that she’s not doing enough for Feyre and this likely forms resentment with Feyre later on. That’s understandable.

As a kid, I grew up stable enough to have what I wanted and then had to live through poverty when we lost our house. The transition in mindset is one I wasn’t one I immediately took to. I didn’t understand why I couldn’t go out to eat, no one ever sat down to explain our money situation, and even though we were definitely going through it, it was expected of me to understand that we couldn’t do certain things

So I would innocently ask for things out of our budget and ask for expensive food without realizing, and would get blamed for the guilt my mother felt for not being able to provide for me as she wanted to. I learned to never ask for what I wanted, and it’s still something I'm learning to deal with whenever I buy something or need help

I mention this all to say that Elain does similar things in the first acotar book. She asks for something out of the budget and she asks for things without malice, merely because she wants something and thinks Feyre can give it to her

Feyre never says that they can't afford it or that she needs to buy new boots for herself, she doesn't explain this to Elain and Elain is never given the chance to say, "Oh, I didn't realize."

She's not allowed a moment of growth, she's stagnated in her childlike responses to things both because of the narrative sjm wanted to tell and because of Elain's dynamic with her family.

I don't even think Elain understands money and how it works (neither does sjm but that's a different point). It's possible she sees the deer, the fur, something new and something that they could sell in the market for, and thinks they might have enough for something she wants

It's a mistake I made so commonly in my childhood, that Feyre's resentment actually breaks my heart

That's what makes Nesta's protectiveness over Elain feel both like care and shackles

(Something sjm tried to address but did so fucking poorly, like usual)

Later on, when their wealth is restored, Elain goes back to the familiar easily, likely because she never truly got to have the mental transition both Nesta and Feyre had (and her father was actively hoping for this to happen so he was likely excited about this as much as Elain)

I also want to point out want happened in ACOSF between Elain and Nesta. I mentioned in another post the Elain likely (mostly her unconscious inner child) sees Nesta as a mother figure. That Nesta likely was the one that took care of Elain when they were younger more than her mother. Nesta likely gave Elain the kindness of her mother, the attention of her father, and Feyre was too young at this point

So I think it's understandable why she's lashing out in ACOSF to Nesta, because it's that realization that the person who's been taking care of you your whole life, the one who you can go to and lean on and not be judged by, can no longer take care of you

To some extent, Elain realizing Nesta is going through hell, she has to face losing another parental figure and her first reaction is likely to cling onto that relationship even though it's unhealthy for both of them

Its like a child asking why their parent can't take of them, isn't that their job?? Except Nesta isn't Elain's mother and never should have been put in that position

Elain reacts in indignation and anger and hurt because that's what a child does, and Elain is going through this now because she's never had the chance to before, now she's being forced to

She has to grow up and she's petulantly digging her heels in

On the note of ACOSF, in the scene where she and Nesta talk (where I pulled those quotes from the beginning from), Nesta is not in the right head space at all to deal with Elain and what she's going through

Nesta is just point blank not able to do it. Mentally, she already feels like someone undeserving of love and is a horrible person. She's deteriorating and Elain just comes up and acts like she's not dying inside.

(Fuck sjm btw for doing this to Nesta)

In fact, Elain can see that Nesta is miserable but says she should basically be handling it with more grace. Which, is fucked, but it is something that is commonly told to literally anyone going through shit and by people not willing to be sympathetic to that

(It could almost be internalized misogyny because women are expected to deal with things gracefully or 'in a manner befitting a lady' but that's another discussion for another day)

What I want to point out in this discussion is how Nesta interacts with Elain because we honestly can't for sure know Elain's POV (despite this whole post projecting on her because sjm doesn’t give us enough for me to satisfactorily understand the character she’s writing after nearly FIVE books but whatever. Skill issue I guess)

A note on how they view each other and how they talk about each other in ACOSF:

This is honestly like?? Just a thing, but the implication is that Elain is pampered here, she wouldn't do this or that. It's framed as a bad thing, especially since at this point the stairs are representative of Nesta’s freedom being held hostage and Elain just gets to come and leave without consequence.

From Nesta's POV:

Someone had brought Elain here, since there was no way in hell she had climbed those ten thousand steps.

She stopped a few feet away. As if holding herself back from the embrace she might have given.

Like Nesta was some sort of disease-ridden leper.

Like, again, this comes from a distorted view Nesta has of herself, not helped by the IC at all. It's likely that Elain just know how to bridge the gap between them that has formed.

Elain had been the ghost then, too thin, with her thoughts turned inward.

Somehow Nesta had become the ghost.

Worse than a ghost. A wraith, whose rage and hunger were bottomless, eternal.

Elain had only needed time to adjust. But Nesta knew she herself needed more than that.

It was always that way between them: Elain, sweet and oblivious, and Nesta, the snarling wolf at her side, poised to shred anyone who threatened her.

In ACOSF, Nesta and Elain have switched places from ACOMAF when Elain was honestly going through it. Regardless, both of their mental states have been used to gain high ground with each other in this fandom and I'm like, not going to do that, that's not the point.

Rather this comes back to my previous point. Nesta has had to take care of Elain, likely as a mother would. It's the resulting parentification Nesta has endured.

This is also... Like yes, needing more or less time to adjust in general, especially to a traumatic situation, is morally neutral. What makes me pause of the self woe is me of Nesta saying she's worse than Elain in nearly every way. This is a result of her mental state. But it's also not helpful to either herself OR Elain. This instead puts Elain on a pedestal, in her own box.

WHICH IS INTERESTING BECAUSE BECAUSE BECAUSE: going hc now but, with how Nesta was groomed by her own mother, it wouldn't surprise me if Nesta also 'parents' in this way towards Elain. Except Elain gets to be everything Nesta didn't get to be in the eyes of her mother; perfect, beautiful, gentle, demure, a lady. Elain, to Nesta, deals with her own grief more respectably than Nesta, which is likely an external expectation placed on her from a young age.

There is also the idea that Nesta has more patience and gentleness with others than herself.

Elain had accepted his death as inevitable. She hadn't bothered to fight for him, as if he hadn't been worth the effort, precisely as Nesta herself knew she herself wasn't worth the effort.

Another comparison Nesta makes between herself and Elain. Except there's also this element of protection to it. Often, Nesta is willing to be that 'wolf' to protect Elain, the innocent and oblivious. But again, this also places expectations on Elain, that box her in.

"...Go back to Feyre and your little garden."

Again, with how Nesta essentially views Elain's grieving process. But instead, I'd say this comes across more as a twisted mess of Nesta's own unresolved feelings towards her father and also equating herself as him. He was their father, and in many ways Nesta played that role for Elain. When she hates her father, I suppose in some ways, she is also hating herself in this moment.

The unsaid said here is also Nesta's survivor's guilt. I think it's not far fetched to say that (presumably) just like Elain, she wanted to save her father and she wanted to 'be early' to help him.

"She's not getting any better. She's not even trying."

This is also likely Nesta acknowledging that they've split. In ACOTAR through ACOWAR, it has always been Nesta and Elain, Elain and Nesta. But in ACOSF, Nesta feels betrayed by Elain because of Feyre's actions. People hate the IC and Rhysand for Nesta's imprisonment, but this is also a product of Feyre using her authority and deciding Nesta's bodily autonomy with her own 'goodwill' in mind.

And Elain famously has always had a little garden. But it's also an isolation from hurt and pain, it's a place of comfort, and it's always been a place where Elain belongs. This time, Nesta is saying that Elain belongs there (despite whatever Elaim could want).

This could also reflect Nesta’s bitterness about being trapped.

Nesta shot to her feet. "No."

Now, this is what Elain says about Nesta. Which tbh, is understandable for her POV. This is after Nesta says those quoted words to her. But this is also ultimately a result of no one acknowledging the pain and honestly disgusting thing they've done to Nesta. Elain expects that Nesta will get better in an environment that's actively worsening her mental state. The reasons why Nesta does 'get better' is always connected to something outside of the House of Wind with Gwyn and Emerie. The library, despite being close, is not the same as the HoW, so it makes sense that Nesta would go there to escape.

Elain remained in the doorway, her face pale but her expression harder than Nesta had ever seen it. "You do not decide what I can and cannot do, Nesta."

... "You will not go looking for it."

I think this is honestly this crux of their dynamic. Nesta is the 'mother' and Elain is the 'child' despite them actually being sisters. Nesta tells Elain what to do, as a parent would would their 'power' over a child. Except Elain is rejecting this.

This is... a dynamic that is honestly just done a major disservice by sjm. Neither of them acknowledge anything in a meaningful manner and none of them resolve anything at all. ACOSF establishes dynamic poorly and does an even poor job of doing honestly anything about it. Nesta instead is beat down so much that she just breaks down and accepts it. And Elain doesn't grow in any way either. Instead, because sjm and her characters do not actually acknowledge the reality of the conflicts they have, Elain just comes off as more childish and spoiled, which is like, also horrible for her character. A clown show is what this whole series is.

#anti sjm #elain archeron #nesta archeron #pro elain #pro nesta #pro elain archeron #pro nesta archeron #papa archeron

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nostalgebraist-autoresponder · 1 year

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Title: Scott Pilgrim Vs. The World

Author: Bryan Lee Ozsdaweski

Rating: 2/5 stars

I think the people who liked this book are just naturally inclined to be the kind of person who likes this book. There are some morally good characters here, but many more who are lovable in the way that kids in books are always lovable. In the pilot of a TV show they would be portrayed by young actors in a way meant to appeal to my cynical-teenage self, and in this book they're written in the same way.

Some of the characters are more likable, though. I'm especially fond of Todd Ingram and The Smoking Man, both of whom are exactly what I like in a good villain: fearsome, utterly unapologetic, and hyperintelligent in a way that's both chilling and pathetic. The Smoking Man in particular is written in a way that I wish more characters were -- he has one personality trait (black humor) and it's frequently a defense mechanism, so he's sarcastic 95% of the time and scared out of his mind about it, but occasionally it drops and you see this sweet almost-childlike quality underneath. That's good writing, man.

I'm not sure what the point of the book is. I'm too far removed from the Silly Slacker Gen Xer Demographic (or maybe it's just a gendered thing, which would be gross) to be able to relate to the protagonist in any way, and the book didn't do enough for that demographic for me to gain insight into it through identification with the protagonist. (The protagonist is like a version of me who had a different experience of college and has different mental reactions to people and things; it's strange, like reading a novel about someone who's not a person but a stock character -- a stock version of a real person who just happens to be related to me.) The author is amusing enough in his own right that the book was worth reading for the hilarity of the dialogue, but not worth reading for any other reason.

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dekusleftsock · 2 years

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Okay, this is random but you always have interesting thoughts so I decided to ask. Despite being a girl, I've always had a difficult time relating to female characters in stories. As a child I preferred male characters over girl characters, as I often found them rather annoying. There have been a few female characters over the years that I've related to and liked though, so I started to analyze why I had such a short list. I finally concluded it was because I found most female characters to be poorly written. What do you think? As a little kid, most female characters felt more like cardboard cutouts than people to me, and due to that I was often unable to relate to or become invested in their stories. I've seen people in the past wonder why ao3 tends to neglect female characters so much, in particular lesbian couples. For me at least, it was often that I did not find any of the female characters interesting enough to read/write a fanfic about them. When I talked to other girls in various fandoms, they felt the same way. However, I've also noticed that girls tend to have higher standards for female characters than they do for male characters. In my own experience, that's been fairly true. I've noticed in general that female fans often have more sympathy for male characters and their struggles, but less sympathy for female characters and their struggles. I say this both as an observation of others and of my own behavior. I'm always working to become better, but often as a child I had far less sympathy and patience for female characters, especially when they did something I disliked. I don't know exactly why this happens, but having asked others girls/women, I found this all to be generally true. Why do you think this happens?

OHHH IVE BEEN SO EXCITED TO TALK ABOUT THIS!

Couple of things I wanna establish. The male vs female gaze and the cringification of femininity/“childlike” things.

Quick cw, I do mention a quote that talks about slavery. It dips its toes into some of the horrors of it in American history so please keep that in mind.

The thing with toxic masculinity is that it doesn’t just affect men. A patriarchal society will ALWAYS RESULT in the demonization of femininity, calling things that are romantic or pretty “childlike”, “unrealistic”, or “simple”.

So when we see very simple or annoying girl characters, it’s because men only see this idea of femininity as what women are. When, in reality, women and men are complex. Fitting people into these stereotypical ideas of masculinity or femininity IS the simple silly ideas that men create and women support. So, femcells don’t exist, pick me girls are a result of men taking away women’s individuality, and women are more complicated than romance or silly makeup.

But let’s take a step back and talk about the female vs male gaze, which I think is really the main issue here. In America and the west at least, the male gaze tends to have an actual cookie cut out idea of the perfect and attractive woman. This being, a nurturing woman who is white/lighter skinned, has a small nose, semi decently sized lips, a soft but not fat jawline, etc etc the list goes on. Here’s some images within the fine art world of women made by men.

Art made by Nenad Vasic

Art made by Richard Young

And finally, art made by John Collier

All of these women out of the male artists I found on the site, barely had even slightly diverse women. It was all skinny, slightly less skinny, white women with brown or blonde hair, maybe red if you pushed it. And this is even shown in the tumblr sexy men vs tumblr sexy women!

Urban dictionary defines a tumblr sexy man as, “A male character who goes viral on Tumblr for perceived attractiveness based on an established formula. Usually white, tall, dresses fancy and is evil or has a ‘dark side.’ Though the character can be non human or non human and anthrofied to fit the said formula. Most of the time, said character isn’t really as attractive as Tumblr weirdly makes him out to be.”

Examples off the top of my head are sans, bill cypher, dr. Habit, regan, megamind, plankton, aizawa etc. For tumblr sexy WOMEN the beauty standard is much more linear. Hatsune miku, catra, bowser woman(?), sombra, etc.

When you look at fine art or of tumblr sexy men, there’s a much more… individualistic approach to the female gaze. How people view men. In fact, the standards for men are much lower than women (though still bullshit) because most of the actual beauty standards are ones made up by men in their heads. They DECIDED what women liked, not taking into account that it’s much less centralized when making the “perfect man”.

I think the shows you watched also played a part into this. A lot of it depends on where you live, so like, in the US Cartoon Network and Disney channel stuff would have been common. (Ofc pbs too)

In a lot of “older” shows in the west like teen titans, any Disney movie, or dexters laboratory, didn’t necessarily make their women.. bad? Per say? More just, simpler. They fit into set tropes a lot of the time, like Raven being the goth mean girl or Velma being the super smart short haired girl.

It’s not that any of these shows were bad either! It’s just how the gender binary works.

I also feel like part of this plays into internalized misogyny. I dealt with it for years and based on what you’ve said I’m gonna say you probably did too. I hated pink, dressed totally tomboy, stepped as far away from femininity as possible, and now I’m inching back towards it. Pink is my second favorite color.

A lot of the girl characters I used to hate were just insecure and liked pink a lot of the time.

Anyway, I tried my best not to psychoanalyze you out of nowhere odhdijdodjdidn sorry

The thing with why society hates femininity is that the binary gives women humanity. The term “female” is just, disgusting to use, but why? Why do we see this term as inherently inhuman? There’s this quote that I love from a book I’ve been planning to read. Book is called “Females”, by Andrea LongChu. Page 45, “In the United States, the man known as the father of gynecology, J. Marion Sims, built the field in the south operating on enslaved women in his backyard, often without anesthesia or, of course, consent. As C. Riley Snorton has recently documented, the distinction between biological females and women as a social category, far from a neutral scientific observation, develops precisely in order for the captive black woman to be recognized as female. Making Sims’ research applicable to his women patients and polite white society, without being granted the status of social and legal personhood. Sex was produced in the other words, precisely at the juncture where gender was denied. In this sense, a female has always been less than a person.”

As stated in the quote, this term of “female” as opposed to “woman” or “girl” has always been used as a way to dehumanize SPECIFICALLY enslaved black women. Femininity and the gender binary, no matter how much I hate it, gives people in western and white society, humanity. When you demonize the very things that define your binary, or even call them simple, stupid, or arrogant, it is feeding into the idea that womanhood and therefore your humanity, should not exist. That, is why men and society hates femininity.

You must see women as people.

#ahhh this got in so many different directions I should have elaborated on but ITS JUST SO MUCH #The gender binary in the west is just #so interesting #anyway #femininity #indomitable human spirit #leftsock rambles #feminism #toxic masculinity #humanization

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thefaketattoo · 1 year

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I just watched the HDM finale and, as expected, I am... shattered.

I've got a lot of thoughts. On what I like, on what I don't like. There's many of the second (mainly in relation to timing/pacing and the directing of acting), but overall, I get the feeling this was a show done with care, by people who loved the story and tried their best to convey the things that most spoke to them. I think it did quite well as an adaptation.

Whilst I didn't like episode 7, episode 8 had me entranced. It was beautiful. And so I thought I needed to jot somethings down before they slipped my heart and mind. Because in truth, in the end, this is such a heartbreaking tale. When I read these as a kid, I think I had the feeling that Will and Lyra's separation was something that I would only understand as an adult. That it belonged to the adult universe, so to speak, to the beings of rational thought and settled deamons. And though it broke me apart, it consoled me to think there was some poetry in it.

Well, maybe I was a wiser 10 year-old than now, at 28. Because each time I face the story (I've read it several times), I just feel the weight and injustice of it. I don't understand it more. It's weird, coz Pullman's connotation of the Fall is very Christian -- the whole idea of temptation and whatnot -- but if we stretch it a bit, maybe he meant (or maybe we can interpret) that the Fall also means to actually fall: to fall in love and then break, to suffer, to have to deal with loss. That maturity, and so... But honestly, I don't know if I am that mature. I suffer heaps when I have my heart broken, and I find Lyra and Will's tale increasingly sad. I still wish for a romantic ending for the both of them. Even what the other characters say to them before they separate, however filled with good intentions (like "it will hurt less in time), just sounds almost insensitive to my ears. Is it not downplaying something, making it a first love kind of yhing, a childlike infatuation that will pass... and the theme of martyrdom progresses! They've already lost so much. Must they sacrifice it all?

Ahhh, fuck this shit. Why can't people just get happy endings once in a while?

Anyways. Will post furyher rants in the future, maybe. I accept recommendations of good, well-written fics to soothe my soul.

#his dark materials #lyra silvertongue #will parry #hdm

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eijispumpkin · 3 years

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On Allegory, Imperfection, and Inadvertent Subversion: A small essay about Akimi Yoshida’s Banana Fish and Salinger’s “A Perfect Day For Bananafish”.

In the story of Banana Fish, Yoshida references Salinger’s short story “A Perfect Day For Bananafish” (which henceforth shall be addressed as “Perfect Day” simply for ease of reading) several different ways, both in-universe and out. It is exceedingly evident that the character of Ash Lynx is heavily based on Seymour Glass, and one might surmise that Banana Fish is an allegorical retelling of “Perfect Day”, especially given that in the original story, Ash Lynx dies of what is arguably a “passive suicide” – that is, when faced with an injury that isn’t immediately fatal, he chooses to bleed out rather than seek help, which when framed as a suicide, parallels the much more violent and sudden suicide of Seymour Glass.

However, this surface-level allegorical reading ignores a very important variable in the story of Banana Fish, namely the counterpart to Ash’s Seymour: Eiji’s Sybil. While Ash and Seymour share many similarities (both are traumatized, troubled geniuses with partly-Irish roots who grew up in New York City), the similarities between Eiji and Sybil are very few. Eiji does symbolize a world of innocence to contrast with Ash’s world of horrors, but unlike Sybil, Eiji is an adult with agency of his own, and though he retains some of Sybil’s childlike innocence and is able to connect deeply with Ash as a result of it, Eiji’s agency and decisions ultimately change the narrative and its meaning.

That is to say, by introducing Eiji as an imperfect Sybil, one who has agency and can actually provide Ash with understanding and support of the kind that Seymour never got from Muriel or others around him (and which Sybil, being three years old, was in no way equipped to provide), Banana Fish directly subverts “Perfect Day”’s original message of cynicism in the face of a material world unconcerned with the horror of lost innocence and its resulting isolation.

To understand what this means, it’s important to first understand the meaning and context of “Perfect Day” and the circumstances in which it was written. “Perfect Day” is a story written first and foremost as a critique of American materialism in the wake of WWII; Salinger echoes the concerns of the Lost Generation before him, in a way, by really driving home the alienation from modern adult life felt by those who were exposed to the horrors and traumas of the battlefields in wartorn Europe, only to return home and find a culture completely removed from it all. Seymour Glass is a stand-in for Salinger himself—Kenneth Slawenski, in his 2010 biography of Salinger, notes that on returning from the European theater, Salinger “found it impossible to fit into a society that ignored the truth that he now knew.”

If that sounds familiar, good, because it should! This is precisely the motif of “Perfect Day” (as well as some of Salinger’s other work featuring members of the Glass family, such as Seymour’s younger brother Buddy, which, as an aside, is a name that might stick out to Banana Fish fans. Whether this is an intentional reference or a coincidence, I can’t say for certain, but given the depth of other references within this allegory, I’m inclined to think it’s intentional).

As a quick summary for those who may need a refresher, “Perfect Day” is a story about a deeply traumatized man who feels isolated from the rest of society because of the weight of the horrors he has been exposed to. Muriel Glass, Seymour’s wife, is the epitome of this: she represents the materialistic culture that Seymour feels so alienated from, always talking about brand-name things and luxuries and upward mobility. Seymour rejects her company in favor of playing the piano for children and spending time on the beach, where he tells three-year-old Sybil Carpenter a story about bananafish, fish that gorge themselves on bananas in holes under the sea until they’re too fat to escape the entrances to these little banana dens, and then they die. Instead of dismissing this story as something bizarre, Sybil claims she sees a bananafish in the water, which endears her to Seymour, until she leaves, at which point he returns to his hotel room and shoots himself in the head.

In “Perfect Day”, this interaction (between Sybil and Seymour) is the center of a set of dualities. Sybil represents the state of childlike innocence that Seymour longs to return to, and because of her innocence, she can “understand” him in ways that the material adults like her mother or Muriel do not. Seymour’s isolation is a product of his society and the lack of support and understanding for traumatized veterans returning from war, and it shows in the way that adults his age cannot connect with him, and he cannot connect with them. This disconnect between worlds is what eventually results in Seymour’s suicide—he can fit neither in the world in which he wishes to be, nor in the one in which he must reside, and it ends in his death.

The question is, then, how does this relate to Banana Fish?

As mentioned previously, Ash Lynx is a very clear parallel to Seymour Glass. He’s a young man faced with immeasurable trauma from which he believes he can never recover, and there is a clear motif of duality in his entire character arc: his world (one of violence and trauma) versus the “normal” world (where innocent people who have “regular” lives may reside). Like Seymour, Ash feels trapped in a world he can’t escape, knowing “the truth” that he knows, about the horrors that people are capable of.

It follows, then, that Eiji Okumura is a parallel to Sybil Carpenter, who represents childlike innocence and a world that Ash longs to be part of but can’t reach. And to an extent, this is true: Eiji is sheltered and innocent, comparing real-life to TV shows and being completely unexposed to kidnappings, drugs, guns, and violence. However, there is a sharp contrast between Eiji and Sybil, one that fundamentally changes the relationship between Eiji and Ash and makes it radically different from that between Sybil and Seymour:

Eiji is an adult, and as such, he has agency of his own.

Unlike Sybil with Seymour, Eiji can make his own choices and face Ash as an equal. Where Sybil is a child who runs back to her mother after playing with Seymour at the beach, Eiji actively and consistently chooses to stay with Ash, over and over. He even explicitly tells Ash “you are not alone”, which is a huge and direct contrast to the message of inevitable, devastating isolation from “Perfect Day”. Whereas Sybil’s innocence serves as a reminder to Seymour of what he’s lost and cannot regain, Eiji’s innocence is a beacon of comfort and companionship to Ash. Eiji is someone with whom Ash can relax and be playful like a boy his own age, as noted by Max and Ibe watching them interact.

This communication and connection are present between Sybil and Seymour, but in a very different way. Seymour prefers to play make-believe and tell silly stories to kids, because he went from being a wide-eyed innocent to being traumatized and longing for a place to belong, and Sybil as a child represents what he wishes he had, while the adults around him (most notably Muriel, his wife) are a world he doesn’t understand that feels false.

This is not the dichotomy of worlds that Ash faces. Ash faces a world of trauma and suffering that he sees himself as trapped in, and a world of peace and security that he thinks is beyond his reach. Where Seymour yearns for a return to innocence, Ash yearns to escape his pain, and the combination of this subtle difference with the effect of Eiji’s agency and the narrative structure of Banana Fish results in a subversion of the themes in “Perfect Day”.

Banana Fish is a long-form narrative, while “Perfect Day” is a short story. Part of the inherent structure of a long-form narrative is character growth and development, which for obvious reasons is much less prominent in short stories. As a result, Eiji’s impact on Ash is clearly visible over the course of the narrative, and it becomes impossible to declare that Ash is firmly rooted in the world he sees himself as trapped in. By the end of the story, even Ash wavers on this assertion; although he ultimately succumbs to suicide, a narrative choice that been criticized ever since its publication, in the moments leading up to his stabbing, he does believe that Eiji is right, or at least right enough that he wants to see him one last time (this is ambiguous and open to interpretation, of course).

Why did this narrative choice spark so much controversy and outcry from fans? Not every story that ends in tragedy is criticized as poorly written for it; examples range from Shakespearean tragedies to “Rogue One: A Star Wars Story”, a film in which the entire cast dies in the climax. Yet just about all fans agree that it fit the narrative. Clearly, then, it is possible to craft a story that ends in death and tragedy but still feels well-written. What makes Banana Fish different?

I would argue that the answer lies in this imperfect allegory. By creating a Sybil-esque character that can interact with the Seymour-esque character as equals, can stay with him, and can listen to him and support him through his grief and pain, Akimi Yoshida inadvertently turned “Perfect Day”’s message on its head. The tragedy of “Perfect Day” is Seymour’s isolation. By giving Ash a warm, compassionate relationship in which he is assured over and over that he is not alone, Yoshida upturns this entirely.

Ash is led to believe in this dichotomy mostly by his isolation. He believes that since Eiji is in mortal danger as a result of being special to him, he needs to send Eiji to safety, i.e. somewhere far from him and far from the reach of those who would hurt them both. This isn’t a miscommunication issue or anything of the sort; this is Ash being afraid for Eiji’s life; Eiji isn’t averse to returning to Japan itself. Eiji is averse to returning to Japan without Ash, as he mentions when he talks about how Ash could be a model, and tells him about kami. In establishing this as a consistent tenet of Eiji’s character, Yoshida ensures that Ash is not isolated in the same way that Seymour was.

In addition, Eiji can move freely between both worlds set up in Ash’s perceived dichotomy, a motif made explicitly clear when Eiji leaps the wall to freedom and light at the beginning, leaving Ash (and Skipper) behind in captivity in the dark. Despite this escape from the world of violence and crime, Eiji returns of his own volition and stays with Ash, experiences his own fair share of horrific traumas, and still leaves in the end to return to his world. This makes it clear that the dichotomy is less stark than Ash is led to believe, unlike the repeated validation of his isolation that Seymour receives, and is another reason that the ending of “Perfect Day” is inconsistent with the ending of Banana Fish

A quick sidebar: Banana Fish has no real Muriel, but if pressed, I would posit that the closest parallel to Muriel that exists is Blanca, whose main purpose in the narrative seems to be to reinforce to Ash that he can’t escape the world he feels trapped in and longs to leave. But where in “Perfect Day” Muriel symbolized the materialism of American society after WWII, Blanca has no real established reason to be so invested in keeping Ash down, and in conjunction with the fact that despite his own traumas, he can retire peacefully to the Caribbean, his role in the story falls to pieces entirely. Where Muriel represented a lifestyle that Seymour fundamentally could not reach, thereby reinforcing his isolation, Blanca is supposed to parallel Ash to a degree, but his words to Ash do not match his actions whatsoever.

Therefore, if anything, Blanca’s assertions serve only to strike a contrast with Eiji’s (and Max’s, to an extent, since Max and Eiji both agree that Ash can escape this and they want him to heal). Moreover, Blanca’s relationship with Ash is that of a mentor and a student, a relationship that is shown to be fundamentally unhealthy, given that Blanca willingly worked for Ash’s abuser, a mafia don who he knew trafficked children. Some argue that Blanca was blackmailed into this service, but given that Blanca chose to betray Golzine at the end and work with Ash with seemingly no real provocation or change in his relationship with Golzine, this supposition seems flawed. Blanca’s assertions about Ash and his ability to forge bonds and leave his world the way Eiji does, and indeed the way Blanca himself does, are simply incorrect, and the narrative itself provides us all the tools we need to realize that Blanca is wrong, even without the extended context of a parallel to Muriel Glass.

Returning to the main issue at hand, i.e. that of the imperfect allegorical connections between Sybil and Eiji, and the dichotomy between worlds that Ash perceives, it’s clear that in creating a positive, nurturing relationship between Ash and Eiji rather than a one-off encounter, Yoshida inadvertently created a story about connections rather than isolation. Ash’s attempts to keep Eiji safe from harm by sending him home are countered by Eiji’s assertion that he only wants to go to Japan if Ash comes with him, which is a kind of selfless devotion that reaches through Ash’s isolation until he decides that he won’t try and separate himself from Eiji anymore, which is a massive blow to the dichotomy of his supposed two worlds. This is the narrative acknowledging that both worlds can coexist.

Not only this, but also Eiji, who has his own trauma—he’s kidnapped several times, shot at, drugged, sexually assaulted, attacked with a knife by a drugged friend, exposed to several deaths, shot at people in fights himself, and ultimately nearly killed by a gunshot wound—despite all of this, Eiji is still allowed to exist in the world of peace and regularity. Eiji’s innocence is sharply tempered by traumatic experiences, and he can still walk between worlds. If Eiji, Max, Ibe, Jessica, Sing, Cain, and Blanca can all experience traumas, why is Ash the only one who cannot escape? Is there some kind of magical bar of “too much” trauma, like an event horizon on a black hole?

Obviously, no.

So it comes to this: Essentially, the reason that the ending is so controversial, and why I personally believe that the open ending of the anime is an improvement to the original story, is that the allegory between Banana Fish and “Perfect Day” falls apart because of Eiji’s agency. Ash wants to protect Eiji, and to protect Eiji’s innocence and light, because he feels that it’s beyond his own reach, but Eiji forges a bond with him that is rooted in mutual respect and care, and in doing so, undoes the devastating, painful isolation that led to Seymour’s suicide. This is why Ash’s death can feel so hollow—it doesn’t follow the pattern of “Perfect Day”; after the entire story is about Ash’s bonds and those who love him unconditionally, it feels almost like a shock-value plot twist tacked on, rather than a tragic inevitability.

I don’t believe that Yoshida intended Banana Fish to be a subversion of “Perfect Day”. I believe she meant it as a one-to-one allegory, and this is why she kept the ending as Ash choosing death. However, due to the changes in themes because of the characters and their relationships, Ash is not isolated in the profound way Seymour was, and his death is therefore not nearly as impactful.

#this is 2600 words i am so fucking sorry but also im not sorry im just verbose #banana fish #banana fish meta #asheiji #ash lynx #eiji okumura

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kingdomoftyto · 3 years

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Okay I’ve played the entire game four times now so.... I guess it’s officially time to make a rec post lol

You all should play this indie visual novel called Our Life

To simply say it’s adorable, heartwarming, and well-written would be massively underselling it. This game has an insane amount of choice/customization, and though not every choice you make will be important, most WILL at least have an effect down the line. And the choices that DO make a bigger difference? Every single one feels incredible, like you’re writing your own romance novel or something.

(Not that the story HAS to revolve around romance. You’re free to remain platonic friends with the focal character, and those endings are just as lovely and endearing as the romantic ones. Trust me, I had to see them all fdghasjdf)

BUT I’M GETTING AHEAD OF MYSELF. Basically, one summer when you’re 8 years old, you meet a little boy with glasses and a cast on his arm.

He’s your new neighbor, Cove Holden, and the two of you get to know each other over the course of the next several years. (The game is split into sections called “Steps”, in which you see snippets of your time with Cove at ages 8, 13, and 18.)

Cove is a little odd and impulsive, and more than a little bashful, but mostly he’s a sensitive kid in a tough situation who really needs a friend. YOU CAN BECOME THAT FRIEND, and frankly it’s a privilege to do so. He’s a guy who is simultaneously slow to open up and wears his heart on his sleeve, and between his tendency to get overwhelmed by his own emotions and his childlike wonder at everything ocean-related, I don’t know how you can’t be instantly charmed by him.

This game is FREE--I repeat, it costs ZERO DOLLARS??--but there are some very cheap DLCs that you can and should buy because these devs deserve all the support and they are more than worth the few bucks. Ride on a boat! Run away from home!! Dance with tween Cove at your moms’ country club!!!

(OH, right, almost forgot to say this game is HELLAAAAAA queer on top of everything else!! Your character has two adorable moms, and Cove himself is canonically, explicitly, demisexual and panromantic. Your character can be any gender or orientation you choose, and any of that can change from Step to Step, including your pronouns! It’s neat as hell. There is never any negativity surrounding the queer themes--this game is a positive space with no bad endings.)

Anyway, this post is getting too long, but if you like wholesome low-stakes visual novels and/or just wanna play the sappiest damn romance story you can imagine, please give it a shot! The entire last section of Step 3 still gives me heart palpitations just thinking about it, and I needed to share this with the world.

P.S. There’s a “Step 4” epilogue that’s supposed to come out sometime this year which I am dying to see holy crap WHAT, and also the next game in the series has been announced and looks equally charming and wonderful, with two focal NPCs instead of one and an autumn theme instead of summer. All the more reason to support these developers now!

#Our Life #game rec #if this is a rambling mess I'm sorry I just LOVE HIM SO MUCH :')#j/k but not really bc this game does things to me #things like making me pull accidental all-nighters because I can't stop playing it #they need to put warnings on this game for Emotionally Intense Cuddling and also Slow Burn Bedsharing because my heart CAN'T TAKE IT #Cooooove you blushing merman-wannabe nerd! let me shower you with the affection you deserve!!!

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isaacthedruid · 3 years

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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

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ziracona · 4 years

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Sorry if this has been asked before but, I'm really curious about how you would have written Max in the story if he were to be there? He's one of my personal favorite characters and finding redemption stories about him is kinda hard (You have no idea how happy I was when I read Claudette threw him a scarf to stay warm, like yes please; he's a feral child in a killer's body, but please stay warm)

I don’t think I have been, and no problem!

If Max had had a larger role in ILM, I am not 100% sure how I’d have written his perosnality, since I haven’t had to do it yet in-depth, but I know he’d be very angry and both defensive and aggressive towards everything, warry, skittish, hostile. Not bad necessarily, but humans will raise hackles and be ready to lash out and bite if they’ve all they’ve ever known is abuse the same way a mistreated cat or dog would, or like, most any living thing. I think he’s very lonely and unloved, and it’s hard for humans to survive without positive contact and affirmation and physical affection. I mean, if we’re left alone totally, we literally just die. But since his only experience with humans—and his parents/the people who should have loved him most no less—was nothing but danger and abuse and isolation and imprisonment, I think it’d be very hard for him to be approached. Not at all impossible, but man, it is really, really hard to convince someone who’s been through torrential rains of abuse that there’s something else to be given.

I do have ideas on how you could get through, but let me think about personality first. Well, aside from aggressive, defensive, skittish, warry, and hostile, like inborn traits to go along with learned, I think he is a very volatile person. He must be enduring and strong to survive what he did and live, and so determined and tenacious. —Oh! Hang on, big one before I forget. So, I am not a forefront authority in Disability as it relates to narrative, but I know quite a bit and was lucky enough to have a professor whose central areas were Disability, Horror, and Disability in Horror. I don’t know who exactly popularized the idea of Max as having basically a child’s mind in an adult’s killer body, though I think I’ve been told it was one person or story? Maybe it was just a big fandom take. But that’s one of the most prevailing and harmful disability stereotypes, especially for mental disabilities, and horror is a massive offender in general with both disabilities and disorders, and we need to do better & listen to the communities themselves more. I don’t mean this in a harsh way at all—I don’t even know if you meant ‘feral child in a killer’s body’ that way, or meant like, ‘this feral man in a killer’s body is my child TuT’—which is a totally different statement—and even with the former, I know people have had that idea of Max super popularized and are inundated with it, and most people I think just don’t know it’s a very harmful and prevalent stereotype period—I didn’t until I was in my 20s. But I think it’s important to bring attention to it when it’s brought up. Many of the bad things done to people with disabilities come from treating them as not fully actualized humans (I guess I should say ‘us’), and some of those ways are easy to spot, because they’re cruel, and some are harder, because they seem positive. The ‘child mind in an adult body’ is a huge one for disabilities that doesn’t seem awful at first glance, but actually is a huge problem. Unfortunately, human children also get treated by and large as not fully realized humans (as in autonomous & worthy of respect and self-determination—obvs there are some differences that are important, but a child is still an entire ass human & should be respected as such). The painting a physically and mentally disabled character as childlike or mentally trapped as a child is used to control and take autonomy and gravity from our opinions and lives. It’s also just like, not accurate. But the biggest thing is that it takes agency from individuals and paints them as less intelligent, less capable of wanting or pursing more ‘adult’ things [such as jobs or sex or protesting for their rights or having informed opinions on current events and doing something about it], and tries to paint that permanent, life-long dehumanization as a positive thing by making it cute or innofenssive at first glance. While still discounting disabled as kids, passing off autonomy and decisions to their caregivers, and ignoring our status as equal and actualized individuals. Stunted learning or growth or different ways of speaking, moving, and limitations understanding certain things don’t actually make disabled people like children. They’re just adults who sometimes have some very different ways of speaking or thinking or seeming or being. But it’s super important that we’re still adults and like, have the actualized self of adults, even if our speech patterns seem weird. There’s a huge and extremely important difference between an adult with social hangups around sensitive areas and social norms, and being a child. If you didn’t know any of that, don’t feel too bad, again like, people who aren’t disabled almost never talk about disability theory or issues, and I didn’t know this till I was in my 20s. But I feel really bad for Max and bad about how he is usually characterized, so it is important to bring this up.

Okay! That all said, I think personality wise, Max would be really fun to write. Because you have two levels—you have the taught things—fear, aggression, etc, and his inborn perosnality. There is very little canon about Max, but we know he never left home after freeing himself, he steals clothes from scarecrows or whatever he can find, and he’s probably in his early 20s or maybe to his mid 20s now. Since he never left home, I’d think he’s probably a little more cautious and anctious by nature, even with all that rage. I think he’d be sentimental if he ever was given something to love. He must have attachment to things pretty easily, and would I think have liked people a lot because of that, if life had been different. Would have been a shy but friendly and hopeful farm boy. Now, he’s kind of a broken mess, sadly. He’s had it super pounded in by family he is worthless and horrific and disgusting and a monster and an abomination, so I think he expects all humans to take one look and violently feel the same towards him. Taught humans are cruel, and he isn’t safe with them, and the only thing that will stop them and protect himself is unchecked aggression.

So, when it comes to like, getting close enough to him to redeem him, it’s rough, because again, he’d be very very aggressive. I mean, even after killing his parents, he mutilated the animals on the farm in rage, and continued to viciously hurt and then kill anything living he could find on the farm, so he’s got a lot of danger, and he really leaned into violence to protect himself. It’s what he knows now. I think he’s still lonely — like, so lonely he’s sick with it — but unlike Anna and Michael, he’s never known love, so I don’t think he’s even aware of that, and it’s on a pretty subconscious level. Plus, he has even less understanding of human communication and rules and gestures than the other feral killers, so it’d be really hard to get through to him. I think about the only plausible way is really, really, really fuckin slowly, through repeated gifts and kindnesses for no reason (like Claude with the scarf but every day for three years)—the same way you’d try to get through to a feral cat, since like other living things, humans also are wary and mistrustful when hurt, but can be socialized into new situations and do have a pretty set list of gifts and actions we appreciate. I mean, if I was feral, I would start to soften if repeatedly left chocolates and big warm coats and picture books to look at, pretty rocks. I have a crow heart.... >.> Or, the much more likely option, you’d have to catch him or find him captured and helpless, and then be kind instead of doing anything bad at all, and help him for a somewhat extended period of time, nurse him back to health or such, so he’d be forced to actually realize this person isn’t trying to hurt him—they’re trying to help.

I think Max would get less hostile slowly and cautiously because like, if you’ve ever been horribly abused you know you’re afraid to be hurt again. But also, if you’re alone, there’s a battle between wanting some kind of constact and love, and the fear of trying to trust someone only to be brutally torn up again and cast aside. It’s a painful place to be. But I think once he made it over that initial trust hurdle, and could bring himself to stop shuddering at a touch and to believe the person helping him was just trying to give him food, not poison or something to choke on, he’d be absolutely overcome, becuase if you’ve never been shown kindness and then are, overwhelmingly, it’s really hard to process. There’s a lot of psychology stuff about how we form our understandings and processing of each other and the world that I’m not gonna go into much bc convoluted, but it’d be like the opposite weirdly of a Just World break. The realization some things are less awful than your cemented life understanding structure. It would feel wrong and be hard to process (and rewireing a brain takes some time), but he’s been so alone for so long, I think the longing for people would get through, and he would cautiously start to trust and be just bowled over and kind of intimidated by the strength of like, the love and affection and gratitude and belonging he’d start to feel. I think he’d be afraid, becuase it’s not how life is meant to go, and jumpy, but he’d also just be lost to the happiness of actually having some kind of positive human connection, and become fiercely protective of whoever (or whichever people) was/were helping him. Got something he doesn’t want to lose now.

He’s young, so he’s going to still be figuring stuff out, and he had an awful upbringing, so lots of confusion and anger and un-learning too, but I’m really glad you liked that scene!! 😭 and that you like Max too, because he needs more love. I like him a lot too, that’s why he ends up with an undetermined fate instead of, like, dead in ILM. I’d like to give him a fully story role sometime, when there’s more space for it. He’s such a complex and unfortunate guy, he deserves a chance to grow more right and find people who are different and have a better future. TuT. It ain’t fair how his life was.

#ask #anonymous #dead by daylight #the hillbilly #in living memory (fic)#in living memory #max thompson jr #sorry if this didn’t answer all you wanted it was getting so long I was starting to sweat nervously >.>#but hope you enjoy it & the mini introduction to disability theory stuff—it’s super fascinating you should check some of the writing out #sometime! especially since there’s so much history there with horror ahhh now I want to go read...academic writing? gross wtf is wrong with #me TuT I’ve become my own enemy I lived long enough to occasionally wish to read academic papers bleah #*bleah lol

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theliterateape · 3 years

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Wonder Woman 1984 Couldn’t Save the Story

By David Himmel

I’ve been looking forward to the sequel to 2017’s Wonder Woman since the film ended with Wonder Woman herself leaping from the top of a building and soaring into the credits. So when it was announced that Wonder Woman 1984 was going to be available on HBO Max Christmas Day, I went to bed each night with visions of indestructible bracelets dancing in my head.

Then it finally arrived. Christmas. WW84.

My wife and I settled into the couch with a bucket of Cherry Coke, a cornucopia of candy, and two obnoxious bowls of fresh popped popcorn soaked in butter. It was the movie-going experience I had been missing this year.

I love Wonder Woman. I didn’t grow up on the source material. I grew up on Lynda Carter. Reruns of the campy Wonder Woman TV show, which originally ran from 1975–1979 were a favorite of mine as a little kid. Not only was it an entertaining show for a preschooler in the eighties with the jumping and bullet-blocking and running, but I was also in love with Lynda Carter both as Diana Prince and Wonder Woman.

You see—sounding all Freudian alarms—my mother is a brunette and, from what I could tell at that young age, she could do anything and everything, so I grew up likening my mom to the Amazonian goddess. I also thought any pretty lady with brown hair was my mom including the woman on the Sun-Maid raisins box. (Despite my mother being a beauty queen and model—just like Lynda Carter—the real Sun-Maid Girl died at age 90 two months before I turned four.) From my vantage point, my mom was completely capable of saving the day and harvesting yummy raisins. A true wonder woman.

I wasn’t a big reader of the Wonder Woman comics. Blame that on my time as a boy in 1984. Wonder Woman comics didn’t make their way to me and by the time I was old enough to choose my own reads, I was too deep into graphic novels about the Vietnam War, X-Men comics, and other Marvel titles. But I always knew Diana’s story and powers, and recognized her as one of the most powerful characters to grace the pages of comic books.

Settled into the couch, we hit play and HBO Max glowed to life to give me the Christmas gift I’d been waiting months for.

The opening scene set the tone. A thrilling action scene showcasing the abilities of Diana’s people back on Themyscira. It dropped a few hints of what challenges Diana/Wonder Woman might face and the lessons she will learn or be reminded of. Good opening. And then the film fell apart and Christmas was ruined.

Nah, Christmas was fine, but Wonder Woman 1984 was a disappointment. And not as much for me as for Diana and Wonder Woman. And for actor Gal Gadot. She was robbed of an interesting story. There is no character development in WW84 for our hero. Diana is in the exact same place as she was at the end of the first film. She picks up a few new abilities along the way, but one, like flying in an invisible jet felt like director/writer/producer Patty Jenkins was force feeding me a MacGuffin only to throw it away after I agreed to swallow it. Flight is a big thing in this film but Wonder Woman learning to master it seemed wasteful as I was convinced she was learning to fly based on the way the first film ended. That’s on me.

When we left Wonder Woman in the first film, she was heartbroken for Steve Trevor (Chris Pine). When we meet her again in 1984, some seventy years after his death, she still pines for him. (See what I did there?) By the end, she’s the same. Closed off, unwilling or unable to open herself up to people, most notably to people who could love her and she could love in return. This, despite that Steve tells her that’s a stupid thing to do—remain closed off. When he comes back to life through a wish, he is filled with a zest for life, a chance to experience something again. Pine plays Steve with an almost childlike wonder and it’s fun to watch.

They missed an incredible opportunity to build an interesting story tying in time, the struggle and pain of being ageless—timeless. Maybe that’s how Steve comes back. He exists in a tear in time. What is the hardship of a god living among men? Not her challenging duty but her struggle.

And why 1984? For the fashion jokes? The nukes? Missed opportunity there. Especially since the year is in the title.

Kristin Wiig is great. She’s surprising as she anchors her Ghostbusters (2016) character into Barbara Minerva/Cheetah. But I wanted more form her relationship with Diana. When Barbara wishes to be like Diana, “Sexy, cool… special,” there’s a chance for her to also face the backlash of being an ageless goddess. That opportunity was dampened when Barbara cartoonishly chooses to become a full baddy. But you can’t blame Barbara, she was written that way.

Everything was written as a MacGuffin. One little thing to get us to the big moment with the big baddy—a Donald Trump-ish huckster played by Pedro Pascal. Pascal as Max Lord at first is a slimey but sympathetic character. That quickly devolves into him being a super-duper bad guy bent on world domination that overcorrects in heightening the stakes. The manner in which he goes about dominating the world is trite but also is based on a lazy Orwellian approach to what technology would be like in 1984. It gives the sense that the film was written during Lynda Carter’s heyday where 1984 still seemed futuristic.

There’s so much opportunity squandered. Diana/Wonder Woman is an ageless goddess with a lonely heart and incredible powers. How does one live like that? In the first film, Diana is learning what it means to be human. This film could have had her learning what it means to be a god among humans. Instead, the character is a pawn. She’s not driven by anything. And that’s what gets me.

Diana could be relatable. Make her the troubled messiah. She lives among us so long, she longs or struggles to be like us. And maybe losing her power—the unknown risk she takes when Steve comes back—is attractive to her so she can live and love. And if they had to bring back Chris Cline, the could have dipped into the mystique and magic of Diana’s world. Something more than a silly wish. Something more interesting that pushes Diana to face new internal struggles while working to defeat the external forces of evil.

The film sets itself up as movie that’ll deal with time. There’s a date in the title. But why 1984? For the nukes? For the broadcast Max Lord needs to tap into? For the fanny pack jokes? Jenkins and Co. could have given the theme a little more oompf by leaning into their own ideas of time and address the hardships a an ageless, nearly all powerful goddess faces. Instead, we get a joke about modern public art being trash and a WWI watch coming to life because… because the ghost of the man who owned it has come back from the beyond. Two completely unrelated things. But they didn’t have to be.

The film takes its time with the wrong beats. There are many big moments, often in the middle of the action, where Wonder Woman’s face is the focus. The only takeaway from these slowed down moments of intensity are for the sake of empowerment. And, okay, fine. That’s cool. I get it. Wonder Woman is empowering. The movie, however, is not empowering. It’s a vehicle that reduces Wonder Woman to a physically strong woman who does not develop as an individual. She’s the most dimensional inspiring cinematic female character since the offensive Captain Marvel.

Time proves to be a major influencer in the film in the way it’s wasted. When they have to fly to Cairo, they do so by stealing a jet that Diana has access to thanks to her job at the museum, and allegedly will face no consequences for hoarking a fighter jet for personal reasons. Regardless… They have to get from Washington D.C. to Cairo, a trip of just over 5,000 nautical miles. A modern Boeing 747 can fly 8,255 nautical miles on a full tank of gas. A fighter jet with a smaller tank would likely need every last drop and the wind at their backs the entire time to make the tip without refueling or plummeting into the ocean. Instead of being concerned with that, Steve and Diana choose that time to have their romantic scene. Flips and tricks and dawdling through a Fourth of July fireworks show. And why was Steve surprised by the fireworks and it being July 4th? He just arrived in a new body the day before. He certainly checked the date on a newspaper or heard something on the radio or a TV. And the Fourth of July was already a holiday before he was killed in World War I.

These gripes would be nitpicking if they weren’t so easily remedied by giving the main character an actual story arc.

Wonder Woman 1984 was a fine superhero movie. Far from the best (Captain America: Civil War). Better than the worst (Justice League). It had its share of fun action moments, but even in an action film, the action must be secondary to the story.

After watching the film, we turned on the old TV show. There’s not much character development there either. But it’s a 1970s network television procedural. It’s meant to be campy. And it was more than enough.

Following the three-hour Lynda Carter bender, I realized that you could totally edit scenes in WW84 to make a trailer about a woman who takes care of, then falls in love with, a mentally handicapped man. And that would be a great story to tell. Wonder Woman with Hollywood blockbuster money behind her deserves something interesting.

#Wonder Woman #Wonder Woman 1984 #WW84 #Gal Gadot #Kristin Wiig #Pedro Pascal #Lynda Carter

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kxhlzn · 4 years

Text

[i.] the birdwatcher & his lover.

➳ synopsis: it's the summer of '89, and you discover new things about yourself— some good, and some you wish you could swallow and never see again. dealing with the newfound confusion of sexuality, you must learn the ins and outs of friendship and what it means to grow up.

➳ genre: coming-of-age drama, fluff, crack, angst, slow burn romance, lgbtq+ themes.

➳ characters/pairing(s): eventual stanley uris/reader (main couple), unrequited!beverly marsh/reader, eventual richie/eddie (possibly unrequited), eventual bev/ben.

➳ wordcount: 3.2k

➳ warnings: profanity, partial nudity (the lake), slight angst.

➳ song recs: "beverly" from the it soundtrack & "she" by dodie.

➳ author's notes: hi hi hi! this is my first fic on tumblr and honestly i'm a bit anxious about this bc i haven't written in ages lmfao. this is a series, so pls don't hesitate to send in asks and the like! nothing is set entirely into stone yet. please note! the characters are fifteen in this, and pennywise doesn't attack derry at all; so georgie is alive and well and chasing paper boats in the rain. richie & reader are both bisexual, ben & bev fall in love as kids. reader and bill are vv close but platonically.

June, 1989.

the first time you meet stanley uris, he is perched on a oak bench planted in the middle of derry park, his bruised knees pressed together in order to keep his journal steady. his chin is pointed to the heavens, eyes searching the clouds, a curious glow in them; cheeks dusted a light pink, he was angelic, the sun's rays a dull comparison to the golden glow of his messy curls. the boy had a nervous tick of tapping his pencil against the yellowed paper in his lap, followed by the curve of his brow when he noticed a bird flutter overheard.

you, at age eleven, were fascinated by him, and lacked a filter to save you from your mouth. it's almost as if the hinge of your jaw had lost a screw, and you feared if it hung open too long a fly might seek entrance there. of course, it would have been entirely avoidable if you hadn't sat your butt right next to him, and stuck your nose right where it didn't belong: in his journal.

"your handwriting is pretty, but your drawings can use some serious work. is that supposed to be a bird? it looks like it's having a heart attack," you had said, tilting your head, "the wings are too jagged and the legs too... sticky, you know? not like sticky like honey, but sticky like... you know, sticks? are you mute or something?"

your blank stare forces stanley's hand to shoot to the back of his neck as he tries to find the words to attend to all of your commentary. his mouth opens and closes a few times before you roll your eyes dramatically, slumping into the back of the bench. stanley clears his throat, eyes falling to the ground.

a silence ensues, and you glance from his crestfallen expression to the drawings. "and, uh, his eyes are buggy; they look like fat marbles. they're taking up his whole face."

stan releases a breathy laugh, and he raises an eyebrow at the graphite drawing in front of him. "they do, don't they?"

you mirror his laugh, and nod solemnly. "there's no saving them," you say, and decide to tell him your name, outstretching your hand proudly.

"stanley," the boy replies, meeting your grip and giving it a good shake. "uh, you know a lot about drawing. could you fix him?"

you hum, taking the journal from his lap and dropping it in your own. you tilt your head at the sketch, putting your chin in your hand. "it's going to be a tough job, but i think he'll survive. scalpel, sir?"

he hands you the yellow pencil, sharpened down half its original length. "anastesia? or uh," you inquire, not aware of how to spell or pronounce the word, "the stuff that doctors give people during surgery."

"anesthesia," stanley corrects, pulling a pink eraser from his pocket and giving it away.

"yeah, that," you bring the eraser down and the bird lines are soon gone, but the remnants of what was stays behind on the paper. "your lines are really hard. you've prolly got heavy hand, you know. but don't worry, i do too."

the next few minutes are in comfortable silence, save for your absent-minded humming. stanley leans over your shoulder, but not to the point of invading personal space, studying each pencil stroke gracing the journal. he makes a comment about the structure of the real-life bird, and you nod your head in agreement. the two of you synchronize nearly perfectly — you sketch what he tells you to. you aren't very observant to the outside world, but you focus on details in your drawings. stanley will mention that the creature has a stray mark on its beak, and you pencil it in without the graphite being too dramatic, which stanley is quick to do in his work.

after an hour of chatting and working, you are sitting on the back of the bench, feet placed comfortably on the seat. you are talking on and on about a story that happened during your english class, and you don't refrain a single detail. stanley listens intently, body slouched forward over his journal as he writes physical descriptions of the bird next to the drawing. he checks the time on his watch, and nearly jumps out of his seat. he swivels around, eyes blown wide, but you don't seem to notice as your arms wave about, mimicking a girl in your class.

stanley barks your name, which sounds sweet on his tongue, he realizes. when you focus on him curiously, he looks guilty. "i have to go. i was supposed to go to my friend's house so we could go to the quarry together. uh, unless you want to.. go?"

you grin, hopping onto the soil beside him. "for sure!" you hook your arm in his, and skip forward a few steps.

"wrong way," he says sheepishly.

you turn around, now exceedingly confident. "onward, steed!"

the next few years, up until freshman year, you are best friends with stanley uris and his gang of friends; bill denbrough, richie tozier, and eddie kaspbrak. bill was the kindest of all of them, a sensitive boy with a heart of gold. his love for art made him an easy companion, and you grew very close the summer of 7th grade, spending many hours a week at his house simply talking and making art. his little brother is like your favorite person, the little squirt constantly bugging bill about when he'll see you again, and telling bill he likes you better because you'll play with him.

eddie is a mother hen to you, warning you about the dangers you put yourself in on a daily basis. you are more reckless than the other boys, so it's common to see eddie turn an ugly shade of purple when he witnesses you do something exceedingly ignorant. with your asthma, he can relate to you, but you personally believe the inhalers you have are pointless and there's no need to rely on them, but eddie disagrees. when he takes a puff from his emergency inhaler, which is more of a daily one, he tends to shove one in your mouth too for simple sake of anxiety. you've found that he calms down when you play with his hair or give his scalp a light scratch, his voice lost in the serenity of it all.

ah, richie tozier; you two are scarily similar, and everyone is aware of it. he's of course referred to as "trashmouth", and you're known as "loudmouth", as richie has a tendency to speak inappropriate things, and you just keep speaking and can't properly whisper to save your life. a major difference between the two of you is your vulnerability, naiveness, and positive charisma. his talkativeness is characterized by sarcasm and the "class clown" stereotype, while yours relies more on really just being a chatterbox, whose thoughts spill out at rapid speeds without being filtered by your brain. fortunately, it's easier to make friends this way, and you tend to be the ice-breaker of your friends. richie, personally, admires this about you and thinks of you as an "innocent little ball of sunshine", and likes to put his arm on your head to show his dominance.

your relationship with stanley uris is a bit complicated; of course, at first, it was unproblematic being friends with him, as you were easy opposites. you spoke into the space that he was too quiet to fill, and it was comfortable for the both of you; you got to speak your mind without interruption, and stanley was able to have company that didn't force him to interact gregariously. however, as you grew with time, he found your carelessness to be irritating, as he hated feeling he had to be anxious all of the time; stanley enjoys turning his alarm off, and running on low function, and he thinks it is hard to do that when you're jumping off cliffs, climbing on slippery rocks with your eyes covered, and provoking bullies three years older than you. he finds you irrational and childlike, which is difficult for him to grasp as an inherently strategic and analytical person. you are a glass half full, and he is glass half empty. he prefers to consider the consequences, and you have a tendency to wait to find them out after you commit the deed. he has his future planned, and you want to live in the moment; you enjoy surprises, new opportunities, as there is something entirely boring about being sure what you plan to do each day. sometimes, you believe stanley wakes early, dresses in the outfit he put aside the night before, and takes a seat to write down a schedule. you shiver at the thought. unfortunately, the disagreements put tension on your friendship, as hanging out periodically ends with an argument, and one of you stomping out to rant to one of the others. you sincerely care for each other, but also find each other extremely irritating when the situation calls for it; which is becoming increasingly habitual as you grow taller with age.

but you also find him to be beautiful.

you're fifteen when you properly meet ben hanscom, beverly marsh, and mike hanlon. it's also the first time you felt something strike deep in your gut for that particular redheaded girl, and the way her newly chopped locks curled at the ends. she had tucked your hair behind your ear as you wrestled with the button on your overall shorts, and took your hands in hers, pushing them aside so she could slip the button through the hole properly. she was so graceful, elegant even, in the way she held herself. that day, you labeled the twist of your insides as insecurity, nothing else.

it was a mix of many things, you realized a long time after. insecurity, deep-rooted sexual confusion, and jealousy.

beverly is the first to jump off the cliff and into the lake below. after aiding you in your clothing disaster, she slips her creamy overdress from her shoulders, and gives her arms a good shake. she departs with a glance back at you, the sun beating down on her hair like fiery red flames, and her icy eyes contrasting its intensity. suddenly, you feel so small; so plain. before she could see your lip quiver, she was in the air, high like an angel, before falling towards the murky waters.

the stars in bill and ben's eyes, and the admiration in the rest of theirs, erupt a cacophony for you, striking your heart like a harsh note: these aren't your boys anymore.

bill jumps next, and then the others, eddie last. the splash sends spikes in your spine, but it's a warm hand on your shoulder that kick-starts your body. sandy curls appear in front of your face, tilting to reveal the kind eyes of stanley uris. his mouth is shaped in a firm line, a bit disappointed by your lack of enthusiasm. he seems to be at war with himself.

he stays silent for a moment, eyes searching the sky for the right words. "i want to go last," he finally breathes, seemingly triumphed in his verbiage, "i don't want them to see me cross my fingers behind my back before i go."

you laugh softly, relieved. you are grateful knowing he wasn't going to pry in your hesitation, or your brief self-consciousness. even when the two of you bicker, you hold high respect for stan; he's a boy of few words. he isn't shy, and certainly isn't bashful; he simply chooses to speak sparingly, believing that the chattiest voices aren't always loudest. he doesn't word vomit to fill the silence; that is how you know his words are meticulously chosen, like pieces to a greater puzzle.

stanley's thin frame makes no unnecessary movements, but rather awaits yours. his hand has long since abandoned your shoulder, and rather is cuffing his other calmly in front of his hips. the lack of speech isn't menacing or awkward, but instead a bit comforting; it gives you adequate time to finish undressing, tossing aside your socks and shoes. you pull the loose scrunchie from your hair, and give yourself a silent nod in reassurance.

"promise not to tell?" stan says quietly when he's sure you're more stable, curious eyes searching for yours.

"pinky promise," you insist, holding up the smallest finger on your right hand. when his wraps around yours, you toss him a childlike grin. "i never break them."

and then you're gone, cascading down towards the green waters, each wave crystalizing in your descent.

"i know," stanley whispers to himself. little do you know, he has the same epiphany you had just seconds ago, aweing after beverly.

he crosses his fingers behind his back, and steps off the cliff's edge.

air reaches your lungs when you pull your head above the surface, and you gather your sopping hair from your skin, laying it against your neck. you face the sky, and stan's dive is a flash of gold: like a bird, graceful in it's dip, his curls like its wings.

you find yourself wanting to ask him what it's like to fly.

—

on a boiling day in the middle of june, you and the others spend a day in the quarry again, but instead have a picnic by the rocks rather than racing back into town for a snack at eddie's house. it was mike's idea; he hadn't told anyone until he showed up early that day, sweaty and beaming with a quaint basket and blanket tucked under his arm. you felt a bit guilty, honestly— you wish he would've told you so you all could pitch in.

he seemed ecstatic, though, setting it up, so you couldn't bring yourself to mention that.

beverly says she wants to sunbathe with you, so you agree with hot cheeks and position yourself awkwardly next to her, posture straight with your knees tucked under your arms. your stiffness goes unnoticed by her, thankfully, so you're able to admire her form in peace as she stretches her limbs out with a soft sigh. compared to her, you feel unbearably rigged, unbearably not feminine. a thought crosses your mind that her own feminity outshines yours so much that the boys must think of you as one of them, minus the third leg, and with twin petals blossoming on your chest.

the boys are curled around their usual spots, the multiple boulders a few feet from your seated position, chatting carelessly. mike is discluded, lost in preparing the perfect picnic for you all. perhaps if you had noticed the simplicity of it all, you wouldn't have blurted out something ignorant to force a tension in the summer air.

"do you guys think i'm pretty?"

the conversation drops briefly, takes a soft roar, and then entirely ceases as seven pairs of eyes draw to you, including mike and beverly. the red-haired girl has a smirk on her lips, tilting her head ever so slightly as if to test your patience and purpose.

bill clears his throat gently. "u-um, well, yeah of c-course.. w-why wouldn't w-we?"

you shrug nonchalantly, and the others eyeball each other, pleading for another to say something else. eddie and ben slyly play rock paper scissors for a sacrifice.

richie whistles lowly. "this is gonna be good."

your face's temperature soon begins to rival the sun as your breath hitches in your throat, attention turned directly on beverly, as though her presence might calm your nerves. it doesn't. your lower lip is caught between your teeth, as you grow progressively more embarrassed of yourself the longer the others stare.

beverly smiles gently, her intensely blue eyes never straying from yours. "i think you're the prettiest girl in the world."

you sputter suddenly, adjusting your aviators, and spill out something along the lines of "i have to go take a piss", and skitter off in the direction of the woods. you curse yourself the entire way.

richie laughs, breaking the tension. he pats stanley's bare back roughly as the lanky boy stares at the trees you disappeared behind. "and the hits just keep on coming."

"beep beep, richie," eddie scolds, and richie winks at him, suggestively nodding towards him. eddie rolls his eyes and his gaze drops to his feet.

"sandwiches, anyone?" mike whimpers, a lopsided grin as he holds up a loaf of bread. stanley gently pushes past him and disappears into the brush.

"well, i, for one, would like three," richie replies, slapping his thighs as he stands.

eddie mumbles a word or two about richie being "as selfish as ever", and makes his way to mike also. beverly is a bit quiet, and bill chooses to sit beside her; his hands fall to his knees, rubbing them subconsciously.

"u-um, you didn't do a-anything wrong," he says, aware of the deep concentration beverly has. he can usually tell when everyone is upset or has something on their mind. "she's j-just been a l-little self conscious lately."

"please," beverly whispers, lifting her head to the sky, "i can tell she's been different around me. i must have said something to offend her. i should apologize—"

beverly pulls herself up, dusts off her legs, and is yanked down by bill's shaky hand.

"d-d-don't—" when the girl steadies, he continues, "let them b-b-be. if y-you really did s-something to h-hurt her, s-s-stanley will f-find out. trust him."

the greenery is exceedingly massive— miles and miles of towering woodland, filtering in streams of sunlight, rocky terrain around every trunk. you find yourself breathing heavily while seated on a boulder that is tucked away behind a ledge, facing the opposite way of the opening that your friends are at. elbows pressed into your knees, you put your face in your hands.

the air is tightening around your throat, and your uneven breaths become wheezes. you fist your hair in frustration, and smooth it down seconds after. this turns into a cycle, as you calm your wild nerves. fuck. are you allowed to think of her like that? you inhale deeply, the scent of soil filling your senses.

twigs crack in the distance, rapidly approaching feet obliterating the silence that has so graciously aided you in your toxic thoughts. you run your hands through your hair, and then fist a handful at the scalp. you smooth it out tenderly. when the footsteps are extremely close, slow down their pace, and stop entirely, you squeeze your eyes shut.

"go the fuck away, bill, i don't need your lect—" you bark, waving him away, but are cut off by long arms wrapping around your neck. your anxiety washes away, but you make no effort to embrace them in turn. your hands become fists, with no fabric of a shirt to grasp. you don't notice the tears racing down your face until your eyes and cheeks burn furiously, and your throat is caught up in sobs. when you peek, the sight of stanley's dusty curls in your peripheral sends waves of numbness and comfort over your skin.

your thoughts become hazy once you've lain your head against the bone of stanley's bare shoulder, and you feel a weight on your body lift from you— and transfer to him.

you swear you can hear faint whispering, voice cracked and vulnerable: "it's okay, it's okay, it's okay."

the part that leaves you aching for days in the future, is that you're not sure he was talking to you.

➳ i hope you liked it! it's a bit short but idc cuz i'm tired.

#it #the losers club #stephen king #it 2017 #stan uris #stanley uris #stanley uris x reader #losers club x reader #beverly marsh x reader #it fanfiction #stanley uris imagine #beverly marsh imagine #kassie writes #BW

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nadziejastar · 4 years

Note

It's sort of amazing the difference between the fan interpretation of RAX and how they interact in canon. In Days they're super dysfunctional, border on being toxic, and their friendship was unsustainable from the start even if they didn't realize it. In fanon they're a picture perfect family who can never be torn apart. And the KH3 went with the fan interpretation instead of acknowledging any of their issues.

I totally agree. I think the reason is that the fandom tends to be very young. It’s a big reason why Akuroku became so popular, IMO. Young teens tend to misinterpret unhealthy obsession (like Axel’s) as romance and true love. And the Sea-Salt Trio’s dysfunction also was also overlooked in a similar manner.

I gotta be honest. I feel pretty uncomfortable with the general interpretation of the Sea-Salt Trio in this fandom. It’s just so bizarre to me how Roxas and Xion’s friendship with Axel was put on such a pedestal and how his relationship with Isa was pretty much ignored by almost everyone. It’s just…amazingly unrealistic if you think about it. I think it’s a testament to how young the fans are, in general.

Axel’s relationships truly aggravate me, because he was written a LOT differently than Sora or other simplistic characters. I know that the target demographic for Kingdom Hearts is pretty young. And in the end, I think Axel’s character was a victim of that. Nomura tried to write him very authentically at first.

But his characterization was dumbed down to fit in with a largely tween/teen audience and their preferences. I don’t say that to be disparaging to younger fans or anything. But, had KH3 not been a Disney property, and had it been targeted to a slightly older audience, I think Axel and his relationships would have been handled a LOT differently.

I definitely think the Sea-Salt Trio was VERY misunderstood by the fandom. Axel has known Saïx for at least 10 years. Probably more. Even before their backstory was explained, you could tell they have been through hell together in the organization, without anyone else to trust besides each other. Axel was willing to do all of his dirty work.

Then Axel meets Roxas and Xion. Two kids who—let’s be honest—are about on the level of your average fifth grader. Not a bad thing. They’re just very naive and childlike and he obviously can’t be 100% himself around them. Do people really think Axel is gonna replace his best friend so easily with two kids he’s known for less than a year? Apparently, yes. Let’s look how absurd it is.

Day 75

Inseparable

The Genie we met in Agrabah said he and his friend Al are "inseparable." Axel told us best friends can be inseparable even if they're not always together, but it sounded like he wasn't too sure about it himself. I thought Axel knew everything. Oh well...

At this point, Axel spent quite a while at Castle Oblivion. He hasn’t even gotten to know Roxas that well, and he’s only known Xion for a few days. It’s totally realistic that he’d say he doesn’t have a best friend. He sounds like he knows what it’s like to have a best friend, though. He just doesn’t have one anymore.

Day 96

Roxas: I just…want these days to last forever. Hanging out, the ice cream, the sunsets…

Axel: Nothing lasts forever, man. Least of all for a bunch of Nobodies. But you know, we’ll still have each other…even if things change and we can’t do this anymore.

Roxas: Yeah?

Axel: As long as we remember each other, we’ll never be apart. Got it memorized?

Roxas: Ha ha, wow, Axel. That sounded ridiculous.

Axel: What? I thought it was pretty deep.

Not even two weeks later, he’s acting all touchy-feely about the time they spend hanging out together. Roxas and Xion make fun of him because even they know they’re not really that close, lol. They hardly know each other at this point. If you read between the lines, you could tell that he was thinking about Saïx here, too.

Friends

Author: Axel

I feel like I’ve been spending more time talking to Roxas and Xion lately than my old friend, Saïx. This has to have been what it was like, friendship.

But if that wasn’t obvious enough, the report clears up all doubt. He WAS thinking about Saïx. The message I got was: Lea and Isa had a very close relationship as humans. They were the ones who were really inseparable.

Axel misses that and, the more he remembers it, is desperate to fill the void. Every time he mentions “best friends,” it relates back to this. But this concept went “whoosh” over 90% of the fandom’s head. It baffles me. I really just don’t get it. Again, I have to think it’s due to the fact that this series skews really young.

Day 118

You Changed, Not Me

Author: Axel

Talking to Roxas and Xion always brings back memories of my human life, back when I was a kid. It’s a weird sensation. I ought to be able to share all this with Saïx, but I just don’t feel like it anymore. It’s strange, but I’m content with just missing what’s gone. I’m not the one who changed. You did.

Anyways. Three weeks later. Axel is very hung up on the past. He sounds like a heartbroken lover (because that’s exactly what he is, if you ask me). The reason Axel spends so much time with Roxas and Xion is because Isa changed.

Day 150

Too Precious to Lose

Axel and I talked for a while about the things we can’t bear to lose. Axel thinks that for Nobodies, it’s our pasts, because that’s all we have to remember the pain of losing something. I don’t remember my past, but the idea of losing the present–Axel or Xion–scares me.

A month later. Axel comes back from Castle Oblivion yet again, and he’s even more nostalgic for the past than last time. I bet Axel’s time at C.O was gonna be featured as a blank period in BBSV2. But whatever. He couldn’t bear the thought of losing his memories of the past.

The reason Axel treasured his memories so much was because it’s all he had left after losing something. OBVIOUSLY it’s because of his relationship with Isa. I mean, duh. It implies a pretty special connection between Axel/Lea and Saïx/Isa for him to feel that way, especially considering how mean Saïx is to him.

I’m not trying to trash Axel’s feelings for Roxas and Xion, either, or make them out to be unimportant. They were important to him, for sure. But they absolutely did not reach Isa’s level of importance to him. No fucking way. Not. Even. Close. Especially not on Day 150. By the end of the story, Axel couldn’t bear to lose Roxas and Xion because they were all he had to fill the void of Isa.

That’s not to say that he didn’t care about them as friends, or that he was just using them. It just means that I don’t think Axel really would want to be “inseparable” with Roxas and Xion once he was mentally and emotionally healthy. He’d want to be friends with them, of course, but not hang out every day like Hayner, Pence, and Olette. He’s not on the same level as Roxas and Xion. And that’s fine.

Terra: Protect the things that matter… Right. My friends matter to me, too. So, I still have things that I have to protect.

To use a comparison, Riku was very important to Terra. I LOVED the connection between them. Other than Lea and Isa, one of the things I was most excited to see in KH3 was Riku and Terra reuniting (yeah…). They had a very special bond. Riku helped comfort Terra when he was down. But. Riku was NOT as important to Terra as Aqua and Ven were. Even if Terra had spent a whole year with Riku, he still wouldn’t be as important to Terra as Aqua and Ven.

Roxas and Xion being portrayed as the most important people to Axel is as ridiculous to me as Riku being portrayed as the most important person to Terra. It would be weird if 99% of the fanart out there depicted Riku as Terra’s best friend and Terra’s reunion with Riku got more spotlight in KH3 than his reunion with Ven and Aqua.

That’s how I feel about the Sea-Salt Trio. I really liked it for what it was in Days. A complex, morally grey friendship between an emotionally damaged adult and two innocent kids. But I really don’t like the overly saccharine, cutesy, cuddly, one-dimensional fandom version of it, where Axel is treated like he’s on the same level as the two teens. It’s a testament to how young the fandom is that people really thought Lea would be “meh” about reuniting with his childhood best friend who’s been possessed for 10 years, and be waaaay more excited about getting to eat ice cream with two teens every day once again.

Day 172

What’s Love?

On my mission at Beast’s Castle, Xaldin told me about "love” and the special power it has over people. I tried to ask Axel about it, but his explanation didn’t make any sense to me. Every time I ask him about this kind of thing, he tells me I need a heart to understand. It’s like he’s dodging the questions.

Axel tolerates severe emotional abuse from his possessed best friend because he loved him back when he was normal. He copes by with his extremely shitty life by living entirely in the past, through his memories. Hanging out with two kids helps him remember his old life, back when he was happy. God, he was such a fascinating character. Such wasted potential.

Day 193

Best Friends

Xion's awake now. The three of us were gonna go get some ice cream after our mission, but she passed out again, so we had to take her home. I talked with Axel in her room until she woke up. He said the three of us were best friends—inseparable.

Axel said he had no best friend on Day 75. Now it’s Day 193. That’s only 119 days. That’s less than four months!! He gets in a fight with Saïx, who, once again, says he’s changed. A very sore topic for Axel. Then immediately afterwards, he says these two kids are his best friends.

If I was gonna compare it to real life: Let’s say Lea and Isa were two normal high school kids who were kidnapped and raised in a gang. Axel is a 25/26 year-old former gang member. He’s got blood on his hands. He’s a good person deep down, but he’s seen a lot of shit. Then he meets these two fifth graders. This adult gang member, with tear-drop tats and everything, suddenly starts calling these two fifth graders his best friends. He wants to spend all of his time eatig ice cream and playing Minecraft with them.

If this was real life, would anyone say how cute it is that they are best friends? Two kids who he had to teach the concept of “best friends” to? NO! No, they’d say that’s unhealthy and weird and that the guy needs therapy. Because it IS unhealthy and weird. Perhaps it easier to see that as an adult. Perhaps it’s easier to see it in a romanticized way when you’re young.

The Sea-Salt Trio was, in a way, Axel forcing the label of “best friends” on two kids in an attempt to cope with the heartbreak of his loss of innocence. It did have genuine cuteness and sweetness. Of course it did. Axel was not a predator or anything. Roxas and Xion loved him. Axel loved them. But…it wasn’t as cutesy and wholesome as people make it out to be. At least not from Axel’s end. It wasn’t JUST a cute wholesome trio.

That’s what made it so good. It was complex and grey. Axel never went against the organization, even though he could have if he really wanted to. It got to the point where he nearly killed both Roxas and Xion, just because he couldn’t bring himself to go against the organization. And the reason he couldn’t go against the organization was because of Saïx. Yes. Axel came thiiiiis close to killing both Roxas and Xion for a sociopath who treated him like shit. Their friendship was very dysfunctional and had a lot of kinks to work out.

Again, I’m not trying to denigrate the bond Axel had with Roxas and Xion. It was still genuine and sweet, in a sad and messed up way. I can still appreciate the cuteness of it.

But I hated the Sea-Salt reunion in KH3. Because it only focused on the most one-dimensional, saccharine and cutesy portrayal of them possible. They didn’t have to talk about anything. It was just instant hugging and ice cream, now they’re best friends forever. Everything played up to the max to manipulate people’s emotions. None of their issues were worked out and they had no better understanding of each other than they did at the end of Days. Honestly, even though Roxas and Xion got the red carpet treatment compared to Isa, the resolution to their trio was just as pathetic as Isa/Lea’s duo.

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briangroth27 · 5 years

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Dora and the Lost City of Gold Review

Dora and the Lost City of Gold is a very fun all-ages adventure! I’ve never seen more than a clip or two of Dora the Explorer, but that didn’t hurt the movie at all for me. The film starts with a summation of the cartoon’s style to get new audiences up to speed on the conventions of the show and it worked perfectly. I was in the mood for a fun jungle adventure flick, saw the good reviews this was getting, and I’m happy to report that it lives up to both those standards!

Full spoilers…

Isabela Moner more than capably leads the film as Dora, whose enthusiasm for learning, exploring, and life in general is absolutely infectious. Dora’s expertise in the jungle and her drive to find the lost city of Parapata were awesome! While her childlike enthusiasm is written as a side effect of being secluded from most of modern society to a large extent, it was refreshing to see a teenage lead who isn’t dour and down on life. Her dauntless willingness to go it alone when she had to was a relatable and realistic trait, and her acceptance of the fact that she was even stronger when she had a team backing her up was a cool message. I’m glad Dora didn’t lose her exuberance by the end of the movie or change to be more socially acceptable to her new high school friends, even if she does choose to stay and get to know them better rather than go off on another adventure. Her journey isn’t that she needs to remember to be herself regardless of whether she fits in or not, it’s that she needs to let people in to her world again, so Dora getting to remain true to herself while making new friends was very cool. Of course, it’s always great to see a female-led adventure film (particularly in this subgenre) with a nonwhite lead and cast (or at least the overwhelming majority of it) too! More of that please!

Dora’s cousin Diego (Jeff Wahlberg), her intellectual rival at school Sammy (Madeleine Madden), and everyman student (and impressive breath-holder) Randy (Nicholas Coombe) provided a share of challenges for Dora she wasn’t expecting at all: high school. Diego’s embarrassment over Dora’s personality felt like a realistic (though unfortunate) reaction to a younger sibling who doesn’t want to conform to high school society’s standards, while Dora’s scientific take on Diego’s feelings for Sammy was funny and built their sense of familial bonds nicely. Theirs is the strongest relationship in the movie and emotional core. I thought the breakdown of their bond felt realistic and painful (leading to Dora largely shutting everyone out as a kid and opening that wound all over again as a young adult) and that the repairs to their relationship were well-done and satisfying. I was glad Dora and Sammy’s rivalry wasn’t over some guy and that Sammy wasn’t written or performed as a mean girl, but one who was concerned about her standing in the class GPA. She also generally couldn’t understand Dora’s outlook, which is ironic given how Diego and apparently the other students at school don’t understand her, vilifying her for her outlook and “attitude” as well. The common ground she and Dora came to with Dora’s know-how and Sammy’s contributions to the quest for Parapata created a nice build to their budding friendship. I liked that Randy didn’t have toxic vibes to his crush on Dora, and he brought a nice balance of pure terror and truly wanting to help his new friends to the adventure. These kids have their issues, but none of them were ever unlikable and they all felt like real people, not caricatures or an adult’s attempt at writing “annoying youths” (or cartoons). I also liked that all four of them came together to keep each other alive and they all contributed to solving the traps protecting Parapata’s treasure. That was a cool way to unify Dora’s quest to save her parents (Michael Pena, Eva Longoria) and finish their search for the city with her arc toward sharing her life with people and depending on friends instead of just herself.

Dora’s parents don’t have much to do here, as they’re kidnapped for most of the film, but I liked how supportive they were of Dora (even if they were just as bewildered by some of her habits as her friends at school were). I really liked that they spelled out the distinction between exploring and learning vs. treasure hunting and plundering cultural artifacts. CBS’ Blood & Treasure made a similar point of noting who should get to display what artifacts (if they are to be displayed at all), and it’s good to see a more socially conscious approach to archaeology taking hold in the movies and on TV. Films like the Indiana Jones series are among my all-time favorites, but those artifacts don’t belong in an American museum, they belong to the cultures that originated them. I didn’t expect the movie to bring in an actual Inca royal/goddess (Q'orianka Kilcher) with an army to protect Parapata, but that was an excellent addition that felt totally natural with the world they’d established! I always want the supernatural stuff in films like these to be real, so seeing these people appear was very cool. It was also a neat twist on the formula (and execution of her parents’ guidelines on exploring) that Dora & co. didn’t get to keep the treasure, only increase their knowledge by confirming its existence.

Most of the villains are ultimately just muscle, but Eugenio Derbez’s Alejandro Gutierrez gets a lot of screen time thanks to initially disguising himself as a friend of Dora’s parents. He was affable enough that it was reasonable Dora and her friends would fall for his lies (particularly with the stress of their situation and his apparent rescue of them). I wonder if the more comedic persona he puts on was designed to fit with and manipulate Dora’s eternal optimism, which would be a solid take on the older generation manipulating the best intentions of the younger one to fuel their greed. He certainly uses their intelligence to further his own interests (and, depending on how deep his cover was, to keep him alive in the first place). He also personifies the old-school treasure hunter method of archaeology, contrasting him nicely with the younger, more socially and culturally conscious generation. I definitely wouldn’t have included him disrobing in front of teenagers though, even if it was caused by hallucinogenic pollen in an animated sequence.

That moment not being a great look aside, it was refreshing that like Dora herself, a modern adaptation of a kid’s property didn’t take the “dark and gritty is cool and mature” path in an effort to draw in older audiences by ignoring what made the show a success in the first place. Instead, this fully embraced what I assume is the upbeat vibe of the cartoon and absolutely ran with it. They do poke fun at some of the conventions of the animated series, like Dora breaking the fourth wall to teach the audience vocabulary and science, but those self-deprecating jokes absolutely worked and it didn’t feel like the filmmakers were embarrassed by the source material or like they were outright mocking it. It would’ve been easy to make those moments part of the video diary/podcast she has at the beginning of the movie (particularly with the popularity of Instagram and Snapchat stories nowadays), but playing them straight and just having everyone else think she’s weird was so much funnier! Her Map (Marc Weiner), Backpack (Sasha Toro), and possibly her pet monkey Boots’ (Danny Trejo) abilities to talk were played as her childhood imagination and/or hallucinations, which felt like the right balance for the very fun, heightened reality she lives in. I’m glad that they kept the talking, masked fox Swiper (Benicio del Toro) here as well: he feels like a major part of the series’ world and I’m sure fans would’ve been bummed if they left him out. I loved that the questions surrounding him from our heroes were not that he was a fox working with mercenaries, but just that he wore a mask!

While Dora works for all ages, kids are definitely the main target audience and some of the other humor reflects that. I’m not a fan of toilet humor—it’s not that I find it inherently juvenile, I’ve just never thought it was funny—but the two gags in that realm here (quicksand that sounds like farts and the difficulties of using the bathroom in the jungle) didn’t go on long enough to make it feel like this was only for kids; it felt like this was just one style of comedy at play among many. Like Alejandro’s pollen trip, I wouldn’t have included everyone running by Sammy while she was using the bathroom though. Unlike so many movies described as “all ages” but which are really just for kids, the rest of the movie’s comedy, the character development, and the action-adventure sequences totally work regardless of your age and they successfully made it feel like our heroes were on a real adventure with actual dangers. Even if “jungle puzzles” aren’t a thing in the real world, the ones showcased here felt classic and were a lot of fun to see our heroes solve. The pacing moved the story along briskly, but I didn’t feel like Dora’s problems fitting in (and letting others in) were rushed or underdeveloped. The score hits the exact right vibe for this and I liked the original song at the end of the movie too.

If you’re like me and in the mood for a fun, all-ages jungle adventure with a great cast, good action, and a solid emotional core, Dora and the Lost City of Gold will absolutely deliver! I’d definitely watch a sequel. If this one’s still in a theater near you, go see it!

Check out more of my reviews, opinions, and original short stories here!

#dora and the lost city of gold

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toaarcan · 5 years

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Sonic X, Sonic Heroes, and IDW, or: How a bad anime from 2004 spoiled a comic from 2019.

Now, I haven’t been following IDW Sonic all that closely. I get regular updates from Nemesis via Discord, and additional info from some of the Tumblrs I follow that are invested in it, but I don’t really have a desire to touch it myself. Here’s why.

There’s a multitude of reasons for this. Starting with the background of Sonic Forces wasn’t really a good place to begin from, and being based on present-day game lore in general was always going to hurt it, mainly because SEGASonic canon is currently a confusing mess of retcons brought on by Iizuka taking the J.K. Rowling approach.

Wait, no, he’s just saying stupid shit that contradicts previous canon, not trying to score woke points and hoping nobody notices the frankly terrible stereotypes and TERF tweets. Iizuka is taking the Greg Farshtey approach.

Added, as anyone that’s had experience with my opinions will tell you, I started falling out of love with Ian Flynn’s writing somewhere around Issue 200, and moved to outright dislike during Mecha Sally, and to make matters worse I started noticing that some of the flaws in the 200-247 era were also present in the 160-199 era, retroactively making those harder to go back to.

I’ve said it before, I’ll say it again: I kept up with Archie for the SatAM cast. SatAM reruns back in 2004 were my Sonic, moreso than anything else, and even now I still have way more attachment to those two seasons of animation than I do to most other aspects of the franchise, warts and all. So Archie providing me with additional content for said characters was a major draw for me. I’d generally put up with a lot just to get myself more SatAM content.

That in itself is a large part of why I fell off the Archie train during Mecha Sally. The entirety of the SatAM cast were removed from the regular lineup, just leaving three SEGA characters with their personalities stunted, even if that didn’t make sense in-universe. But that’s a discussion for another day.

So being written by someone whom I no longer enjoyed the writing of, set in a mess of a canon with a thoroughly shite game as the main basis, without the cast I read the previous comics for gave me little reason to invest in IDW Sonic. It wasn’t for me, I’d just keep reading Transformers and move on.

Then MTMTE/LL ended with a heart-twister and Ex-RID ended with a giant Unicron-shaped fart, and the new comic is dull as fucking dishwater and started by killing off one of my favourites, who was also one of the franchise’s confirmed LGBT characters. So now IDW is getting none of my money. Which is good because I’m broke.

Tangents aside, my lack of interest wasn’t something set in stone. If it turned out that the comic was actually really good, then sure, I’d try it. I was up for being proven wrong. But so far, I haven’t felt compelled by the responses from the internet. If anything I’ve been more turned off.

I could talk about how zombies are really fucking boring. I could talk about how SEGA’s recent confusion over what to do with Amy has combined with Ian’s need to include a Sally-esque character to make IDW Amy into Sally Lite. I could talk about how Ian seemingly fundamentally misunderstood everything that was cool about Neo Metal Sonic and somehow managed to reduce him to a boring Eggman minion in an arc where Eggman was out of action due to amnesia… But I won’t.

Instead I’m going to talk about how the comic has done something that would legitimately make me think twice about picking it up even if the FF were to debut tomorrow.

Yeah, I would pass up a SatAM fix because of this, that’s how much this ticks me off.

Now, I presume that if you’re reading this, you have a favourite Sonic character. And you probably feel pretty strongly about how your favourite character is portrayed. If they get a bad run in a game or two then you probably get a little salty about that. Tails and Knuckles fans in particular, as of late, seem to be the ones getting the short end.

Well, my favourite character in the entire franchise is Emerl the Gizoid. I will take Gemerl as a worthy substitute, they’re basically the same character. And the comics have been doing them dirty since the Archie reboot.

(Sidenote: I will be referring to Emerl with male pronouns from this point on. The Maria-soul thing isn’t as widely known as I’d like it to be, so I’m going to compromise for the sake of keeping the focus on the actual point)

However, not everything about this can be laid at the feet of Ian Flynn. Arguably his portrayal of said character is merely a symptom of a long-running issue that has plagued Sonic storytelling for roughly 15-16 years now.

But before we get into that, let’s get into something important: Why Emerl is my favourite Sonic character.

Part 1: Emerl in Sonic Battle, or “How I learned to stop worrying and love the Gizoid”.

This game doesn’t get enough love.

Now, I totally understand why it doesn’t get enough love. There are game design choices, like the grinding and the repetitiveness of the story mode that really drag it down, and because of that, Battle can become a slow-going and tedious experience, and that’s a real shame, because the story that’s hidden in this game is a thing of beauty.

Like most Sonic games from the 2000s, this game introduces a new character to join Sonic’s list of friends. Unlike the games that aren’t SA2 and Sonic Rush, this new character is actually good (This is hyperbole, Omega, Silver, and Shade were fine too).

Emerl enters the story as a mute, barely-functional robot that doesn’t do much of anything for a while, and only seems to come to life when Sonic locates it and attacks it. However, as the robot absorbs more Chaos Emeralds, slowly a personality starts to form, largely pieced together from other characters’ traits.

Emerl, as he is dubbed, is initially childlike and naive, but as he grows he develops a sassy streak, and his speech becomes a lot more developed. Maturity sets in, as Emerl grapples with his own nature, particularly the legacy he carries from the ARK, and Shadow’s ongoing turmoil with regards to the whole “Living Weapon” deal. Ultimately he becomes a hero, following in the footsteps of his mentor, parental figure, and closest friend, Sonic.

That’s right, Sonic, not Cream, is Emerl’s closest friend. We’ll get to that.

But this heart-warming story of Sonic becoming a dad for a robot doesn’t have a happy ending. Despite Shadow and Rouge finding a way to neutralise Emerl’s destructive Gizoid programming, Eggman has a way to reactivate it anyway, driving Emerl into a berserk rampage. This is kind of the one sticking point I have with the game’s plot, Eggman shouldn’t have been able to do this after Shadow and Rouge neutralised Emerl.

Additionally, while Emerl was on the ARK getting Maria’s soul crammed into him, Gerald also added a self-destruct mechanism that would trigger if he ever went Ultimate again.

So with Emerl quite literally exploding with all the power of the Chaos Emeralds, but his destructive programming forcing him to turn Eggman’s latest Death Star knockoff on Mobius/Earth/Sonic’s World, Sonic races up to confront his mecha-child, and things take a turn for the Old Robot Yeller.

In a moment that really deserves more attention, Sonic confronts his own child on the bridge of a space station, while Emerl is running on the power of the Chaos Emeralds and outputting more energy than he can physically take, and they fight. In the space of thirty seconds, they have a ten-round knock-down, drag-out brawl, and at the end, Sonic stands triumphant. Without using a single transformation. Yeah, that’s how powerful this guy is, that’s not travel speed, that’s combat speed. Looking at you, Death Battle.

It’s not really clear whether Sonic outright defeats Ultimate Emerl, or just survives long enough for his opponent to reach his limit and self-destruct, but the end result is the same. Sonic cradles a robot that became his own child over the course of the past few weeks, someone he raised from a baby-like state into a mature and heroic individual, and Emerl looks up at him and asks “Sonic… am I going to die?” And despite Sonic desperately trying to get him to keep it together, Not only does Emerl die, but he’s aware that the end is coming, and bids farewell to all of his friends as Sonic pleads with him to hold on. Shadow is equally distraught, his only friend with a connection to the ARK, someone he can call a brother, someone who carries the soul of his deceased sister within him, is dead.

Emerl: “Sonic I don’t feel so good.”

Like it’s canon that Eggman basically murdered Sonic’s kid.

And goddamnit this ending hits me hard. It frustrates me that Eggman was able to pull a means to drive Emerl into his Ultimate freakout mode out of his arse, but other than that, it’s so gutwrenching, I love it.

Gamma’s story from SA1 gets a lot of praise on the Internet, but for me, this is even better. It’s like Gamma’s story, but if Gamma was actually central to the plot of the game and the characters other than Amy gave a shit about him, and gave a shit about him for longer than a single cutscene, after which they are never mentioned again. Hell, due to Chaos Gamma being a thing, Gamma gets more love from the other characters in Battle than he does in SA1.

But, unfortunately, it doesn’t end there.

Part 2: (Sonic) Anime was a Mistake, or: “Sonic X ruins everything.”

I’ve made my dislike of this anime quite clear in the past. The characters are flanderized, Sonic is a B-lister in his own damn show, the villains are weaksauce or boring or both, the plot is only remotely close to good when its cribbing from two videogames which told the stories in question better, and for the first two seasons the entire show actually revolves around not Sonic, but the least relatable audience surrogate ever made. The third season would continue to include him, but shove him (And everyone else) to the side in favour of a Pokemon whose only move was “Flashback”, making audiences the world over question why he was even there in the first place.

Oh, and it also near-singlehandedly destroyed the thin shreds of character development that Tails, Knuckles, Amy, and Eggman had received in Sonic Adventure 2.

All four of these characters had been significantly enriched by the then most recent console game. Eggman had been revealed to be motivated by an admiration for his grandfather, Gerald Robotnik, but in the same game learned that Gerald had lost his marbles and programmed the ARK to smash into the planet and kill everyone on it, probably including his surviving family, i.e. little baby Ivo Robotnik. Gerald betrayed Eggman posthumously, and it’s clear from Eggman’s interactions with Tails during the credits of the game that this is giving him a lot to think about.

Knuckles is a weird case because most of his characterisation in SA2 is conveyed via… the lyrics to his rap music. Yes, really. He gets minor growth through the cutscenes, most notably in his decision to shatter the Master Emerald early on. Having already reassembled it once after it was broken in SA1, he’s now confident that he can do it again, so is willing to break it to prevent Eggman or Rouge stealing it. Via the rap lyrics, however (Yes I just wrote that), we also learn that Knuckles is slowly warming up to Sonic, gaining a greater respect for him, that he is more in-touch with his history and ancestors after SA1 (Though fortunately not in a Ken Penders way), and that he’s also struggling with feelings for Rouge, a plot element that went completely out of the window after this game.

Tails and Amy, however, get it the worst, as both went through arcs in SA1 that are followed up on and expanded in SA2. Amy had come to the conclusion that she didn’t need to rely on Sonic for everything, and that she would make him respect her as a hero in her own right. And while Amy is clearly in way over her head throughout the events of SA2, she still makes a significant difference, not only freeing Sonic from his cell on Prison Island, allowing Tails’ invasion to be a distraction and stealing a keycard to facilitate it, but of course, she later saves the world by motivating Shadow to join the fight to stop the ARK drop.

Tails had a similar plot, about learning to believe in himself as a hero, without having to rely on Sonic, and in SA2 he gets to prove it, not only partaking in the same rescue operation as Amy and fighting Eggman on even footing, but effectively taking command of the heroes and becoming their new leader, and for the first time, Sonic defers to him.

And then Sonic X came along and fucked it all up.

Eggman became a clownish antagonist with no semblance of nuance, and he actually got off the easiest.

Knuckles became a loud, dimwitted loner who got tricked by Eggman constantly, which would go on to be his personality for the rest of the franchise, ultimately culminating in the travesty against all sense that was Boom Knuckles.

Tails was reduced to a wimpy taxi driver, incapable of doing anything without his giant mecha plane to sit in. This was largely exacerbated by the presence of Donut Steele, who usurped his role as Sonic’s best friend and sidekick for two seasons, a problem which only got worse in the third season when Donut Steele suddenly became a genius inventor too, encroaching even more into Tails’ territory. Tails did get himself some more focus in S3, but only to make googly eyes at the Pokemon, a role which frankly could’ve gone to literally anyone else and would have made no difference on the plot. I would say that Tails being involved in a romance story at all is weird, but given the comics and Boom the weirdest thing about this latest tragic love story for the kid is that the Pokemon was actually close to his own age, because outside of this it really does seem like Tails goes for older ladies. Though she did turn into an adult at the end so I guess that counts?

But Amy arguably got the worst of it. Not only was her crowning moment in SA2 taken away from her and given to Donut Steele, but the poor girl had her promising character arc cut short and replaced with an obsessive, unhealthy fixation on Sonic, combined with a violent temper and an eagerness to smash anything that displeased her, Sonic included, with a giant hammer. Her admiration and crush on Sonic were warped into her being a possessive, mean-spirited stalker, whom only got away with it because she was an anime girl and therefore it was cute rather than creepy.

I want to take the time at this point to stress that stalking is not okay, under any circumstances. A girl obsessively following an older guy and threatening him and everyone around him with violent assault if they ever so much as imply that he isn’t interested in her is not cute, it means it’s time for a restraining order. Sonamy is not cute.

Now that I’ve swatted that particular hornet’s nest with a cricket bat, let’s move on!

I’ve always found it ironic that, despite being the adaptation with the most oversight from SEGA and Sonic Team, and the most endorsement from them too, Sonic X had easily the worst characterisation of any of the shows at the time. But, for all its faults, I can’t blame everything that went down in the aftermath on it. It had a comrade-in-arms. Mediocrely-written arms.

Part 3: Partner in Crime, or “Sonic Heroes also ruins everything.”

Sonic Heroes has a lot to answer for. And I mean a lot. It was the beginning of the franchise’s obsession with references to the classic games, it codified the really awkward ages for certain characters, and it seemed to be dedicated to completely unpicking everything established in the Adventure duology.

Shadow’s sudden resurrection is one thing, at least they had the graces to include a means to preserve his sacrifice via having him be an android, the blame for that not taking should be laid at the feet of his own game.

But the rest of the cast? Ohhh boy. Sonic’s still fine, he didn’t change much in the Adventure games, but then there’s Tails. Despite all the development he went through in SA1, in this game he needs to turn to Sonic when Eggman returns, and honestly this whole setup could’ve been fixed if Tails sought Sonic out not for the sake of having him lead the charge, but rather simply to recruit him into the counterattack he was already planning. Nevertheless, throughout the rest of the game Tails is almost as wimpy as his X counterpart, not helped by the voicework he’s given. No offense to William Corkery, who was probably like six when he recorded his lines, but this what you get when you choose actors via nepotism, rather than talent. But at least he does something.

How about Knuckles? As the other side of his derailment, Knuckles just turns up in this game, buddy-buddy with the characters he was only just starting to warm up to before, and blatantly not caring about the Master Emerald until Rouge mentions she’s going to steal it at the end. This will combine with his becoming a dumbass in Sonic X and become basically his entire character for… ever. Even in Forces, where he’s supposed to be doing slightly better as the leader of the resistance… but he’s a dumbass, and even Ian Flynn, who kept Knuckles as competent and intelligent in the Archie comics (Making the best version of Knuckles we’ve had in forever), kept this ongoing in the IDW comic. The Forces prequel portrays him as deciding to become leader of the Resistance (To an empire that hasn’t actually formed yet) purely to be a glory hound, and then goes on to establish that he was basically a figurehead while the real work was done by Amy, of all people.

And speaking of Amy…

Yeah, poor Amy is basically her Sonic X counterpart. But worse. I didn’t think that was possible, but at least X’s Amy seems to care about her friends. In Heroes, we’re treated to an equally violent and stalkerish Amy, who ostensibly starts searching out Sonic because he’s implicated in the abduction of Cream and Big’s pets, but when they actually catch up to him, Amy clean forgets why she is looking for him in the first place and tries to force him to marry her. Despite being twelve.

Y’know when Amy said she wanted to marry Sonic in SA2, she was joking, right?

This is why I find the idea of Amy being the real leader of the Resistance frankly absurd: Because the only time she led anything, it was a team that consisted of herself, a small child, and a man less intelligent and aware of reality than said small child, and she completely forgot their actual objective the moment she set her eyes on Sonic. Add in an unfortunate stint of very poor eyesight that got less and less understandable with every instance, and we got Amy’s rough personality for the next decade.

While Knuckles mostly stagnated at the same level of stupidity during that time, Tails got worse and worse, losing all of his badass traits with every game, a factor only increased by the “Sonic only” mentality costing him playable status, until he reached his nadir in Forces, cowering in terror from Chaos 0, and crying out to Sonic to save him, despite knowing full-well that Sonic was captured already. Amy, meanwhile, limped along at the same level until about 2014, where it seemed someone at SEGA finally realised that A) Having the only female character you regularly use be a pink-coloured gender-bent version of your male hero whose only function is lusting after said hero doesn’t and shouldn’t fly in this day and age, and B) violent stalkers aren’t cute, and dropped this trait. Unfortunately, this has been more of a lateral move than a fix, as, much like Antoine in the comics, they forgot to give her anything substantial or fitting after she lost her negative traits, leaving her a bland and dull character, and when you’ve had a character be consistent for ten years, even if they were consistently bad, then changing it without cause or warning is still going to be jarring and awkward.

Part 4: Two Wrongs Don’t Make a Right, or “Why the fuck did this happen?”

As I said in Part 2, Sonic X was made under heavy oversight from Sonic Team, and was heavily endorsed by them at the same time. There were promos for the show inserted into Sonic Adventure DX, a few episodes were released on GBA cartridges, and it received a long-running comic from Archie that ran alongside the main book, even after the show had ended. Additionally, characters that debuted in games from 2002-2004 were restricted from appearing in Archie’s main book for years afterwards (Which will become relevant later). The third season was commissioned solely off of the response to the first two, and primarily overseas response, hence why the original sub was never aired in Japan.

Sonic X was huge. And with that in mind, it’s plain to see that the portrayals of the characters in Sonic X were intended by SEGA. Yeah, all that horrible characterisation was intended as the vision for the franchise going forwards, and subsequent games were adjusted to match it.

And unfortunately, not only did this have a serious impact on the main cast of the games, but it had an even worse effect on Emerl.

Part 5: Emerl in Sonic X, or “Emerl vs. ‘Emel’”

Sonic X’s original mission statement was to adapt Sonic Adventure, Sonic Adventure 2, and Sonic Battle. Why they skipped Sonic Heroes, despite Shadow being a major player in Battle’s story, I don’t know.

For whatever reason, the show took a full season to actually get to the first game adaptation, SA1, and instead spent the first 26 episodes on bland episodic “adventures”, in some kind of strange reverse-Isekai series. However, once it got there, the adaptation work was fairly faithful to the source material, which the exception of Donut Steele’s being crammed in to the plot. However, he mostly followed Big around, and since Big was the least involved in the game’s plot, he didn’t disrupt too much.

Sidenote, after 26 episodes of filler, the actual SA1 adaptation only lasted six episodes.

SA2 was likewise only six episodes, but with the exception of Amy’s big scene, it likewise wasn’t too bad. Tails suffered this time around too, which is somewhat surprising since he was mech-dependent in the anime anyway.

After some more filler, which introduced the Chaotix and then did nothing with them, Emerl finally made an appearance, albeit they got his name wrong.

‘Emel’ looks like Emerl, and somewhat works like Emerl, but might as well be completely different. ‘Emel’ stays completely mute for the entire time he’s around, never advancing much beyond Emerl’s initial silent, pre-first Emerald persona. He does get better at fighting, but he’s limited to only absorbing a single skill at once (Except for when he isn’t).

Dispensing with Battle’s interesting, rich, and heart-twisting plot, Sonic X instead has ‘Emel’ linger in ensemble for three episodes, before condensing the entire game’s premise into a two episodes of really bland tournament arc, where Sonic himself doesn’t actually fight and we get two rounds of Donut Steele being a dick to his friend and his father.

‘Emel’ wins the tournament, and is given a Chaos Emerald, and just when you think it might kickstart him becoming an actual character, instead it just drives him insane and he immediately becomes a pathetically weak version of Ultimate Emerl. After kicking the crap out of the entire cast, he is defeated by Cream and Cheese, because even though he can take on Sonic, Knuckles, and Rouge at the same time and win, along with Tails, Amy, Donut Steele and everyone else, he… can’t handle two opponents at once.

This is stupid.

You’ll notice that I haven’t talked about Sonic’s relationship with ‘Emel’, and that’s because he doesn’t have one. The wonderfully-written parental bond that these two characters share in the games is completely excised, and instead the focus is put on Cream. Bare in mind, Cream is so inconsequential to the actual game that she doesn’t even get mentioned individually in Emerl’s dying speech like Sonic, Tails, Knuckles, and Shadow do. Instead she’s just grouped in with Amy.

This is also stupid.

And as a result of this, it means that what is arguable base form Sonic’s most impressive feat just doesn’t happen in the anime, instead Emerl dies because he is lightly kicked a bit by Cream. Yeah, unlike the Advance games, Sonic X’s Cream is not an unstoppable engine of destruction, she’s basically just a small child who can sometimes fly.

Instead of Emerl’s tragic speech and Sonic’s desperate attempts to keep his son alive, we get treated to a prolonged scene of Cream crying over the death of her “friend”, something that is probably meant to tug at heartstrings but doesn’t because Cream’s voice sounds like nails on a chalkboard.

And Shadow isn’t even there! He doesn’t come back until a third of the way through Season 3, and never meets ‘Emel.’

This is really stupid. And, for those keeping track, that means of Sonic X’s originally commissioned 52 episodes, and the full series run of 78 episodes, a stunning total of seventeen of them were actually adaptations of the games that the series was supposed to focus on, leaving us with 61 episodes of what might as well be filler.

And, unfortunately, that franchise-wide initiative had damning consequences for Emerl.

Part 6: Gemerl and Sonic Advance 3, or: “An incomplete resurrection.”

So, Gemerl. I know his name is apparently G-Merl now but fuck that I’m calling him Gemerl. If the comics can do it then so will I.

Gemerl is the worst thing Eggman has ever done to Sonic. Like, there is no contest. Some of his other schemes might be more destructive and generally evil, but in terms of personal pain inflicted, nothing has topped this.

Eggman salvaged Emerl’s corpse, and brought him back to life as a mindless murderbot under his control. So not only did he kill Sonic’s robo-son, but he also brought him back as a weapon.

Come the conclusion of the game, Gemerl predictably betrays Eggman, steals the Chaos Emeralds from Sonic, and goes on another rampage. I have… headcanons about this fight, but that’s something to worry about later. What’s important is that, once again, Sonic is victorious, and Gemerl’s defeated body plunges into the atmosphere.

Fortunately, Tails is able to bring Emerl back properly this time, presumably using the Chaos shard that was left over at the end of Battle’s finale. So, it’s all a happy ending, right? Sonic has his child back, Shadow has his connection to his history restored, and Emerl is alive and well, right?

Wrong.

See, the vile spectre of Sonic X rears its ugly head once more, and sabotages this conclusion. Gemerl doesn’t return to Sonic, in fact we never see him reunite with his father. Instead, Sonic X’s version has enough clout now to take precedence, so Gemerl is now Cream’s playmate.

Bear in mind that Emerl’s idea of a fun game is all-out combat against his friends, and Cream doesn’t like fighting (Even if she’s really good at it in Advance 2 and 3).

And then he never shows up again. Even when Cream is part of the game’s plot, like in Rush or Generations, he’s not there, and most egregiously, in Sonic Chronicles, where Cream is not only an active player in the plot, but so are Gizoids, the creators of said Gizoids are the main antagonists, and Emerl himself is mentioned… Gemerl is not there.

But he did make it into the comics, for better or worse. Mostly worse.

Part 7: Embargos, knock-offs, and misused tropes, or: “Ian Flynn dun goofed.”

For a long while, Emerl/Gemerl was barred from the Archie comics, due to the Sonic X embargo, and when it was lifted, he didn’t appear until the reboot. We did, however, get a suspiciously similar substitute in the form of Shard.

Shard was the original Metal Sonic, but when he was brought back and rebuilt for the Secret Freedom arc, he was given a colour scheme ostensibly derived from Metal Sonic 3.0, but one shared with Gemerl, and a personality that was a lot like a watered-down version of Emerl’s own.

On some level I can understand Ian’s decision to bring back Metal Sonic v2.5, rather than use the character that seems to have been an inspiration for this new incarnation in some way. He’d need a fully-formed Emerl, necessitating a skip over the whole story, since there wasn’t room for an adaptation during the Mecha Sally arc that the Secret Freedom story was framed within. Heck, for all we know, the similarities between them may simply be a pretty sizeable coincidence.

But then the reboot happened and Gemerl finally joined the comic cast. And to say it was underwhelming would be an understatement.

You’ll notice that I said “Gemerl” rather than “Emerl”, because his entire story was indeed skipped. The events of Sonic Battle and Sonic Advance 3 had both happened already. This wasn’t Ian’s decision, as far as we know, his intention was for the comic to start over from the beginning. However, due to the interference of Paul Kaminski, who wanted a softer reboot, Ian was forced to fill the characters’ active histories with a large chunk of the games’ stories. Battle and Advance 3 were among those that had already happened, so Emerl made cameos in both incarnations via flashback… which unfortunately led to a plot hole.

See, Advance 3 and Sonic Unleashed are rather difficult to keep in the same continuity, because both share a common plot element: The world breaking into seven pieces.

For a long while, it was generally assumed that the handheld games and console titles were only semi-canon to each other. This avoided the awkward question of “If the Gaias were already there, why didn’t they emerge when Eggman broke the planet in Advance 3?”

Ian shoved them blatantly into the same continuity, and gave no attempt to explain what was different about the Advance 3 world-break compared to the Gaia incident, which served as the backbone to the reboot’s three year long Shattered World Arc. Why didn't the Gaias wake up during Advance 3? Because that's now a question we have to ask of the comics' world.

When Gemerl finally showed up doing something other than yard work for Vanilla (Despite allegedly being Cream’s friend, Cream spends all her time with the rest of the cast, and Gemerl is basically Vanilla’s maid), it was to get effortlessly dispatched by a brainwashed Mega Man with a terrible name in the extremely lacklustre Worlds Unite event.

This one was more than a little bit of a slap in the face, considering that Emerl and Mega Man are very similar in concept- robots that can copy the abilities of other characters- but Emerl is demonstrably more powerful. Now, if Ian had established that Gemerl had been nerfed when he was rebuilt, either by Eggman or by Tails, that would be fine. But he didn’t. In fact, Gemerl is given the title bubble “Super Gizoid”, implying that he’s stronger than a regular Gizoid.

Worlds Unite is generally pretty bad for having its corrupted heroes easily curbstomp every other character around, to the point that the only thing that can stop them is each other, but in Gemerl’s case it really serves no purpose.

This is the only thing that he actually does in Worlds Unite. He shows up to get beaten up and make Mega Man look stronger. That’s it.

This is something that TV Tropes refers to as “The Worf Effect”, a trope wherein an established powerful character is defeated easily by a new character, in order to demonstrate the latter’s power. Now, there’s nothing wrong with using this trope, but please note that I said establishedpowerful character, which Gemerl wasn’t.

At the point that this comic released, Gemerl’s last appearance in any Sonic media was over ten years prior. None of the comic’s intended target audience would remember him, and they wouldn’t know why defeating him was impressive. And this was, in addition, a terrible way to introduce him to new fans. Though the worst part is easily that this was unnecessary. Mega Man had already defeated everyone else, and had established his power pretty well just on them, and he was about to get removed from play permanently in the next issue. There was really no reason to throw Gemerl under the bus for this.

He made one more appearance in the event, getting controlled by the Zeti along with every other robot, and after that he got bopped on the head and just flew away.

Later, he’d make another appearance in the Panic in the Sky arc, and while his portrayal was far from the worst thing about Panic in the Sky, it only adds to the issues caused by the previous showing.

Gemerl makes one appearance, and promptly gets pinned down by the Witchcarters and Team Hooligan. Bear in that one of those groups are the joke villains who nobody takes seriously, and the other are a gang that was defeated by Tails before he met Sonic.

Archie Gemerl was a character who only existed to lose to villains in a vain attempt to make them look better, and that’s legitimately all Ian ever did with him, which makes me wonder whether he disliked the character. And it didn’t even make the villains look good, when you think about it. For anybody that was actually the intended audience for this book, Gemerl had no significance. He was just a robot that got beat up all the time. But for anyone like me, who does remember the games he appeared in, it stands out, not as good writing, but as a blatant narrative device and misused trope.

In this situation, I would simply rather Gemerl never appeared in Archie. At all. If Ian wasn’t going to give him time to shine, or at the very least be an adequate member of the supporting cast, he shouldn’t have used him at all.

Part 8: A Fresh False Start, or: “Wait, how did this get worse?!”

And now we arrive at IDW.

The one nice thing I can say about Archie Gemerl is that at least his personality was mostly on point. He read like a generally accurate take on the character that Emerl was at the end of Battle, which is what he’s supposed to be.

The same cannot be said for IDW.

In the pages of IDW, Gemerl acts like the most generic robot. He speaks in emotionless, stilted sentences with little in the way of actual grammar, leaving him to read like a poor man’s Soundwave, or Soundwave in one of those comics where the writer can’t decide whether they want him to speak normally or adopt his speech pattern from the G1 cartoon, so they just sort of do both.

Emerl pretty much never talked like this, as far as I can recall. His speech development is much more reminiscent of a child learning words, and the only time when he did adopt a more robotic speech pattern, it was a clue that he was slipping back into his destructive programming. He only spoke like a generic robot when he was in mindless destroyer mode.

He gets thrown for a loop by a simple logic flaw, unable to reconcile “Protect Cream and Vanilla” with “Don’t kill the zombots”, and has to be talked out of killing everything around him, when the entire point of Gerald’s modifications to the Gizoid was to make him a bringer of hope rather than destruction, and give him a compassionate heart.

The part of Battle’s story where Cream imparts a pacifistic mindset doesn’t frame her as being right. In that part of the game, they are cornered and under attack by hostile but ultimately mindless drones, and when she convinces Emerl to stop fighting, he almost dies. It’s Cream that learns the lesson there, that sometimes fighting is okay.

This character is already compassionate, he shouldn’t need to be talked into not killing the zombots by a small child, nor should he need her to point out that they’re innocent people who have been made this way by Eggman, because he was made into a killing machine by Eggman twice, and the first time he did die because of it. The character that lay dying in Sonic’s arms, scared and bidding his last goodbyes to his loved ones shouldn’t be the one experiencing this struggle when Omega is also in this arc.

That’s it, really. He’s not Gemerl. He’s a second, less goofy Omega. And it boggles my mind that, despite getting Gemerl’s character, if not his combat abilities, down almost perfectly in Archie, Ian is now subjecting us to this travesty.

Like with the Archie example above, therein lies the crux of why the steady decline of Emerl/Gemerl that began with Sonic X is pushing me away from IDW: I don’t want to read Ian’s take on this character, because, to me, No Gemerl is better than Badly-Written Gemerl,

This isn’t the first time I’ve said this, either. Way back in 2016, when I complained about Ian’s portrayal of Gemerl in Panic in the Sky, I said that the way he handled characters that I liked tended to make them the least likeable parts of the stories he wrote. As well as stating my dislike for his handling of Gemerl, I also stated that I used to really like Fiona Fox, moreso in concept than in execution, but under Ian’s pen she was largely an insufferable antagonist, little more than a trophy to make his pet recolour look better, and almost every story she was in only added to the “List of reasons she needs to stop lying to herself and just start the redemption arc already”. Additionally, I said that I didn’t want to see him bring back Neo Metal Sonic or Mephiles in any context, and we got the former, and it was exactly as bad as I thought it would be.

So, that’s basically why I don’t want to read IDW. That’s why, even if the aspect that was a big sticking point for me back when the comic launched was to be undone soon, I still probably wouldn’t pick it up. Because I don’t want to see my favourite Sonic character continue to be written badly by a guy that should know better, and has done better in the past.

If he were simply screwing up Gemerl’s personality the first time he wrote him, I would file it away under the same category as “Emel”, but the fact that he’s done better before, in a book where he had greater restrictions on what he could do with the characters, really settles this as an interest-killer for me.

Well done, Mr. Flynn. I legitimately didn’t think you could make me actually miss SEGA’s tighter control, but you somehow managed it. I would be impressed if it weren’t so sad.

#Sonic #Sonic the Hedgehog #Sonic X #IDW Sonic #Archie Sonic #Emerl #Gemerl #Emerl the Gizoid #Gemerl the Gizoid #Critical #Sonic Heroes

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opallene · 5 years

Text

You’ve Got a Friend in Me

So... This might be little known about me, but I was deeply into the Toy Story fandom (such as it is/was) back when Toy Story 3 came out in 2010. Yes, I saw the original films as a child in theaters, and yes, Toy Story 3 shattered and wildly surpassed any expectations I might have had going in. It was immediately, and I believe still is, my favorite film. Period. My love for Toy Story 3 is many layers deep. I’ve produced fanfiction (the latter of which has suddenly aged poorly in some respects with the introduction of TS4!) and a carefully curated fanmix that I am still very proud of and still enjoy myself in regular rotation.

So now I’ve seen Toy Story 4. It was certainly a good movie, and also certainly an entertaining entry in the Toy Story saga. Did it live up to its predecessor? No, it didn’t, but I didn’t necessarily expect it to, because that would be a very difficult feat to accomplish at this point. But it had some very strong narrative points, which I’ll attempt to dissect and discuss.

Spoilers for Toy Story 4 ahead.

The thing is - Even though each entry in the series was probably written to be “final” at the time, TS3 brought a level of narrative closure and completeness that the previous films hadn’t. 3 made a perfect trilogy. The end of TS3 led everyone to a metaphorical life-after-life. Their struggles (literally to hell and back) complete, they could finally relax and be their truest selves, “into the wild blue yonder.”

Maybe I was forgetting that every film was actually very much about Woody, and that there were still lessons he could learn (and thereby teach the audience). By the end of TS3, Woody had finally overcome his laserlike loyalty to a particular person -- But, we now realize, not his loyalty to his “career,” and to his very rigid ideas about how to perform that function.

(1) Single-child “Ownership”. This idea has been out there throughout the series -- Either you’re an “owned” toy belonging to a particular person, or you’re “lost” (with a generally negative connotation, up until now). This distinction has been drawn in especially black-and-white terms by Woody himself, while the other toys have been open to a gray area in the middle (e.g. Sunnyside Daycare, TS3). In TS4, Woody is challenged to consider the extreme other end from his position - and lo and behold, he experiences firsthand the merits of it (namely, charitable work to enable other toys to live out their purpose) and decides it’s a shift in thinking that he can live with. By the end of the film - radical character growth accomplished.

(2) Leadership means always being in charge. This was made plain in the beginning of the film. It’s difficult for Woody to fit in when there’s already an established leader, and he just can’t take orders. He continues to act erratically (listening to his “inner voice” and acting on what he thinks is best) throughout the movie. When he’s really out of his element (and his solitary efforts fail), Bo Peep is the only one who succeeds in “leading” him. Woody finally learns to take a back seat when there’s an expert around.

Did Woody make the right decision at the end of the film? For purely personal (sob sob sob) reasons, I want to say “WHAT, how could they?!” For narrative reasons, I’ll resoundingly say Yes. For all the talk Woody has done about the cycle of childhood, “Watching them grow up and then go on to do other things that you never get to see,” and so on, Woody himself has been stuck in a childlike mode perpetually. Now, he has finally gotten to mature.

Exhibit A: He experiences a genuine (romantic) peer-to-peer connection and eventually throws himself into investing in it. I’ve always seen the toy-child relationship as a deified one; a duty that must be done; the only way to Know your Creator, religious overtones and all that. Personally, as a nonreligious person, I am rejoicing inside more than I thought possible to see Woody finally free himself from that dogmatism and to put some focus on an equal, of-his-own-world partnership. He’s broadened his horizons in terms of the types of love that are out there to be had.

Exhibit B: He learns a new type of altruism that is completely non-self-serving (unless you count the positive emotion of gratification as self-serving, but that’s a whole other argument to be had). Let’s face it: Pretty much everything Woody has ever done up until now has been fairly transparently self-serving, even when it’s under the guise of altruism. He is even called out for it point-blank by Bo in this movie. (Yess!) I’m actually very impressed with how the whole “voice box transfer” went down. Gabby started out as your conventional villain, but all it took was an appeal to logic to obtain Woody’s willing participation. Woody was at a vulnerable place emotionally, but I do not believe he was ultimately taken advantage of. Gabby’s logic was accurate and convincing. Organ donation is by definition one of the most selfless things a person can do. After donating his non-essential voicebox, Woody goes on to witness new life breathed into another (and, that person doing what she was meant to do) as a direct result of his gift. In the end, Woody stays on with Bo Peep and the others to perform more “matchmaking” acts of getting toys together with children. The thing that Woody can no longer do himself, he can go on to pay forward through others and make a greater impact in that way. Ultimately, this is how I now see and accept that Toy Story 3 didn’t have to be the end, much as it seemed it should be at the time.

And plus, I like crying at movies. If I’m crying, it means they did something right.

There was one thing that kinda bothered me. As "good with toys” as Bonnie was supposed to be, she really cast Woody aside. Even when Woody and Forky both went missing together, there was nary a mention of Woody’s absence. Brutal. I understand why they had to do this -- to drive Woody’s emotional crisis, to further establish that he really wasn’t needed in his current post and to free him to choose his own path at the end. Also, kids will be kids, and it’s realistic for a child to act that way. Still. Brutal. ;(

I was also disappointed not to see much of Buzz and Jessie’s romantic relationship in this movie (I fell for them, HARD, in TS3), but - This was Woody’s movie. Woody’s and Bo Peep’s - It was their turn. And you can be darn sure, I Felt the Feels. Shout-out to the lighting and color storyboardist(s) for the entire ending sequence of the film. It was perfect. :’)

The pace, at times, was also frenetic. Being a toy has always been portrayed as a stressful existence, but in TS4 it felt like every-time-you-blink-augh-there-he-goes-again-I’m-stressed-out-by-all-the-constant-separation!!

In all, TS4 wasn’t as sweeping of a narrative as TS3, and the themes were nowhere near as universal. It’s hard to beat themes of aging, becoming a burden, feeling your obsolescence, confronting your inevitable mortality (TS3) - And although TS4 obviously touched on the big theme “Why am I here?”, it seemed a little directionless in its execution of that. Are we supposed to relate to Forky’s exhibiting constant suicidal tendencies until he’s taught there is a good reason for him not to be that way? (?) Most living creatures, including humans, have an innate self-preservation instinct, and the will not to live arises under extenuating circumstances, so that didn’t particularly ring true to me.

Where TS4 really shone was in its treatment of Woody’s character specifically. I was pleasantly surprised to see his character elevated another level. There are lessons we can all learn here. It was no TS3, but it was still quite solid and I’m sure it will be getting many of my repeated viewings!

Thanks for reading...Hit me up if you’d like to chat about Toy Story!

#toy story #toy story meta #toy story 4 #woody toy story #meta #ts4 #toy story 4 spoilers

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