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6blackfilin9 · 3 years

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I love your Anko fanart! Tell me, what are your views/headcannons on Anko X Kazuku?

hThank you so much for the ask, finally I can answer it

here is my big thank you for the waitng

In a nutshell, the shipp was created by accident while me and my buddy were working on our first Naruto AU in 2019, where Kakuzu and Deidara survived their shitty plotholes end eventually ended up in Konoha

Yeah

so, the shipp’s birth date is july the 1, 2019

anything like classy, aristocracy kind of tension-filled passionate gothic romance with playful, psychological games & hurt/comfort vibes with slight scent of rivalry is KakuAnko

Basically, they are: a very, very old man with absolutely horrendous background who’s trying to finally have his mother*cking 10 or 30 years of peace, and a rather young lady with a rocky youth who’s being good & noble yet has very strong antihero tendencies

You know, I think they do have potential, since, in fact, they seem to be very similar, at the core

They are both very pragmatic realists, the people of logic and reason, yet if Kakuzu’s irritability doesn’t affect him a tiny bit due to his ideal self-control, Anko’s can lead her to quite bad places, sometimes. They put their interests in the first place, and even though she tries to attach them to Konoha’s, she still has ‘personal’ things (I’ll write ‘bout it lower*). Their mindsets are so complicatedly organized that, at some point & way, it prevents them from having many close people, and makes them very hard to see through and predict

Both of them are very flexible & adaptive, independent individuals with similar outlooks on plenty of things and high intellectual level. They clearly can find plenty of traits that they would highly respect and adore in each other

Here I will speak mostly for “why and how” kind of things, bc both of them are terribly tricky to accurately figure out. But there will be some headcanons too

So, there are still some odds about them, due to the strong difference in their occupation, like, in plenty of cases they are really tricky to be brought together, because:

- Of the job

In original, Anko is a Konoha’s special jounin, and she is very dedicated to serving the country. Independently of whether she likes her job or not (depends on the plot), she orienteers at the people, at society’s gain from her work. So, accordingly, in any other AU her job is somehow connected to civil service, whether it’s something police-like, connected to science, or something like CCG in Tokyo Ghoul

Kakuzu, on the other hand, is a hitman and a persona non grata in literally all the five big countries, Konoha too (which makes it barely possible to bring them together in the original universe without hard complications or heavy drama. But still possible). He orienteers on his own gain alone, but, depending on the job, it can include others’ gain, too.

This detail makes him a saint once he holds supervising position in some company or any high position in the government (the better the working conditions of the staff now- the more money in the prospective), and the sheer nightmare once he has it on the opposite side of the law. Him as a mob boss is a complete different topic for discussion, but to get the point, in this case, the trouble isn’t him increasing the level of criminality (its rather vice-versa), but taking hold of too much control in the high and underground structures. Even as an ordinary hitman he’s rather tricky, since everything depends on the case

In most of the stories, they come to some sort of compromise, and how hard it is to reach it depends on how shitty his job is and how attached they are to each other at the moment

Like, in the above mentioned Shippuden AU and Harry Potter AU (which I also wrote with my buddy) everything went like clockwork, because there they are both more or less on this side of the law, in Tokyo Ghoul AU (which I also wrote with my buddy) it is a bit more complicated, with her being in-law and him being very much outlaw, in the Avatar AU (which I also figured out with my buddy, but we never happened to write it) it is also pretty smooth, with both of them being outlaws and then jumping out to the glory after all the shit is done, but in another Shippuden AU of mine, this all would be just a motherfucking bloody disaster

- Kakuzu is actually a hard nut to get attached to anyone

He lived too long to be truly afraid of anything, though. Its mostly because he doesn’t really need to get attached to or become close with someone to satisfy his need for communication. The man can get along with anyone once he wishes to, he can have countless acquaintances and plenty of buddies, but he doesn’t have many comrades and barely can call anyone a friend. Because he is used to lose everything and everyone he ever had or happened to have, because of his inhumanly lengthened lifespan.

It requires time for him to get used to the person, and then, eventually, in some cases, spend plenty of it to get attached

Plus, for him, due to his profession, each close connection is a really great responsibility for him. In most cases, he’d think twice of weather he is ready to take it or not

Though it of course has the personal factor, too

In Anko’s case, she has a grand privilege by being a very intelligent and keen woman, not just in cognitive plane, but in emotional, too. High emotional intellect is actually a rare trait, so she automatically stands out of the crowd for him. Even though it won’t guarantee his alliance, it will grant her his high respect and some sort of sympathy

- Kakuzu is, technically, an asshole

He does have his moral compass, which includes a great amount of common social morality, but he also has that “I am working” state

Even though Kakusu has a set of professional principles, and he still acts accordingly to what he thinks is right, one and the very same situation can be solved diametrically different once the context changes from working to casual and vice versa

This, and him being very independent and quite antisocial, makes the degree of assholeness depend on various factors

This can lead to major conflicts of interests, and if they are possible to have any compromise or not is strongly attached to the circumstances. After all, both are very, very prideful and dignified people

- In other words, the only major issue for them would be morality questions. It’s possible to make the case acceptable for Anko, since both of them ain’t truly squeaky clean, along with Kakuzu being willing enough to watch his borders

- She is provident and doesn’t really need a lot of money on a daily basis, which is much of a joy to him lol

- *they both seek for the stable ground, first of all

Taking in consideration the life conditions Kakuzu had in his youth (despite war state, he still stably had family, friends, grand respect from everyone, home, warmth and food) and how terribly he was torn out of his secured social environment, I believe what he seeks through all his bounty hunt and other money-connected manipulations is stability. Sustainability he had back then. The only way to have it in the conditions of our existent world order is to have money (and a very good mind and luck)

Anko has indeed much more altruistic motives, yet it’s still not that simple. It seems to be, on the first sight, yet considering the “Orochimaru related cases” and her very wayward behavior toward them, it’s clear she keeps her own motives and needs in mind oh so well. The service she has is very well payed, it allows her to do what she likes or believes is right, and to have the living conditions she finds comfortable. And only here, relying on the made sustainable basis, she does what she does

- Thus, they both illustrate the principle “first help yourself, next help the other” just right

- She knows she can keep an eye on him, yet it’s clear for her that her influence isn’t borderless, as well as telling him off some stuff is kind of a not wise thing to do. So in the majority of cases, she never interferes

- This is not common, yet he can actually change some plans if the situation is serious and the compromise can’t be found. He is that kind of person who works on a further prospective, and in this context, this would be the relationship with his loved one

- While Kakuzu is quite conflicted and has very reserved controversial persona, Anko is both controversial, conflicted, and sort of two-faced, on top of that

She is a very sincere, cheerful and humbly honest human being, yet she has some darker natural traits of her character that became rather strong with age and traumatic experience. Cunningness, guile, ways-depend-on-the-case and a bit of ruthlessness, that is. Moreover, she has some unsolved personal issues, which makes her even more twisted.

Like, remember the time when she confronted Orochimaru during the exam? And Kabuto, on the war? Getting rid of them is indeed beneficial for Konoha, but it’s clear that for her it is personal vendetta in the first place. She wouldn’t have tried to do this alone, otherwise, because these two are rather dangerous ones, to say the least.

She uses greater good to cover her real motives (even though it is not truly complete bullshit), and seems to have a terrible habit to keep silence about really important things, which makes her quite prone to lying, in some cases

And sometimes it very badly pisses Kakuzu off, since it makes her prone to doing useless but dangerous shit too

Yet this not any kind of separate hidden side, it is integrated into her personality, and coexists with her bright one. That’s where her violent humour comes from, for example.

But Kakuzu, on the other side, is completely monolith individual, yet sometimes his mindset can create contradictions when it comes to something important to him. but it's another topic

And seeing these layered constructions, and motives, they can pretty finely predict each other’s behavior. Not super-neatly, but they for sure see the basis. This is what helps Kakuzu to prevent Anko from doing some stupid shit, sometimes

- Anko has a role of an indicator for the people who don’t understand and see the changes in Kakuzu’s mood sometimes, since she usually reacts quite openly. Yet, when she has the same unreadable mask of cold, or one of guile, it’s a nightmare for them

- They prefer the non-verbal way to show their feelings, even though Anko is obviously the more chatty one

- They don’t say things such as “I love you”, or other sensual stuff like that really often, believing it to be some sort of cherished words that shall not be spelled mindlessly

- Anko isn’t majorly into PDA, but she fancies it much more than Kakuzu does. She has her whole moments of studying something with her hands, whether it’s a hand, scar or face. He’s more into passive display of affection, like wrapping an arm over her waist or leaning to her or something of this kind; they can allow themselves to (not sexually) kiss in public though

- She knows he doesn’t like to walk hand in hand due to considering it a youthful thing, so there are times when she intentionally walks holding on to his sleeve; generally they walk separately in order not to bother each other, but sometimes they walk arm in arm (like an old Victorian couple lol)

- Being older and wiser, Kakuzu eventually upholds some kind of mentoring position, yet he never considers himself any kind of a teacher or master to Anko, believing her to have a good head of her own. He is just insightful enough to break something through to her or give a word of advise

- This, combined with his highly powerful demeanor, also makes him have the leading position in their relationship

- Anko respects him much enough to fortify this, entrusting with plenty of life questions (like organizing the family budget), even though they make the majority of decisions together. Mostly because he is truly wise and highly experienced individual.

- This makes him one of the very few people Anko would actually listen to and take their opinion in consideration

- So basically they have equal relationship with some tendency to patriarchal order

- And it is, really, mostly economically-based disbalance, with him earning much more than she does

- Yet they never have any financial-based issues, since both of them keep in mind and respect the contributions of each

- There is major power play here, too. He has the absolute might, she has seduction. Anko loves how he makes her want to submit to him, let him have all the power, so she likes provoking him. And she knows he adores it, loves the subtle control she has over him

- They don’t have conflicts in their everyday life. Each knows how to avoid pissing one another off

- He cherishes her playful demeanor, her intellect. Combined with her cunningness, it allows her to rival him, in social sphere. The way she constructs her phrases, the way she speaks, mimics, moves, how bewitchingly it suits her feminine snaky features makes his blood boil and heart melt

- Both of them, actually, have rather specific kind of dry, dark humour. Kakuzu’s is very cynical, satirical, quite often menacing and subtly demeaning; Anko’s is very sarcastic and quite dirty, even gruesome and rather violent

- Sometimes they “fight” verbally as a form of a play. In some circumstances they may sound pretty vile, so some unobservant people mistake this for display of hate

- In general, Anko is the one to heat things up with her playful demeanor, which can include provocation and rivalry, and Kakuzu is the one to keep this energy in borders, accumulating it up to much more intense states

- They both put the comfort in the first place when it comes to household. Everything must be cozy, useful, silent and super clean

- Yet they are both very unpretentious and modest, really

- She absolutely adores when he is showing his serious, severe side, or powerful demeanor. She finds it incredibly suitable for him. She also likes how his real age is sliding out in this or that way. Like, even though he has rather young face (that of 37-40 y.o.), his eyes give away that he’ve seen oh so much more than it seems; the grumpy noises and grunts he makes, the lazy attitude in movements and the way how rapidly he finds a comfy pose once he has a chance to take a seat

- They are both rather patriotic, yet while in the most stories Anko’s feelings mostly lay towards the country she lives in, Kakuzu’s more often lay towards some places, so called small motherland.

- Kakuzu actually could be a source of deep, strong admiration and delight for her, despite all of his bullshit. The unbreakable will he has, mighty burning heart, all the wisdom, talents and mind. Being sent to fight god damn Hashirama, clearly a genius of his times, financial & management genius at the least. And, still, after all the hard times he’ve been through, he maintained the very strong sense of dignity and nobility, even though slightly twisted due to the profession and abnormal lifespan

- And the very same things can serve as the source for her chagrin: with all those traits, he could have been so much more rather than a criminal. With all the gifts he’ve got, he could have been of great use to society. He’s much easier about this, since his prospective is much wider and embraces decades (and in some universes even centuries) instead of months & years, and he knows that he’d be switching sides throughout his life, being on this and that side of the law, yet he still is a bit uncomfortable once it’s brought up

- They are deeply into science, which makes them atheists. He’s into medicine and human biology, she’s into chemistry and reptilian biology; both of them are nuts for physics, history and psychology

- They solve complicated physical and mathematical problems together time to time. She is the first one to have tea-breaks due to losing her temper over it, he tries to figure things out right until you can sense the smoke coming off his head

- Actually, they do have a stumbling stone aside from job & morality complications. And this is Anko’s attitude towards Orochimaru

What she does is basically ruins her life very-very slowly, maintaining the issues she has and planning to make him pay for all he’s done

Kakuzu knows exactly what is really going on with this attitude and why, but he can’t really do anything about it. Like, he knows he can’t make her change her mind or put something into her head

All he can do is really nothing but try to explain how those things are working, and even this option is basically a landmine field for him. At some level she does understand that he could probably be right, yet she just refuses to go back on her mind. And this is actually really dangerous, so at some moments they can fight quite badly about it

- He’s scared shitless to lose her, though; especially like that, even though he knows clearly that he will, anyway, sooner or later

- he knows that losing loved ones ends up with sheer disaster for him, yet he isn’t afraid to pay such a high price for those six, five or four decades of being with her. Because these decades are that of a paradise ones for him. Wife and family, as well as stable job, incomes and life conditions, are some sort of physical definitions of sustainability he craves. Especially family, yet it’s far ahead to plan

- The fact that he will have to bury her one day makes her rather depressed, as well as the knowledge that the only thing she can really do about it is to try to bring him as much happiness and comfort as possible before she dies

thank you, i'd say more, but it's too much already

#my art #naruto #naruto shipuden #akatsuki #naruto akatsuki #akatsuki kakuzu #kakuzu #naruto anko #mitarashi anko #kakuanko #they are very entertaining disaster

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aion-rsa · 3 years

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Doctor Who: Perfect 10? How Fandom Forgets the Dark Side of David Tennant’s Doctor

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As recently as September 2020 David Tennant topped a Radio Times poll of favourite Doctors. He beat Tom Baker in a 2006 Doctor Who Magazine poll, and was voted the best TV character of the 21st Century by the readers of Digital Spy. He was the Doctor during one of Doctor Who‘s critical and commercial peaks, bringing in consistently high ratings and a Christmas day audience of 13.31 million for ‘Voyage of the Damned’, and 12.27 million for his final episode, ‘The End of Time – Part Two’. He is the only other Doctor who challenges Tom Baker in terms of associated iconography, even being part of the Christmas idents on BBC One as his final episodes were broadcast. Put simply, the Tenth Doctor is ‘My Doctor’ for a huge swathe of people and David Tennant in a brown coat will be the image they think of when Doctor Who is mentioned.

In articles to accompany these fan polls, Tennant’s Doctor is described as ‘amiable’ in contrast to his predecessor Christopher Eccleston’s dark take on the character. Ten is ‘down-to-earth’, ‘romantic’, ‘sweeter’, ‘more light-hearted’ and the Doctor you’d most want to invite you on board the TARDIS. That’s interesting in some respects, because the Tenth Doctor is very much a Jekyll and Hyde character. He’s handsome, he’s charismatic, and travelling with him can be addictively fun, but he is also casually cruel, harshly dismissive, and lacking in self-awareness. His ego wants feeding, and once fed, can have destructive results.

That tension in the character isn’t due to bad writing or acting. Quite the contrary. Most Doctors have an element of unpleasantness to their behaviour. Ever since the First Doctor kidnapped Ian and Barbara, the character has been moving away from the entitled snob we met him as, but can never escape it completely.

Six and Twelve were both written to be especially abrasive, then soften as time went on (with Colin Baker having to do this through Big Finish audio plays rather than on telly). A significant difference between Twelve and Ten, though, is that Twelve questions himself more. Ten, to the very end, seems to believe his own hype.

The Tenth Doctor’s duality is apparent from his first full appearance in 2005’s ‘The Christmas Invasion’. Having quoted The Lion King and fearlessly ambled through the Sycorax ship in a dressing gown, he seems the picture of bonhomie, that lighter and amiable character shining through. Then he kills their leader. True, it was in self-defence, but it was lethal force that may not have been necessary. Then he immediately topples the British Prime Minister for a not dissimilar act of aggression. Immediately we see the Tenth Doctor’s potential for violence and moral grey areas. He’s still the same man who considered braining someone with a rock in ‘An Unearthly Child’.

Teamed with Rose Tyler, a companion of similar status to Tennant’s Doctor, they blazed their way through time and space with a level of confidence that bordered on entitlement, and a love that manifested itself negatively on the people surrounding them. The most obvious example in Series 2 is ‘Tooth and Claw’, where Russell T. Davies has them react to horror and carnage in the manner of excited tourists who’ve just seen a celebrity. This aloof detachment results in Queen Victoria establishing the Torchwood institute that will eventually split them apart. We see their blinkers on again in ‘Rise of the Cybermen’, when they take Mickey for granted. Rose and the Doctor skip along the dividing line between romance and hubris.

Then, in a Christmassy romp where the Doctor is grieving the loss of Rose, he commits genocide and Donna Noble sucker punches him with ‘I think you need somebody to stop you’. Well-meaning as this statement is, the Doctor treats it as a reason to reduce his next companion to a function rather than a person. Martha Jones is there to stop the Doctor, as far as he’s concerned. She’s a rebound companion. Martha is in love with him, and though he respects her, she’s also something of a prop.

This is the series in which the Doctor becomes human in order to escape the Family of Blood (adapted from a book in which he becomes human in order to understand his companion’s grief, not realising anyone is after him), and is culpable for all the death that follows in his wake. Martha puts up with a position as a servant and with regular racist abuse on her travels with this man, before finally realising at the end of the series that she needs to get out of the relationship. For a rebound companion, Martha withstands a hell of a lot, mostly caused by the Doctor’s failings.

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By Kirsten Howard

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By Louisa Mellor

Series 4 develops the Doctor further, putting the Tenth’s Doctor’s flaws in the foreground more clearly. Donna is now travelling with him, and simply calls him out on his behaviour more than Rose or Martha did. Nonetheless the Doctor ploughs on, and in ‘Midnight’ we see him reduced to desperate and ugly pleas about how clever he is when he’s put in a situation he can’t talk himself out of.

Rose has also become more Doctor-like while trapped in another reality, and brutally tells Donna that she’s going to have to die in order to return to the original timeline (just as the Doctor tells Donna she’s going to have to lose her memories of travelling with him in order to live her previous life, even as she clearly asks him not to – and how long did the Doctor know he would have to do this for? It’s not like he’s surprised when Donna starts glitching). Tied into this is the Doctor’s belief in his own legend. In ‘The Doctor’s Daughter’ he holds a gun to Cobb’s head, then withdraws it and asks that they start a society based on the morals of his actions. You know, like a well-adjusted person does.

What’s interesting here is that despite presenting himself as ‘a man who never would’, the Doctor is a man who absolutely would. We’ve seen him do it. Even the Tenth Doctor, so keen to live up to the absolute moral ideals he espouses, killed the Sycorax leader and the Krillitanes, drove the Cybermen to die of despair, brought the Family of Blood to a quiet village and then disposed of them personally. But Tennant doesn’t play this as a useful lie, he plays it as something the Doctor absolutely believes in that moment, that he is a man who would not kill even as his daughter lies dead. It’s why his picking up a gun in ‘The End of Time’ has such impact. And it makes some sense that the Tenth Doctor would reject violence following a predecessor who regenerated after refusing to commit another double-genocide.

In the series finale ‘Journey’s End‘, Davros accuses the Doctor of turning his friends into weapons. This is because the Doctor’s friends have used weapons against the Daleks who – and I can’t stress this enough – are about to kill everyone in the entire universe. Fighting back against them seems pretty rational. Also – and again I can’t stress this enough – the Daleks are bad. Like, really bad. You won’t believe just how mindbogglingly bad they are. The Doctor has tried to destroy them several times by this point. Here, there isn’t the complication of double-genocide, and instead the very real threat of absolutely everyone in the universe dying. This accusation, that the Doctor turns people into weapons, should absolutely not land.

And yet, with the Tenth Doctor, it does. This is a huge distinction between him and the First Doctor, who had to persuade pacifists to fight for him in ‘The Daleks’.

In ‘The Sontaran Strategem’ Martha compares the Doctor to fire. It’s so blunt it almost seems not worth saying, but it’s the perfect analogy (especially for a show where fire is a huge part of the very first story). Yes, fire shines in dark places, yes it can be a beacon, but despite it being very much fire’s entire deal, people can forget that it burns. And fire has that mythical connection of being stolen from the gods and brought to humanity. The Time Lord Victorious concept fits the Tenth Doctor so well. Of all the Doctors, he’s the most ready to believe in himself as a semi-mythic figure.

Even when regenerating there’s a balance between hero and legend: the Tenth Doctor does ultimately save Wilfred Mott, but only after pointing out passionately how big a sacrifice he’s making. And then he goes to get his reward by meeting all his friends, only to glare at them from a distance. His last words are ‘I don’t want to go’, which works well as clearly being a poignant moment for the actor as well, but in the context of Doctor Who as a whole it renders Ten anomalous: no one else went this unwillingly. And yet, in interviews Russell T. Davies said it was important to end the story with ‘the Doctor as people have loved him: funny, the bright spark, the hero, the enthusiast’.

It’s fascinating then, that this is the Doctor who has been taken to heart by so many viewers because there’s such an extreme contrast between his good-natured front, his stated beliefs, and his actions. He clearly loves Rose and Donna, but leaves them with a compromised version of happiness. They go on extraordinary journeys only to end up somewhere that leaves them less than who they want to be, with Russell T. Davies being more brutally honest than Steven Moffat, who nearly always goes the romance route. Davies once said to Mark Lawson that he liked writing happy endings ‘because in the real world they don’t exist’, but his endings tend towards the bittersweet: Mickey and Martha end up together but this feels like they’re leftovers from the Doctor and Rose’s relationship. The Tenth Doctor doesn’t, as Nine does, go with a smile, but holding back tears.

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It’s a testament to how well written the Tenth Doctor is that the character has this light and shade, and with David Tennant’s immense likeability he can appeal to a wider audience as a result. It’s not surprise he wins all these polls, but I can’t help but feel that if the Doctor arrived and invited me on board the TARDIS, I’d want it to be anyone but Ten.

The post Doctor Who: Perfect 10? How Fandom Forgets the Dark Side of David Tennant’s Doctor appeared first on Den of Geek.

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antoine-roquentin · 3 years

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For now, these differing ends indicate that an organization like the FBI did not allocate repression based on a uniform set of assumptions separable from its perceptions of the threats posed by particular classes of protest targets. Unlike popular conceptions of repression that view states as allocating repressive activity based on targets’ recognizable characteristics (such as size, level of activity, or involvement in violence), the FBI’s actions were based upon assumptions about protest groups that were consider-ably more complex. For example, target group size seemed to be of central concern to Bureau personnel, but estimates of actual group size were conditioned by an awareness of each group’s mobilization poten-tial, or the population of sympathetic individuals who might be mobilized through a catalytic event. This awareness stemmed from the uprisings sparked by SDS at Columbia University in April 1968, discussed in Chapter 2. The shocking thing about this revolt was that a relatively small protest group was able to mobilize a large segment of Columbia students to take part in a set of high-risk actions that led to police occupation of the campus, hundreds of arrests, and more than a hundred injuries. The lesson the FBI took away from this protest was that campuses were full of potentially mobilizable individuals and that a small number of committed full-time members of organizations such as SDS could marshal a large body of sympathizers into action. This lesson was not forgotten two years after the Columbia uprisings. In response to a ten-student sit-in at Stevens Institute of Technology in New Jersey in May 1970, an agent from the Newark field office sent the institute’s president a reprint of an anti–New Left article, attaching his own warning: “It begins with 10 like a deadly spore and soon the whole campus is infected with an incurable affliction. Don’t give in to a vocal minority that wants agitation for agitation [sic] sake.” Tom Huston, who was heavily influenced by William Sullivan in his views on the dangers of protest activity, echoed this sentiment in his justification of the vetoed Huston plan. The New Left “wasn’t going to mobilize enough people to march on Washington to overthrow the government,” he argued, “but the way governments have historically been overthrown in the 20th Century is ...by small groups of dedicated people postulating the revolutionary theory.” Similarly, we can explain why the majority of violent groups were not subsequently targets of repression (see appendix B) by looking at the racialized context within which campus violence occurred. Of the seven groups identified by the FBI as engaged in violent activity during the 1967–68 school year, three were located on historically black campuses; of these, none was targeted for repression by the FBI. The other four groups were on predominantly white campuses, with half becoming targets of significant repressive activity under the COINTEL program. One potential explanation for not repressing violent black student organizations is that these groups were not defined as “truly” fitting into the New Left and instead could be dealt with through the existing COINTELPRO against Black Nationalist/Hate Groups. How-ever, none of these particular campus organizations was repressed under this latter COINTELPRO. Instead, the Bureau believed that these acts of violence, while “spontaneous” and “unpredictable,” were generally the result of a particular grievance held by the students and there-fore did not represent a general threat to American values and institutions. Violent protest on white campuses, however, was often perceived as an attempt to undermine mainstream American values in general. These instances of violent action were indeed considered, as one SAC put it, “a separate and different problem [from racial or black nationalist activities]” since they directly posed a threat to the Establishment itself. In this way, FBI repression of the (predominantly white) New Left was as much about resisting a challenge to the traditional American lifestyle as it was about suppressing political gains and minimizing disruption. This concern with the New Left’s countercultural values is clearly illustrated by the Cincinnati field office’s treatment of Antioch College, a small liberal arts school in southwestern Ohio. According to the special agent in charge of Cincinnati’s repression of the New Left, Antioch was “most often run by a small group of militants that are permitted by college authorities to attack every segment of American society under the semblance of being ‘highly intellectual.’ Anyone visiting the campus doubts its ‘academic scholarly environment’ because ... the dirty anti-social appearance, and behavior of a large number of students can be seen to have the fullest ‘beatnik image.’” Due to the permissiveness of Antioch administrators, no disruptive incidents had occurred at Antioch during the preceding school year, and furthermore, “there is, in fact, little reason for disruptive activity [in the future] since the students are permitted to do exactly what they want to without interference from college administrators.” Despite this recognition, students at Antioch were repeatedly targeted for repression by the Cincinnati office, presumably for their adherence to anti-Establishment ideals rather than their potential for any disruptive threat. In this same manner, much of the Bureau-generated material against the New Left focuses on the “immoral” and “dirty” lifestyles of particular members rather than on their political ideals. In authorizing that a reprint of a campus article about a student demonstration be sent to students’ parents, the Director noted that, “while there is no indication in the article ... that the demonstration is inspired by the New Left, the tenor of the photograph is such that it shows obvious disregard for decency and established morality.” The Jackson field office even went so far as to define New Left members solely by their adherence to a “hippie” lifestyle. Likewise, the SAC in the Newark field office described a New Left newspaper as a type of filth that could only originate in a depraved mind. It is representative of the type of mentality that is following the New Left theory of immorality on certain college campuses. ... The experimental literature referred to in the letter ... contained 79 obscene terms referring to incest, sexuality, and biology, four dozen “cuss” words and a dozen instances of taking the Lord’s name in vain. The hostility that characterized these Bureau agents’ views was so pronounced in part because New Left “morality” and “lifestyle” differed strikingly from values held within the FBI. Beginning with his time at the FBI Training School (established in 1928), each special agent was immersed in a culture that was the polar opposite of “hippies’” lack of regard for established rules and respect for authority. In various ways, COINTELPRO–New Left became the place where these incompatible worldviews directly clashed. Obscenity of any kind was offensive to the directorate, and agents went to great lengths to avoid the use of “cuss words” in memos. When a faction of SDS began calling themselves “Up Against the Wall Motherfucker” (taken from a poem by Amari Baraka, then known as LeRoi Jones) in late 1968, agents reporting on the group always typed the final word as “M_____ F_____ [obscene].” Agents’ outrage over the liberal use of obscenity in New Left publications provided another clear instance of this clash in values. Whenever the Bureau attempted to spread misinformation through the creation of faked “underground” leaflets, they necessarily had to imitate the language of New Left adherents. An interesting dynamic would emerge as obscene language would often be censored within the memo itself even though it was understood that it would be required in the Bureau-generated materials eventually distributed. The directorate would also often justify the use of such language, as in one memo authorizing a proposed leaflet criticizing the National Peace Action Coalition’s upcoming antiwar demonstration for being “lily-white” and controlled by “faggots”: “We are approving inclusion of the profanity because to do otherwise would render the leaflet suspect, incredibly inadequate, and would probably defeat from the outset the purpose for which it is being prepared.” Within the Bureau, including a word like faggot in memos needed to be justified as carefully as using the word to destroy targets’ legitimacy by publicly attacking their sexuality. Thus in the FBI’s dealings with the New Left, targets’ political ideology was often confounded with their perceived commitment to an alternative lifestyle, with the latter structuring the FBI’s allocation of repression against the New Left. This discussion illustrates the importance of the level of sophistication involved in a repressing organization’s assumptions about the protest field, as well as the problematic nature of an analytic strategy that ignores the organizational context in which protest and repression takes place. To understand which groups and individuals were targeted for repression by COINTELPRO, it is clearly not enough to evaluate the “objective” level of threat posed by each New Left or White Hate target (e.g., its level of activity, number of adherents, or predilection for violence). Instead, we need to shift our gaze to processes occurring within the repressing organization itself.

David Cunningham, There’s Something Happening Here

the super square fbi agent from boardwalk empire is actually quite realistic. note also the commitment to seeing the greatest threat through a vanguardist lens.

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johnconstantinesdick · 3 years

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Okay *cracks knuckles, accidentally dislocates fingers* @agentscamander-romanoff and @steel-phoenix took the bait and enabled me by asking me to elaborate on my Children of the Watch origins theory. Which means I am about to go ABSOLUTELY feral.

Apologies to anyone for having incorrect Star Wars lore, I’ve barely consumed canon content and I don’t intend to start now. Also sorry if anyone has already said this! I’ve never seen this particular theory/interpretation and it’s made me go a bit insane.

Warnings: discussion of child abuse, cults, and the aftermath of genocide. I don’t go super in depth on any of it but it’s there. Also, I typed this in the notes app of my phone and autocorrect hasn’t quite submitted to some of these names.

SO. I’m going to break this up into sections. 1. Exploring canon 2. Extrapolations/Connecting the red string 3. What does this MEAN??? 4. Complaining about Bo-Katan.

First off, though, here’s my thesis: Children of the Watch is a “splinter group” made up of the children that Death Watch stole, indoctrinated, and abused. They’re also not a cult (Death Watch is though lmao).

1. Exploring Canon:

Okay, so. Canonically, Death Watch has abducted, tortured, and brainwashed children. Arla Fett is an example of that, having been abducted at the age of 14 after her parents were killed and she was subsequently brainwashed into becoming an assassin for Death Watch. She didn’t even hesitate when she found out her brother was alive! That’s how strong the conditioning was! She was so fucked up from it that she spent YEARS in a mental facility, and she outright begged a Jedi to wipe her memories in exchange for a favor. DEATH WATCH DID THAT. And you CANNOT tell me she was the only one they’ve done this to. PLENTY of fic writers have extrapolated off of this and mentioned it, but it’s important to me that everyone know this shit is absolutely rooted in canon.

Another Death Watch Child Abuse Fun Fact: Dred Priest and Isabet Reau, two of the trainers of the clones, canonically had Death Watch leanings and tried to instill Death Watch beliefs in the clones by FORCING THEM TO FIGHT EACH OTHER IN SECRET BATTLE CIRCLES THAT ENDED UP KILLING SOME OF THE CLONES. THEY WERE CHILDREN AT THE TIME, IF IT WASN’T CLEAR. WHAT THE FUCK. If THAT’S not an example of Death Watch abusing the kids under their care then I don’t know what is. It’s suuper not a stretch for me to think that this wasn’t an unheard of thing in more official Death Watch circles.

Also canonically, Bo-Katan has referred to Din’s covert as “Children of the Watch”, and Din, despite obviously being an important and respected member of his community, doesn’t recognize the name, which implies to me that it’s not a name the covert chose for themselves. Rather, a moniker that was given to them after they splintered off of Death Watch. Since this isn’t an opinion and it’s more just… information, I’ll trust Bo-Katan on this one.

We also know for sure that Din’s covert IS connected to Death Watch in some way, seeing as the flashback sequence very clearly shows Mandalorians in blue and gray beskar’gam, the colors of Death Watch. HOWEVER… the Armorer, who seems to hold a high position of authority in the covert, wears gold and copper beskar’gam. Din wears unpainted (v2) or mismatched colored (v1) beskar’gam (I do grant that his paint color counts less towards this because he’s pretty much one of the only people interacting with the outside world and so colors associated with Death Watch are probably a no go no matter what). Paz Vizsla’s armor is a very dark blue with yellow and cyan details and, oh my fucking god I didn’t even know this but he has a fucking MYTHOSAUR SYMBOL ON ONE OF HIS PAULDRONS. THE FUCK???? THAT’S LITERALLY THE SYMBOL OF THE TRUE MANDALORIANS IM. Ok. Okay. I needed a minute. Like I KNOW that the mythosaur skull is Mandalorian symbol in general but I think it just hits different when a Vizsla is wearing it, you know? Especially because the placement is the same as Jaster Mereel’s???? Literal founder of the True Mandalorian movement????? Excuse me???????

Let’s uh. Let’s get back to armor. I can address that… later. So. Anyway. Armor is super important, and it’s uhhh very telling that the covert doesn’t emulate the Death Watch colorscheme strictly. Like, yeah, there’s gray and light blue in there, if you go through some wiki pages, but they’re not the only colors they use, and the Armorer doesn’t even have either of those colors! And she’s the biggest authority we’ve seen! Very fucking interesting!! Bo-Katan still has her armor painted in Death Watch colors! And yet she’s derisive of Din’s covert! Verrry interesting!

We also know that Din’s covert emphasizes children VERY much, more than Death Watch ever would have, imo. It’s expected for the adult members to provide for the foundlings (and it’s VERY interesting that the kids are seemingly all referred to as foundlings iirc. More on that later.), and even though Paz disagrees with Din working with the empire, he and the other members of the covert immediately and with no hesitation come to Din’s aid for this child that Din hasn’t even claimed as his own—it’s amazing! And I will note that Bo-Katan and her warriors do the same upon their initial meeting with Din—Koska dives into danger with no hesitation as soon as Din says the child is still in danger. We see that this solidarity does come at a price for Bo-Katan, though, while the Armorer sees protecting a foundling as a duty that is completely worth all the trouble it brought.

Fascinating also that Boba was 100% on board to help out Din to save Grogu past what Din or anyone else would have expected of him, while Bo-Katan had to be bribed into coming by the promise of Moff Gideon and the darksaber. And she thinks she’s somehow more Mandalorian than him.

And NOW, going way back in time to the beginnings of the True Mandalorian movement, we know that Jaster Mereel originally authored his Supercommando Codex by looking back through history to the Canons of Honor and the Resol’nare, and he took those ideals and ideas and he modernized them to create a set of moral guidelines to follow. And people loved that shit! Death Watch had to infiltrate the True Mandalorians and then trick the Jedi into slaughtering them just to get rid of them, because Jaster’s charisma and his sexy sexy morals were too strong. (God. I fucking LOVE Jaster Mereel if you couldn’t tell.) Anyway, there’s precedent for Mandalorians looking back to their history to bring forth old ideas, repurposed to a modern context. We also know that, canonically, Din’s covert follow the “old ways” of not sharing names and of never taking their helmets off in front of others.

Moving on.

2. Extrapolations/Connecting the red string:

So if we extrapolate from the fact that Death Watch are, uh, super fucking abusive towards the kids that they stole/their own kids, then we’re left with… this group of kids, who have been mistreated and indoctrinated for a LONG TIME, and possibly don’t have that great an understanding of non-toxic Mandalorian culture. And if they’ve been abducted or rescued, whatever, they might not fit back in with the places they were taken from, or they may not have a place to go back to, or they may not even remember where they’re from originally. It’s some prime angst material! Good stuff.

And if we pull the implication from the names that “Children of the Watch” is a splinter group off of Death Watch, it really does make you think… huh, you know what? These two things may be one in the same. Maybe.

And, like, we know that Jaster Mereel and Din’s covert both looked to Mandalorian history to find pillars for their community’s morals. Jaster did so in the middle of a lot of political turmoil, as a way to say “Hey, we can still be Mandalorians in the ways that matter, but being Mandalorian doesn’t mean being a morally bankrupt conqueror. We can have honor and still wear armor and fight and uphold the Resol’nare.”

And I think Din’s covert did so when they were struggling with unlearning the toxic ideals that had been shoved onto them by Death Watch. I think they had to figure out their own way of being Mandalorian or else they would have crumpled under the pressure. And so they looked back to the old ways and picked out the more extreme interpretation of Cin Vhetin (clean slate) which says that, once you swear the Resol’nare and become a Mandalorian, your past doesn’t matter, it’s what you do now that does. You don’t take off your helmet, and you don’t let others know your name, because those things don’t matter to who you are and what you do. (There’s also the issue of the helmet and name rule being an important defense tactic to protect the covert, seeing as how Mandalorians post-Empire are the survivors of genocide. There’s already a fantastic post on it here)

Related, another Mandalorian saying is “Gar taldin ni jaonyc; gar sa buir, ori'wadaas'la.”, meaning “Nobody cares who your parent was, only the parent you’ll be,” which IMO fits in very nicely with how I’m interpreting Din’s covert. It’s all about your actions and future mattering more than your past. I think that when the covert was splitting off and being built, this would be a huge component of them healing. Because the way they were treated and indoctrinated by Death Watch doesn’t have to affect their future actions. They don’t have to perpetuate the cycle of abuse, they can build a covert and a community around caring for foundlings.

Now, onto the foundlings! I find it very interesting that, whenever the covert’s younglings are mentioned, it’s always as foundlings. I think this implies that there’s a focus on saving and raising children more than there is on sharing blood with them, and I think that the covert would be more inclined towards communal raising than typical family units, if only to keep everyone in check and to protect the children from ever being treated as they were. I also find it VERY interesting that there’s a lot of emphasis put on returning children to their own kind. I don’t think Death Watch would have employed that practice, and I think that’s another example of the covert wanting to make their community a better place for children. I think it’s likely a lot of them didn’t get that choice, and they had to leave their cultures and people behind. And so they want to give that choice to their children.

I think it’s also amazing that, like. They keep finding and raising children instead of deciding they’re too damaged or whatever to have kids. Because it doesn’t matter if they have baggage or trauma when a child needs them. That’s FANTASTIC. I’m losing my MIND. It really doesn’t matter who their parents were to them, just the kind of parents they will be. It’s all about breaking that cycle and deciding to be better and I LOVE THAT.

3. What does this MEAN???:

Well. What this means is that Din’s covert has a very clear set of motivations and structure when it comes to how their covert is run. It’s not a cult; in fact it is specifically a group created by cult survivors who are determined to not do to others what was done to them. The rules may seem weird and strict at first glance, but they have a clear purpose and rationale, and no one is trying to amass power. They’re just… trying to do better, and be better.

(This also means that I’m 99% sure that, with the assistance of time travel, at least half of the covert would be SUPER INTO Jaster Mereel. I like to imagine that Paz had, like, a poster of him on his little sewer bedroom wall. I fully believe he painted that mythosaur skull on his pauldron in honor of a good man who was killed by Paz’s own relatives for standing by his morals and daring to try to reform and rally Mandalorians. I also think it would be funny if, like, Din doesn’t know shit about ANYTHING to do with modern history, but Boba mentions that his grandfather is Jaster Mereel and Din is like “OH I KNOW THAT GUY! Yeah he’s cool, he’s the historical crush of like, my entire covert.” And Boba is like. What.)

It also means that it can be up in the air about whether Din was found by Death Watch before his covert splintered off, or if his covert was still just wearing Death Watch colors when he was found. Fun thing to play around with, but right now I don’t want a solid timeline.

Hmm just thought I should add: while the Armorer does seem to have a position of authority, I don’t think the covert can be structured politically with clans and houses like other Mandalorian groups. Like, clan just means family in this context, and is less a part of hierarchy, and I don’t think they would even recognize houses within the covert? Like they MIGHT decide to call themselves part of House Djarin now that Din is Mand’alor, but before that they weren’t like. House Vizsla with Paz as the leader just because they used to be Death Watch. I don’t vibe with that. This isn’t really super relevant, I just wanted to add it.

4. Complaining about Bo-Katan:

Anyway Bo-Katan is absolutely full of shit and it’s doubly disgusting that she’s standing there in Death Watch armor, seemingly still allied to this fucking cult of imperialism and conquest, and she accuses Din of being in a regressive cult, and she implies that the way he engages with the Resol’nare is wrong and like. Repressed or something. God I hate Bo-Katan. But I love to hate her. She’s horrible but I want her to be included in the list of Din’s friends but not the list of people he’d trust his kid with. I have contradictory Bo-Katan feelings, whatever. The most important thing is that all of her opinions are horrible, like, all the time. And we shouldn’t trust her when she says Din’s part of a cult. Literally why does anyone take that at face value. If we’re taking her word as the authority on Mandalorian issues then I guess Boba and Jango aren’t Mandalorian!!! Seriously.

TLDR; Din’s covert (aka “Children of the Watch”) is made up of survivors of childhood abuse, torture, and brainwashing at the hands of Death Watch, and they’re dedicated to making sure their children don’t go through the same thing. They’re not a cult, but Death Watch sure was! Jaster Mereel is the love of my very aromantic life and Bo-Katan’s opinions can’t be trusted. Thank you for coming to my TED Talk.

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mybg3notebook · 3 years

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Gale: Manipulation, Lies, and Trust

Disclaimer Game Version: All these analyses were written up to the game version v4.1.104.3536 (Early access). As long as new content is added, and as long as I have free time for that, I will try to keep updating this information. Written in June 2021.

Additional disclaimers about meta-knowledge and interpretations in this (post) while disclaimers about Context in this (one).

Before anything I strongly suggest reading this post about "Context, persuasion, and manipulation" to understand in a simplified way the meaning of the words we use, so despite not being related to bg3, it's related to communication and social issues. Since fandom loves to misuse them, I think it requires a proper explanation so we all know in which frame we are analysing these scenes.

Due to the fact that this post ended up turning into a much longer one than I wanted to, I split it into four posts, each of them showing how many sides Gale has in those scenes, how much his actions are "manipulative", how many details related to lore he shares, and possible interpretations of his behaviour, since it's rather easy to lose his scenes because they have the lowest priority. In this post I will only make a summary and a compilation of the broad details explained in those posts, so pick what you want to read since all these posts may have overlap of information and repetitive concepts (they were written to be self-contained as much as possible).

'Stew'Scene

"Loss Scene"

"Party Scene" (with Revelation scene)

"Extra Scenes": Death Protocol and Comments on Dreams

I'm analysing these scenes in detail because I noticed that many players incorrectly paraphrase Gale's words, putting in his mouth words he never said, so for the sake of transparency, I transcribed many fragments of his dialogues, making these posts more lengthy than they should be.

The stew scene

The details are shown in the post of the "'Stew'Scene". In this scene, Gale shares a friendly introduction with the stew and with a list of good deeds done by Tav. This shows that he has begun to trust Tav so he can talk about this issue earlier than he wanted to (he will wait much longer in the neutral version). As a gesture of honesty, Gale sets an explicit boundary by telling Tav to refrain their curiosity and do not ask about the 'why' of the issue he is about to talk about (under no circumstance he is forcing Tav to agree with the delivery of artefacts before telling them 'what' he needs). He acknowledges that it may be unfair not to give the whole context, but he still can't speak in detail about this very personal issue. As an interesting detail, his trust in Tav at this moment of the conversation is so honest that he has not shielded his mind, so Tav can intrude with the tadpole without Gale knowing it—if Tav succeeds— . If Gale doesn't trust Tav even successful intrusions of the tadpole can be perceived by Gale's trained and cautious mind. For more detail read the post of "The Tadpole".

I personally interpret the stew scene as one of those moments in which one is developing a friendship with a stranger, and at some point, someone has to trust first. It's a rare occasion in which the act of trust is shared in equal measure by both members in a new relationship. Usually, one of them offers a bigger portion of trust, testing the other, seeing if it was not misplaced or if it will be honoured later. It's a normal asymmetry, and in this case, Gale is only explicitly asking for that asymmetry in his favour.

Considering how Gale opens up later, Tav passed the test in his eyes. Helping him during his direst moment and accepting that temporal trust asymmetry made Tav “earn the respect of years” despite being a stranger he met a couple of days or weeks ago. But Gale will not be blind to that gesture. He will progressively honour that trust in the Weave, the Loss, and the Revelation scenes. And by the end of EA, if it is not bugged as usual, Gale's approval status can change to “best friend” (an information given as meta-knowledge, therefore very unlikely to be "a trap set by Gale". For more details read the post about "meta-knowledge").

It's pretty common for manipulative characters (whose trait of manipulation belongs to their personality, not characters who may have circumstantial manipulative actions) to expose their pain too soon with strangers as a tool to force empathy on the listener and "catch" them. Gale does exactly the opposite: he won't open up until having a solid ground where to place his trust. Nobody wants to share their pain in unsafe places, after all.

Helping him with artefacts is deeply appreciated by him and a great boost of his approval for obvious reasons: people tend to place their trust on persons who helped them in their most desperate situations or in their survival. It has to do with the unique connection that often happens between survivors of extreme situations (war-like) who helped each other in surviving. The shared link is deep. One could expect this link to be built with any of Tav's companions since the Tadpole experience is traumatising and extreme. I think this has higher chances of happening with neutral and good aligned companions, since evil ones may have little scruples to not honour the trust received.

Gale could have avoided Tav's questions and mistrust for this secrecy by just lying. However, Gale opts for an explicit enunciation of his limits and boundaries. And Tav is completely free to agree or not since Gale won't abandon the party if not. We know that, in that case, he will try to find another solution that he may find in Raphael's deal. Some players consider this situation of mutual agreement in the terms and conditions that the conversation will happen as a coercive one. What I see is diplomacy and negotiation rather than manipulation.

Gale's need for secrecy is related to two factors:

Survival: He needs to be sure that Tav won't kill him out of fear (which we saw during the scene with Nettie; it's a common procedure in Faerûn: exterminate what's dangerous). Gale's case is even worse because killing him will only activate the devastation he is desperate to avoid: Gale wants to survive but also wants to avoid the massacre that the “orb” can cause.

Personal reasons: Which is the main reason at this point: Gale is unable to speak about the "why" of this condition because it's originated in Mystra's abandonment and the horror of the “orb”: such traumatising experience that turns the Tadpole experience into an inconvenience (this is why his attitude with the tadpole is more relaxed too, he has already passed through a much worse, terrifying situation).

The Loss scene reinforces this concept when we see Gale—usually so verbose and impossible to shut up— can't speak or find the words to say what he lost and why. And only by the end of the scene, if Tav insisted with many checks, he managed to say something. It's worth noting that these checks tend to be strangely low for a character who is struggling with a personal secret. This is usually understood in DM-code as Gale wanting to share this info (setting a lower DC than the average). Gale is not finding the way to do it, and a Tav gently pushing him will do the trick.

It is for this reason I personally think that Gale's secretive attitude is more like a series of obvious clues he purposely leaves in his conversations for Tav to draw their own conclusions before he could finally open up. If all Gale's scenes are triggered (which at this moment is very hard to do with his priority being always the lowest) and Tav pushes him to speak more than he is willing to, the player obtains a decent amount of information to conclude that Mystra and Gale had a deeper relationship, and that the “orb” is something dangerous not only for Gale. To be honest, the death protocol is a gigantic red flag pointing out that Gale's primary condition is not to be taken lightly and “many innocents” can die because of it.

With a neutral or lower approval, Gale will not ask Tav to trust in him. He doesn't trust Tav either, and there is no promise to speak and disclose his condition later. Gale clearly is more mindful and caring with a medium or higher approval Tav who he is starting to see as a good companion/friend, while with a neutral or lower approval Tav he cares little about keeping the contact beyond what diplomacy demands.

It's not by chance that this Stew scene is meant to happen before the Weave scene. From a narrative, contextual point of view, the trust that Tav gave Gale during the Stew scene is afterwards paid with the Weave and the Loss scene. Let's remember that Gale would only ask for that trust if Tav is of medium or higher approval, so the Weave scene comes naturally (when not bugged). The neutral and low approval Tav is never asked for that trust and therefore the Weave scene never happens (if their approval keeps going down). In fact, Gale can leave permanently without any chance of convincing him to stay if he reaches very low approval. What I mean is that, from a narrative point of view, the Weave and the Loss scenes are Gale's way to return that trust that Tav gave him first during the stew scene and the first artefact consumption.

The Weave was not a premeditated scene. It happened by surprise, triggered by Gale's deep loneliness: Tav startled him when he was longing for Mystra while seeing her image in his incantation. He shares in that moment how important and vital magic is in his life, and only then, the previous actions done by Tav encourage him to share this experience. It's important to highlight that this is too personal for Gale, too important, and a bit painful too, since we know later (second dream) that every time he connects with the Weave, he meets with Mystra's disappointment: "What magic I can still weave is met only with undercurrents of disappointing silence."

After a moment of rambling, Gale invites Tav to share this experience. Here is where all the branches about explicitly displaying Tav's romantic interests can be developed; a neutral option for a friendship path, or very aggressive and violent reactions can be picked as well. More details about this scene can be read in the post of "Gale Hypotheses- Part 2", section: "Proposition to Cheat". And again, for a char so guarded of his own privacy and personal issues, sharing the Weave can be clearly seen as the repayment of the trust that Gale received from Tav during the stew scene.

The Loss scene

The Loss is a scene that starts with a mystery about Gale's incapacity to cast a spell. He keeps pushing Tav away, claiming that night to be of personal regrets. Tav knows already that something is dangerous in Gale's consumption of artefacts that can cause a catastrophe, so in this scene some links can be made between the two conditions.

If Tav gently pushes Gale to speak, we will notice that most DCs are rather low, meaning that Gale is not putting a strong resistance for the pushing: a friendly Tav pushing him can be interpreted as Gale wanting extra help to open up and speak (in the end he approves the caring despite his reserved persona). Gale gives many hints in this scene that suggest he was a Chosen of Mystra. The most relevant one is the Silver Fire reference. For more details about the Chosen's powers read the post about "Mystra and her Chosen ones".

We also see a reinforcement of Gale's pattern behaviour: He prefers to speak in this poetic way when he has to talk about painful topics (we see it after killing the druids that triggers “the barren oak” scene or during the goblin party scene). Talking in third person puts distance, but also the embellishment of his narration makes it easier for him to speak, after all he is a poet/storyteller as well.

What's clear is that the verbose companion, who always has a lot to talk about, is basically speechless in this scene, stuck in his "loss" (literally, metaphorically, and psychologically speaking). Part of this behaviour can be understood a bit more in the post about "Gale Hypotheses- Part 1", section: "Grooming". Besides being a private person, Gale also has a perspective that talking about things that can't be changed is useless. He is so stuck in the loss, that talking about it means nothing to him, "the outcome" is always the same.

After pushing Gale to share his burden, the presence of Mystra in Gale's life is undeniable for Tav. Gale sounds like a strong devotee that somehow lost Mystra. We know in this short description that he “did something” to impress his Goddess and earn her favour back, and in doing it, he failed, invoking death upon him. If Tav is sharp enough, knowing that Gale's consumption of artefacts is related to a “catastrophe” and a certain death of himself... maybe they can start connecting some dots and suspect that Gale's primary condition may be related to the loss of Mystra. My point is, even Tav has been informed quite a lot about Gale's “truth”. As we can see, the “Revelation” scene should not be such a shocking “revelation” as it was written, but more a “detailed description” of the situation.

The context seems clear so far: Gale knows he hides the details of his condition (which are not so hidden anymore), and knows that it's information that can cause a second abandonment (whether as a friend or a lover). Gale is at this point in his life very tired and lonely of struggling with the “orb” inside him too. He could use some emotional support, and this is why I believe he has less tough DCs that one should expect from a character who is actively holding information he doesn't want to share. We need to remember that Gale lives in a permanent anxiety mind-state, too focused on Artefacts and the disaster he can cause, increased with the dreadful, hungry feelings that the “orb” inspires with each passing day. He is getting fond of Tav at this point, and their abandonment would mean too much, even though he knows that he may deserve it.

We know that Mystra abandoned him, but did not ban him from using the Weave. I personally speculate that maybe Gale's point of view of the situation of the “orb” and the following abandonment of Mystra is partial: Mystra may have abandoned him not on purpose but as a consequence of having that Weave-sucking power in his chest. As it was explained in the post of "Mystra and her Chosen ones", Chosen ones have a deeper connection with her, and they are able to use raw magic in the form of Silver Fire. This means that Chosen are part of Mystra herself (in Dead Masks, it's stated that Mystra leaves a bit of her own divinity in each of her Chosen), so Chosen ones are also part of the Weave, always connected to Mystra who is the Weave. If the “orb” inside Gale consumes Weave, and we all know that Weave IS Mystra, it's not too far to conclude that Mystra may have abandoned him as a safety measure since, if Gale remained as Chosen, his contact with her would be deeper and would expose her to the “orb”, destroying her eventually. But this, again, it's a mere personal speculation.

The party scene

Gale has finally reached a degree of trust in Tav that gives him enough courage to finally speak about the details of the "orb" (and I emphasise details because in broad aspects, he already shared what's most important: the “orb” in his chest is a dangerous thing. If Tav assisted in his death protocol, this is undeniable by now, unless Tav did not pushed him and respected his privacy).

If he is romanced, he promises much more: confessions in the art of conversation, pleasures in the art of the body, and, hopefully, acceptance. For Gale, acceptance is a big deal: I personally believe he shows a fair level of naivety on this matter. It seems (especially later, with his arguments in the morning) he thought he needed this level of intimacy to reach acceptance first (a process that this book guarantees to happen), so he could speak openly. He wants to have this night before any confession because he wants to acquire acceptance which, in his mind, would prevent the abandonment he viscerally fears.

Gale is so eager to spend the night with Tav first and confess later that the only way of not doing it is not romancing him at all or telling him that Tav is not in the mood. It's not clear in EA if this ends the romance; I think it doesn't since the disapproval is not big (there is no change in the approval status).

Gale wants to be with Tav intimately so badly that he doesn't mind Tav having casual sex with other companions first as long as the "commitment" part would be established with him. This is reinforced by the fact that, if Tav never shared the Weave with Gale, there is no way to sleep with him: Gale is not a character for one-stand nights. He craves for deep connection, for commitment, in whatever fashion he can get it. Mystra taught him not to ask about exclusivity after all, and because of the ephemeral nature of his relationship with her, he craves for something meaningful and more committed.

Mystra was his first love. After her abandonment, he made the mistake of the “orb” that dragged all his energy into studying Netherese magic and possible solutions. I consider it fair to think that maybe Gale never had a relationship beyond the Goddess, and all what he learnt about romantic relationships was through books like the one he mentions or, as a poet, through novels or romantic poetry. He must have an idealisation of love (also proper of a poet) that made him believe that through sex “intimacy” there is a guarantee of acceptance.

His pattern, in my opinion, says that he tends to make mistakes in his emotional state, which is mostly triggered by the “orb” and the potential of “abandonment”. Not so much with Mystra herself. He seems to be nostalgic, but more aware of what loving a God causes (his regret is explicit during the conversation about Karsus). He seems to be quite done with "her romantic love", but that doesn't mean he doesn't want to be forgiven nor he doesn't love her as the essence of Magic itself. More details in the post of "Mystra and her Chosen ones".

Some players see the “Revelation” scene as manipulative. Although that's personal interpretation, if we analyse the kind of information withheld by Gale we found little new: the dangerous nature of the “orb” had been indirectly disclosed in all the previous scenes. Tav being surprised about the “orb” seems strange. And Gale sleeping with Mystra has little relevance: in a game for adults, why are past partners such a big deal? The scene is so confusingly written to make it sound as if Gale is still in love with Mystra, but previous scenes showed he has been working on getting over it. Despite loving Mystra as the embodiment of Magic herself, Gale showed to be very aware that all that love belonged to the past (second dream), to a younger self, and even though he is not certain if he loves her still, he is clear that nothing good comes from relationships between mortals and gods (comments on Karsus). He is very explicit about desiring her forgiveness (second dream). So, there is little withholding information at this point for a Tav who pushed him to speak. Now, Gale's attitude certainly has been tactless. Not the best decision to disclose a past lover with such a degree of fascination just after sharing a night with Tav. But it's understandable since in order to “disclose” the “orb”, Gale needed to provide the context of his young love for the Goddess.

The whole scene of the Revelation seems very, very unpolished, mixing tones and confusing information that was given before and presenting it as if it were a revelation when it's not the case. It jumps from one drama concept to another, and never sticks to one, and Tav's options tend to be extreme: or the player calls this disclosure a “great betrayal”, or makes it seem as if nothing has happened, giving little options of what Tav already knows, or if they want to show a moderate annoyance since most of the information has been disclosed already, but still Gale's timing is annoying. Part of this can also be written on purpose to show what a disaster Gale is when it comes to the potential of “another abandonment” in his life. Hard to tell in EA.

Tav's romantic options react as if Gale confessed to have cheated on them, while what he explains has a different degree of conflict: he confesses he is not sure he still loves Mystra, but his lines in previous scenes show he wants to get over it, without losing his magic/relationship with Mystra, because magic is too important in Gale's life. At times, Tav's options are meant for them to react with jealousy, other times as if this were a big betrayal, or as if Gale's romantic past should have been disclosed before the night, and in the last part of the scene, Larian remembered that the “orb” could be considered a conflict too, so Tav has some occasional options to react to the “orb” as if it were a big revelation (when it's not, because we had 3 scenes, four if we include the death protocol, stating its dangerous nature). So, I personally understand why every person has a completely radical interpretation of the situation: it has been written in a rush, and I see it as very inconsistent in tone and context. This all makes sense when one remembers Kevin VanOrd stream where he explained that Gale was meant to be in the second wave of companions, and not in EA. Gale's writing was rushed and it shows in the last of his scenes and his meeting scene.

Some people may argue that talking about a previous lover right after sharing the first night is, at the least, a very bad taste. However, the player (not Tav) can understand the reason behind it: Gale started the story in order to explain in detail the "why" that has been left up in the air since the stew scene. That "why" can only be explained if Gale discloses Mystra's relationship as the origin of his mistake. So... on one hand, this disclosure right after the shared night is unfortunate for Tav (especially by picking the long version of the explanation in which Gale shares too much unnecessary detail). On the other hand, if he omits this relationship, it's harder to explain the context of why he got the “orb” in his chest.

In general I think this scene has been handled poorly. The whole “conflict” portrayed here implies two aspects: He slept with Mystra, and he has an explosive “orb” in his chest. Neither of them are truly big arguments for the drama degree that this scene seemed to have been written because we already know, to a certain degree, about them.

The “orb” is not truly “such a revelation” at this point. The stew scene alone gave Tav and the player a clear idea that something in Gale could cause a catastrophe without consuming artefacts. After the death protocol that certainty is clearer. So, these “revelations” are more like “extra details” of problems we already know about. Which is what he exactly says when introducing this scene: “Those are but the broad strokes. The time has come to paint you the true picture”.

Having past lovers seems also a strange concept for a “betrayal”. Adults carry pasts. It's true that maybe speaking of a past lover in the same moment he awoke with a recent one is in a pretty bad taste; it's a bit more understandable when you finish the scene: the origin of the “orb” problem was Gale's love for Mystra, so it makes sense to start from her. However, I see the conflict of the conversation switching constantly in three directions: the fact that Gale had a lover that didn’t talk about the previous day, that “Gale is still in love with Mystra”, and that he has an “orb” that Tav “never” knew about it. A very inconsistent conversation.

It's true that Mystra is not a standard lover—she is a goddess—but she is quite known to have these affairs (at least for the player), especially during her past when her direct contact with any human was not banned. It should be more surprising that Mystra seemed to have broken that ban for Gale's case (since she only kept in direct contact with her chosen ones: Ao's decree). And it's also clear the scene tries to show that Gale is still “in love” with her, which is very confusing with what he spoke during the Loss and mainly, during the second dream. Again, I personally feel the scenes of the party and the romance are a mess from a cohesive narrative point of view, and they are the result, alongside Gale's first meeting, of his rushed introduction into EA.

This post was written in June 2021. → For more Gale: Analysis Series Index

#bg3 meta #bg3 gale #gale #gale of waterdeep #bg3

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chibinekochan · 3 years

Text

How to become a Demon Ruler 114

Part: 01 I 02 I 03 I 04 I 05 I 06 I 07 I 09 I 10 I 11 I 12 I 13 I

GN. Reader insert

taglist: @ayesha95 ; @nomnomcupcakesworld ; @fex-phoenix ; @depressed-bixch ; @kitsune-oji ; @witch-o-memes

This is the last part of this story.

I'm open for a 2nd season but I will at the very least take a break.

I hope you will all enjoy this, thank you all for the lovely comments and likes.

___________________

After Lucifer leaves there is a stream of other people who greet me. It's pretty exhausting.

Barbatos hands me water once in a while and I glance sometimes at Diavolo, who looks just like always. It's pretty impressive.

Then finally we are done greeting everyone. I'm so glad it's over.

I feel a bit stiff when I stand up to walk to our table. It's right on top of all the other tables, a bit like at a wedding reception.

Everyone's eyes seem to be glued to my every move. I stay calm and just tell myself to breathe and smile.

Diavolo sits down right next to me, Barbatos stands behind us.

Someone then announces that the meal will now be served.

It's a meal with many courses, all consist of very tiny amounts of food that are nicely arranged.

All my training has really paid off and I think I'm doing pretty well.

My last official duty is dancing with Diavolo.

It's not easy doing that after eating this much, but I still look forward to it.

Diavolo gives me his very bright and yet strangely calming smile. He looks so happy and proud.

I can't help but smile at him.

With him, I don't even notice the countless eyes on me.

He leads me to the dance floor. Much like in our training session, the song is very slow.

I'm strangely calm, I don't even step on his foot.

After a round of applause, the dance floor is opened for everyone.

I try to step aside since many high-ranking demons want to dance with Diavolo.

I'm sure I see Barbatos shooting angry glances towards a lower-ranking demon that approaches me for a dance. The demon pretty much flees after that.

Then suddenly everyone goes silent.

The demon king has just arrived. I can hear the murmurs from everyone around me.

Everyone goes back and bows deeply. Their fear and respect are obvious.

The king doesn't acknowledge anyone and straight-up walks up to me. He even blatantly ignores Diavolo, who stands a bit away from me.

Then he stops and starts speaking with his booming voice. "My dear child. Such a pleasure to see you." He addresses me so kindly it gives me whiplash.

"The pleasure is fully mine." I smile nervously and bow.

"I wish to talk to you in private." He just says that and starts walking off.

I look at Diavolo and then at Barbatos. They both seem equally surprised.

"You should do as he says," Barbatos whispers in my direction. I nod and follow the king.

"Father, can I join too?" Diavolo speaks to his father.

"Not this time. It's a private conversation." The King refuses him coldly.

Diavolo sighs. I'm grateful he tried and mouth a "thank you" to him.

The king leads me to a private room.

He sits down and I follow his lead. The atmosphere feels very stiff. I dread what he could do to me.

"First of all, I want to ask how you feel about your time in the devildom so far." His tone isn't harsh anymore.

I still feel intimidated by him.

"I enjoy it a lot here." I'm hesitant but honest.

He nods. "I'm glad then. Diavolo has scolded me for doing what I did and I realized that it was probably inconvenient for you."

I had no idea that Diavolo was standing up for me. It's very sweet. "It was certainly an experience but thanks to Diavolo and Barbatos' I have a lot of fun." I can't thank them enough if I'm honest.

"You are certainly one that adapts to whatever the devildom will throw at you. Despite that, I want to offer you to return to the human world. Diavolo said that it's the right thing to do." He seems to carefully choose his words.

I'm surprised to hear that. I didn't know that Diavolo was doing all of this for me. It wasn't easy for him for sure.

I take a moment to think about my old life in the human realm. How lonely I was, how empty everything felt. I was longing for something else. Some kind of connection.

"I wish to stay," I state clearly, without a single doubt.

The king nods. "I knew you would say that. I have indeed chosen well. I look forward to seeing you on my throne one day."

"I can't say that I'm very interested in the throne, but thank you." I try to say this politely.

"We will see. Regardless, I expect great things from you." He seems pretty pleased with himself.

"I'm wondering if there was any particular reason why you have chosen me?" This might be the only time I can ask him.

"Of course. I had a vision of you sitting on my throne." He says this so matter of fact that I can only stare at him in disbelief.

Now I can clearly see he is indeed related to Diavolo. Why was I ever scared of this man?

The king gives me a small chuckle. "I look forward to seeing you grow even more in the future. I'm sure you will exceed even my expectations."

Without letting me say anything else the king stands up and leaves.

He is truly an enigma.

I somehow feel relieved but also exhausted.

Before going back inside I decide to step outside just for a little bit. I feel the need to take a deep breath.

I find myself in the garden. It's dimly lit but I still can admire the stars. It's very beautiful, even though it's much different from the sky that I'm used to.

"Are you alright?" I hear Diavolos gentle voice and turn to him.

"Yeah, just taking a breath." I smile at him.

Diavolo nods and steps next to me.

"Did you decide to stay or to leave?" This question seems to burn him up. He doesn't even fully look at me.

"I will stay, of course, but thank you for allowing me to decide." As easy as my choice was, I'm happy that I had it this time.

Diavolo breathes out from relief. He finally faces me. "You know that you are stuck here for good now, right?" He seems to ask me if I'm sure of my choice.

"Before I came here I was all alone. I didn't miss anything at the time but ever since I came here I just felt more and more like a part of something good. I guess I was pretty lost in the human world but now I feel at home." I smile at Diavolo, hoping he will understand me.

He smiles gently at me."It's funny that I never even realized that I missed anything before you just showed up. Now I can't even imagine my life without you." He looks deeply into my eyes. My cheeks heat up. "Now where you stay I have something that I wish you to do. You see, my wish is for all the realms to become more friendly so I decided to make an exchange program. Students from all of the realms will soon arrive to study here. I want you to be a part of these students."

"Wait, you want me to become a student? Am I the right person for that?" I'm very surprised by his words.

"There is no better person than you. I can't even picture anyone else if I'm being honest. You already get along so well with the demon brothers and I just know everyone will love you." Diavolo smiles at me in his usual bright and shining way. He has made his mind up.

"I'm flattered but it's a big responsibility and does that mean the seven demon brothers are students too?" I still find it hard to wrap my head around it.

"There is no pressure. I want you to be a regular student. I understand that it's a big deal but I want you to love the devildom even more." Diavolo is so convinced by his idea that it's infectious.

"It's going to be a lot of work and studying right? I will have to suffer from Barbatos giving me lessons and from demons that want to eat me. The brothers will be a constant source of trouble." I smile and shake my head. "But there is nothing that I'd rather do." I end up agreeing to this frankly ridiculous idea. There is nothing better than this to support Diavolo and his dream.

Diavolo places a hand on mine. "Thank you so much for this. I won't be able to pay you back for this."

My cheeks are getting even hotter. "It's not a big deal. I'd do anything for you." I admit this, feeling a bit shy. I feel his hand holding mine tightly.

Diavolo smiles. "I feel the same way about you." Then he takes my other hand.

"There is one more thing I'd like to ask of you. As you demons can make pacts with humans and I wish to form a pact with you. This will put us as truly equal. So would you want to do this for me?" His words come with such ease and they are so tender. His gentle words almost make me cry.

I have no context for it but it feels so important. "I would be very happy to have a pact with you Diavolo." My voice is shaking with unknown emotions. I'm nearly overwhelmed by happiness.

Diavolo smiles so softly at me. I have never seen this smile on him before. "I'm truly glad that you are part of my life now."

Then something starts to happen, a feeling starts to overcome me. It's warm and powerful. I feel like my whole body is flooded by Diavolos aura. It's comforting.

I can feel that a part of myself is flowing into Diavolo.

Somehow I feel comfortable and fully at ease with myself. Somewhere on my body, I feel a warm circle forming, the proof of our pact.

Diavolo then lets go of my hands and the sensation is fully gone.

"Wow, that felt amazing." It truly was a great experience.

"It was truly amazing. I have never had a pact with a human before or with anyone for that matter." Diavolo says this so calmly that it's surprising.

"Am I really the right person?" This is a big surprise to me.

"Yes, first and possibly last. You should try to control me." Diavolo smiles calmly at me.

I'm still baffled by this revelation. "How do I do that?"

Diavolo shrugs. "I should have asked the demon brothers about this. We will figure it out but now I feel much more at ease."

"You are right, we are in it together after all." I smile at him.

He nods and then takes my hand once again. "Let's head inside before Barbatos searches for us."

______

I just noticed that the MC has never seen Diavolo in his demon form. They are in for a surprise for sure.

If I write demon ruler 201, I need to add that somewhere.

Also, take this as revenge for not giving me Diavolo as my pact demon *yet*.

In demon ruler 201 there will definitely be a pact with Barbatos too.

#obey me #how to become a demon ruler #omswd #obey me!#obey me diavolo #obey me barbatos #obey me shall we date #obey me fanfic #demon ruler 101

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asleepinawell · 3 years

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hiii not sure if it’s okay to ask a poi question but here it goes - i recall seeing you expressing (at least some level of) discontent with what Harold has done on the show (to root, to shaw and all those hypocritical decisions throughout). would you like to share more about your thoughts on this character? tks

always okay to ask poi questions. since the fandom is pretty small these days i was going to put my answer under a read more line so people could ignore it more easily if it’s a subject that bothers them but apparently you can’t add read more lines in ask answers? thanks tumblr! so if this is a topic that annoys anyone, please, just skip it. also, while some of this is facts or based on facts a lot of stuff is obviously my opinion and therefore not canon and not the only opinion etc etc.

in general, i wasn’t crazy about the way harold treated any of the other characters (with the exception of john who he had a pretty great relationship with). for root, there was the refusal to call her root, which i found very gross and uncomfortable (like, in general you should respect what people ask to be called, but also it was linked to the traumatic death of her childhood friend and he absolutely knew that so fuck that shit). he even said something along the lines of 'john reese is what you prefer to be called' to john right in the first episode? he was okay with using reese's fake name, but not hers because he made her identity into a power game.

he also tended to be..hmm, patronizing is the wrong word (and lbr root was extremely patronizing to everyone) but more that he treated her like ‘rehabilitating’ her was his pet project or something. i mean one thing that always struck me was his ‘what happened to you’ line in bad code and then the subsequent decision to put her in a mental institution instead of, you know, jail, which is where every other perp they ran into tended to go. he saw her as broken and flawed and in need of his help which, to me, came off as hypocritical and belittling.

also, putting someone in a psychiatric institution where they get pumped full of drugs when they don’t need to be? really fucked up! even if you argue root needed therapy/was depressed whatever, that’s not what they were treating her for. they were treating her for ‘delusions’ and ‘hearing voices’ which were...real things. like, the machine was speaking to her. harold knew that. he let her get put on all sorts of medication and put in solitary confinement and oh yes also her doctor was a really fucked up dude, something harold could easily have dug up if he’d bothered. also the whole ‘killing off a woman to advance a man’s character development thing’ is, uh, a bad trope. to put it mildly. i could write a lot more about his shit with root but let’s move on.

in some ways, his attitude towards shaw bothers me most. he consistently treats her like she’s violent and unhinged because she has aspd and despite the large amount of evidence to the contrary. she is, in fact, the most cool and controlled member of the team (not counting carter) and the least likely to go off half-cocked. shaw does play into this, but mostly only with harold and only through her words, not her actions. she knows what he thinks of her. when she’s captured by samaritan, harold gives up on her very quickly in a way he would never have done for john (and probably not for root either at that point). shaw’s reaction to sim!harold in 6741 of ‘did you even look for me’ says a lot about what she thinks he thinks of her. his whole ‘binary moral compass’ line to her is also, uh, heavily projecting. shaw and carter had the strongest moral compasses of the group. by a long shot.

moving on to the machine. so first and foremost, if you’re creating a sentient being, whether that’s having a kid or making a self-aware AI, you don’t create something with the intention of locking it up and ignoring it forever. (and he was creating her for the bush/cheney administration???? who TM pointed out was terrible if he somehow had managed to miss that. root called them something like the worst people imaginable and she wasn’t exaggerating). was it too dangerous to let TM be free from the get go? maybe! but then don’t fucking make an AI you think can destroy the world, buddy. there are a lot of reasons he made TM and none of them make this acceptable to me. once TM had clearly proven to be not a threat and trying to help he continued to ignore her and act like she was dangerous.

harold always needed very badly to feel like he had the moral high ground and not be the person who made a bad decision, which yes, is probably partly due to the trauma from what happened to nathan but that doesn’t make it okay when being paralyzed by being unable to make a decision got people killed. more than once! also, most of his morals got tossed out when they weren’t convenient. wouldn’t kill the senator to save the world because killing is bad! next episode he’s like if anything happens to grace kill all of them. cool story, still murder.

i wanna conclude this rant by talking about harold as a character vs harold as a person. meaning, harold as a fictional character who is used as a narrative device in a story as opposed to harold himself without the context of him being fictional. i don’t mind characters who say and do things i dislike. it’s very important to have characters you dislike as people imo. feels like an understatement. but lambet, for example, is a slimy asshole. the story is aware of this. he gets an ending a slimy asshole deserves. harold has a lot of flaws, and causes a lot of damage, gets his friends killed, and his stubborn refusal to budge on his arbitrary moral high ground lets samaritan take over and almost makes team machine lose. he gets a happy ending. with the woman he lied to (and caused a lot of pain and grief by lying to). root ends up dead, shaw gets tortured and fights her way back for root only to have her die which is kind of handwaved as ‘well she has tm with root’s voice good enough’, and john, after having rediscovered his will to live and have a life in the end of s4 goes right back to his whole dying for someone else thing. only harold gets the happy ending.

the show was actually pretty good at highlighting harold’s flaws and making them interesting, and then it kind of forgot that at the end in terms of story outcome. like, if harold had suffered enough to get a happy ending, then why didn’t anyone else get one? so my annoyance was with the narrative’s failure to satisfactorily conclude the characters’ arcs. (and for the record, i’m not one of the people who think he should have died. i don’t think it would have served a point. also death doesn’t equal redemption to me).

so, yeah, not a fan of him. don’t write him in my fics since my dislike would take time and focus away from writing about the people i do like. would probably be less bitter if they’d ended the show better. i was 300k words fic level of bitter. there was some post i saw going around recently about how if your found family show doesn’t end up with your found family together then you’ve kind of missed the whole point of found family and yeah, that.

#mp #asks #poi meta #don't send me hate messages or comments about this #i will just block you without responding #too tired for fandom discourse #i said at the beginning don't read if it'll bug you #so if you did anyway #that's on you #Anonymous

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a-little-slice-of-fandom · 3 years

Note

I’d love to hear your thoughts on the Irish-ness of Dracula, if you wanna ramble about it!

(Okay I just want to apologise for how long this took to answer because I know it’s been sitting in my inbox for over a month but..depression and work happened and I just didn’t have the time or energy to complete it. I seriously do apologise for this but I hope you enjoy the post anyway!)

So the first thing I need to clear up is this: the concept of a monster or a demon that feeds upon the life force of humans is not limited to one singular culture or folklore. In fact, this core concept is a wider cultural phenomenon and variations of it exist across both countries and continents. And no one country can take sole credit for the this core concept of vampires. Anyone who tries to claim otherwise either doesn’t know much about vampires or is intentionally being disingenuous. There can be cultural variations that are specific to certain folklores (and to just blatantly steal these would be cultural appropriation), but the main idea of vampires exists across a wide range of folklores and no singular person, group of people or culture can take credit for the creation of vampires.

However, arguably it was the work of Bram Stoker that aided in the solidification of the concept of Vampires that we know today. While there were other authors from a wide range of nationalities who wrote about Vampires before Stoker (including John William Polidori who wrote the Vampyre in 1819)...Dracula is the best known. (Now I personally believe that’s because Dracula is an absolutely banging novel, although I do concede that the prevalence of adaptations of Dracula from the 1920’s to today helps keep Dracula in the forefront of audiences minds.) In addition, it’s important to remember that Stoker was inspired by another Irish author Joseph Sheridan Le Fanu, who wrote the novel Carmilla. As far as I know, Le Fanu and Stoker actually worked together on a magazine!

Another thing I think that needs clarification is the common belief that Stoker heavily/religiously based Dracula on the historical figure Vlad the Impailer. This is heavily debated by scholars. While there’s an obvious, undeniable similarity between the names of these two...the similarities start to wain after this, with only small similarities between the two and there’s even literal contradictions between the history of Vlad the Impailer and Dracula’s history in the novel. In fact, there’s not much indication that Stoker based the character Dracula off Vlad the Impailer, or even that he had a working knowledge of Vlad the Impailer beyond the name. In all 124 pages of his notes, there’s nothing to indicate that Stoker’s inspiration for Dracula came from Vlad the Impailer.

(Plus Dracula in the novel wasn’t even originally called Dracula...he was called Count Wampyr in the original drafts of the novel and this was only changed, from what I can gather, in the last couple of drafts.)

In fact, I’d personally argue that that connection between Vlad the Impailer and Dracula is actually something that’s been retroactively added by other artists, for example the 1992 film “Bram Stoker’s Dracula” heavily leaned into this idea that Dracula and Vald the Impailer were one in the same, and as time has progressed people assume that these elements were in the original novel when that’s simply untrue! Stoker didn’t write that! It’s a retroactive addition by other artists that’s just assumed by the masses to be canon. This phenomenon is actually super interesting and it’s absolutely not limited to Stoker’s novel Dracula/the modern day perception of Dracula (another example would be Mary Shelley’s version of Frankenstein versus the modern day perception Frankenstein). I’m not sure if there’s a word for what this is, but I like the term “cultural canon”, where something that’s been added in by other artists has become as good as canon within the minds of the masses and as such is ingrained within the cultural perception of something, despite it having no basis within the original piece or even directly contradicting what is in canon.

(Now I’ll absolutely concede that Stoker taking the name of a historical figure and possibly their likeness from another country and making them into a literal monster is something that should be discussed. I don’t know how Vlad the Impailer is viewed within Romania - whether he’s viewed positively or negatively or a mixture - but regardless he was a historical figure and Stoker did eventually use that name for his own creative purposes. Again, Stoker didn’t say that Dracula and Vlad the Impailer were the same person, that’s other artists doing, but there’s still issues with Stoker that needs to be discussed)

Now, I’ve seen people talk about how Stoker took a lot of inspiration from the Baltic folklore surrounding vampires for his novel, but I don’t really know this folklore very well and therefore I don’t feel like I’m qualified to discuss it. If anyone is more well versed in this topic wants to add to this post then they’re more than welcome to! I don’t deny that Stoker too inspiration from places other than Ireland (like the novel is set in Whitby) but I just feel like people over hype the relation between stokers Dracula and Vlad the Impailer.

Now, onto the Irish mythology side!

So the most obvious inspiration for Dracula comes from the story of Abhartach. here is a link to an actual, respectable retelling of the story of Abhartach which I’d highly recommend people read (it’s really not that long) but the key points go as follows:

There was this Irish chieftain called Abhartach, who was really cruel and the townsfolk didn’t really like him. So, the townsfolk and another cheiftain (known as Cathain) banded together to kill Abhartach. They did succeed in killing him (yay), however, Abhartach just sort of...rose from the dead and began another reign of terror (not yay). However, Abhartach needed to be sustained by blood and required a bowlful every day to sustain his energy. Cathain comes back and kills Abhartach once again, but Abhartach rises from the dead once more and now needs more blood. Abhartach is only banished when Cathain uses a word made from yew wood and wounds Abhartach with it. Abhartach is buried upside down with a grant stone over the grave to stop Abhartach rising once again.

Sound familiar? The similarities between Abhartach and Dracula are undeniable! Yes, there’s some differences between the two but the core story here is almost identical. I could totally reword that paragraph, omitting the names, and it would be indistinguishable from a short summary of Dracula! Even the way that the main characters find out about the wooden weapon that can kill the monster is similar, as both Jonathan and Cathain go to wiser and older members of their community to learn more.

(Also please mythology blogs don’t come for me I know my retelling was an incredible oversimplification but I’m writing on my iPad and my thumbs are starting to hurt. People have wrote full papers on the similarities between Dracula and Abhartach and there’s so many more people more qualified than me, I’m just an 18 year old trying to make a fun and interesting tumblr post. Again, if anyone wants add anything like extra sources or more information or even to point out my mistakes then I more than welcome the additions)

Another piece of folklore that’s also said to have inspired Dracula is the Dearg Due. Now there’s multiple different versions of the tale, but the version I have heard goes like this:

There’s a noble woman who wants to marry a penniless peasant boy, but her dad disapproves and wants her to marry another man who is much richer. The rich man and the noble woman were eventually married but the woman didn’t love the rich man. In retaliation, the rich man locked the woman in a windowless castle where she starved to death. The woman was buried by the locals who took pity on her, but because she was buried hungry she came back to life and drank the blood of her father and her husband as revenge. The version I heard says that the dearg due now basically wanders ireland drinking the blood of men who have hurt or wronged women (as one should) but there’s other endings to the story.

(Again is anyone has a reliable source they want to share then please feel free to add!)

So this is another Irish piece of folklore that clearly includes some elements that we now associate with vampires. Now people (including Wikipedia) claim that this story was specifically what Stoker based Dracula on, and while I definitely think that Stoker was aware of this story and took inspiration from it, I personally think that the Dearg Due inspired the concept of Dracula’s wives more than Dracula himself.

However the key point still stands: Stoker was likely aware of these legends and even the most staunchly anti-Irish person would have to concede that there’s similarities between all three stories. And very rarely are these similarities discussed in classes about Dracula...which I feel is a real disservice. I don’t think students should have to have an intense knowledge of Irish mythology (my knowledge is spotty at best) nor do I think it should be an exam question...but even a brief acknowledgment of “hey, Stoker was inspired by these stories and you can clearly see similarities between them” would be nice. Moreover, it further solidifies my original argument that Stoker was, at least to some extent, Irish and that his Irishness inherently influenced his work.

Also...the social context of what was going on in Ireland in this period can’t be ignored! Again, while Stoker did spend time in both England and Romania, he spent a lot of his life in Ireland and therefore would have known what was going on in his own country.

Dracula was published in 1897, which is exactly 50 years after the worst year of the Irish Famine/ The Great Hunger/An Gorta Mór. Now I don’t have time to do a whole history of the Great Hunger but the effects of the famine were greatly exacerbated by the horrific mismanagement of Ireland by the British government and the British system of ruling in Ireland. How many people died during the famine isn’t clear, but we do know that the population of Ireland at the time was 8 million and the population today is 6 million...200 years later and we still haven’t recovered. So while we all like to joke about the fact that Stoker wrote about an unfeeling member of the aristocracy literally feeding off others with no remorse and basically ruining their lives...are we really going to pretend that there isn’t social commentary there? Scholars specifically think that Stoker was commenting on the absentee landlords (basically British aristocrats who owned land in Ireland but didn’t live there and as such didn’t care about the well being of their tenants) who would often have tenants forced off the land when they couldn’t pay rent...despite the fact that their tenenants were already starving and had no money because their only source of food and income failed.

(I’m not being shady by the way, I also love to joke about the social implications of Dracula, but I feel like people forget that the jokes have actual points behind them)

There was also a cholera epidemic in Ireland in 1832 which is generally accepted to be one of Stoker’s biggest inspirations. You can read more about the epidemic here if you wish, but I’ll summarise what I feel are the key points. Not only was Stoker’s mother from county Sligo and lived through this cholera epidemic, but Stoker also asked her to write down her memories of the epidemic and used her accounts to aid in his research of the cholera epidemic. Now the fact that he was actively researching this should indicate that it would influence his work, especially considering the situation in county Sligo was incredibly morbid. There’s accounts of the 20 carpenters in Sligo town being unable to make enough coffins to keep up with the amount of people dying, resulting in hundreds of dead bodies just lying on the street. However, the most horrific account from this epidemic was the stories of terrified nurses placing cholera patients into mass graves while they were still alive. Stoker himself literally stated that Dracula was “inspired by the idea of someone being buried before they were fully dead”. So while at first there seems to be very little relation between the novel and a medical epidemic, it quickly becomes clear that Stoker’s fascination with this historical event influenced his writing.

My overall point is that Stoker’s irishness inherently influenced his writing. Writers don’t write in their own little bubble, divorced from the world around them, their views and work are shaped by their position in society and their upbringing (it’s why I dislike death of the author as a literary theory). So when people try to claim that Dracula is a piece of British literature...it indicates either a lack of understanding of the context in which Stoker was writing in or a wilful ignorance founded on colonialist ideas. His influences are so obvious to me as an Irish woman but they rarely get discussed, and even if they are it’s seen as overreaching! To call Dracula British literature and to ignore the inherent Irishness of the novel does a great disservice to Stoker!

Anyways I really hope you enjoyed this discussion my love! Once again I apologise for how long this took to write. Also I’m sorry if this comes off as argumentative or anything, that absolutely wasn’t my intention, I just have a particular style of writing long posts haha.

#dracula #bram stoker #irish literature #british literature #bram stoker’s dracula #gothic #gothic literature #ask #ask answered #anon ask #anonymous ask #anon #anonymous #being irish is my only personality trait

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turtle-paced · 3 years

Text

A:tLA Re-Watch: Fine-Toothed Comb Edition

Warning for a heavy episode. This brightly-coloured family show full of optimists and strange critters has a setting built on a genocide.

Book 1, Chapter 3 - The Southern Air Temple

(0:55) Previously on Avatar, Katara and Sokka found Aang in an iceberg. They realised he was there for a hundred years, making him the last known airbender. Katara and Aang decide to go to the North Pole to learn waterbending, Zuko in pursuit.

(1:43) The establishing shot here tells us that we’ve come a decent distance from the South Pole already. There’s no ice in sight.

(1:50) However, Katara is still in a thick winter coat. Partly this has got to be because she doesn’t have other clothing. This is still worth keeping track of, as the recurring cast often change their outfits (according to the weather and cultural demands), usually while keeping the same general ‘look’. There are, however, exceptions.

(1:59) Katara gently tries to manage Aang’s expectations. She still has more information than Aang does about recent history, but what she says here in the face of Aang’s excitement is, “A lot can change in all that time.” This episode will get into showing us the double-edged nature of Katara’s greatest virtue and deepest flaw. Which, in the tradition of many excellent characters (and definitely in keeping with the main cast of the entire series), is the same character trait.

Meanwhile, poor Aang. What an optimist he is - his reaction to learning that he woke up a hundred years in the future is to race home and see how everything’s changed, because it might be really cool and he wants to show his home off to his new friends! In some ways it’s really easy to look past how well Aang handles waking up a hundred years in the future. He’s not openly preoccupied by the fact that it’s likely that everyone he knew and loved is dead, but concentrating on the good stuff he has right this minute.

Like Katara, Aang’s greatest flaw is an extension of his greatest virtue. Aang is fantastic at focusing on the here and now, on the positives of his situation, on keeping his spirits up. Though as we’ll see, this is vitally important in how he stands up under incredible pressures, we’ll also see him ignore real and potential problems coming down the track. Like right here, when despite knowing how shocked everyone was to see an airbender, he ignores Katara’s hint that he’s not going to like what he finds here.

(2:17) Sokka is definitely a teenage boy. Lots of sleep and lots of food required.

(2:27) “There’s a prickle snake in your sleeping bag!” What I’m taking from this is that the fauna of Avatar world was still a work in progress at this point, because they’re not talking about echidna-snakes or porcu-snakes or hedgehog-snakes.

(2:36) We pan over a shipyard full of clearly Fire Navy ships. Even before the details of the flag come in view, there’s the industrialisation, there’s that harsh colour palette, there are those spiky, spiky ships. Plus there’s the horn. The production team is training us to associate these things with Fire Nation.

(2:39) Then the pan across hits Zuko’s ship. This is some brilliant recontextualising of the threat Zuko posed in the previous two episodes. The ships in dock at this timestamp are to Zuko’s ship what Zuko’s ship was to Katara, Sokka, and Aang last episide. It’s also visibly more battered than the others. Yet Zuko is a prince! Three seconds, not a word spoken, and the show’s visually raised some questions about Zuko’s relationship to his nation’s war effort.

Also worth mentioning is the fact that in this episode, Zuko’s ship is a noticeably lighter shade than Zhao’s black metal fleet. Still the bad guys, but that one’s a solid tip that Zuko is the less bad guy. Combined with the aforementioned beat-up ship, this recontextualises Zuko himself. Katara later says that when she thought of the face of the enemy, it’s Zuko she thought of - but the viewer’s got more information than she does, and can see he’s not the operator of the war machine.

(2:48) Zuko orders Iroh not to discuss the Avatar in Fire Nation territory, thus indicating for us that the Fire Nation characters are not all working together for the same goals.

(3:00) “Captain Zhao.” “It’s Commander now.” Another quality introduction! Zuko’s address of Zhao by the incorrect rank shows he’s out of the loop. Zhao’s correction shows us the upwards movement and the importance of his own power to him, the pleasure he takes in this emphasised by the acting. Five words!

The show follows this up by giving some context on Iroh. Zhao greets Iroh as a general and “great hero” of the nation, but where pretty much the first thing out of Zhao’s mouth was “Commander Zhao,” Iroh says that he’s retired, deflecting the praise of his previous career. Zhao also helpfully exposits that Iroh is the Fire Lord’s brother, so we’re clear that Iroh is Zuko’s paternal relation. We haven’t had the same signalling that the Fire Nation is patriarchal that we’ve had with the Water Tribes thus far (we haven’t actually seen a female Fire Nation character yet, and won’t for a while), so it’s still a little hard to know where Iroh stands vis-a-vis inheritance.

(3:10) Zhao refers to the harbour as his harbour. While it saves the writers having to come up with a disposable place name, it again goes to indicate Zhao’s possessiveness of authority.

(3:21) In something that will eventually provide an excellent contrast with Azula, Zuko shows himself to be a terrible liar. Iroh’s not much better. Not in this situation. Man can keep his secrets, but I suspect the real secret is never being asked difficult questions.

(3:47) A rare instance of Iroh hauling Zuko up short and flat up telling him what to do. Show respect. A bigger deal once you know Zuko got a fireball to the face for being disrespectful/‘disrespectful’ in a meeting with military figures. However, given that Zhao controls the harbour, probably necessary for Iroh to step in.

(4:10) Sokka complains about a lack of food supplies. We don’t always need to know where the gAang is getting food, because the show reliably brings up supplies when they’re an issue. We’ll also see this as an issue more in season one, when Katara and Sokka are still getting used to travelling. By the time we hit season three, the group is much more confident in their ability to secure supplies even in areas they don’t know well.

On top of this, Aang’s use of Sokka’s jerky as kindling is the first part of the understated running gag that Aang just does not like Southern Water Tribe cuisine. Vegetarianism aside.

(4:40) Katara gets a bit more blunt about what’s likely at the Southern Air Temple. This is the first mention of the fact that Katara and Sokka’s as-yet-unnamed mother was killed in a Fire Nation raid. Remarkably for a kids’ show, they actually say that Kya was killed and discuss the fact that the Fire Nation might have killed all the airbenders.

For Aang’s part, this is a bit repetitive, but the new info about Katara’s family situation keeps the plot and character development moving along.

(4:58) At the same time, for all the flack he gets about being naive, Aang’s rebuttal isn’t “people wouldn’t be so cruel!”, he’s arguing that the Air Temples are literally inaccessible without airbending in some form and that therefore death on the scale Katara thinks might have taken place is logistically impossible.

(5:20) The setting design in this series is amazing, and the Southern Air Temple is actually kind of meh by the series’ later standards (Western Air Temple is where it’s at, IMO). That said, you wonder how much pre-war architecture outside the North and South Poles was a joint effort between different types of benders. In a really nice detail, you can see the airball field from this shot.

(5:36) “And by year’s end, the Earth Kingdom capital will be under our rule.” Zhao implicitly puts the series on a timetable here, even before we get the details.

Tellingly, when we pan out, Zuko is not engaged in this assessment. He’s literally got his back turned. He’s doing bad things for bad reasons, but it’s not naked imperialism fuelling his determination. We’ll get into what Zuko thinks about the war effort a bit more in season two, when he starts actually thinking about the Fire Nation’s war, more critically and carefully than he expresses in his next line.

In the meantime, a) it’s the height of privilege that Zuko can turn his back on this and b) I do wonder if Zuko’s criticism of his father here wasn’t some early instalment weirdness, with the writers not having quite nailed down the dynamics between Zuko and his parental figures.

(5:48) “Two years at sea have done little to temper your tongue.” So! First, more timeline for us. Second, the implication here is that Zuko was known to be outspoken. Imprudently outspoken.

(6:03) Once again Zuko can’t lie very well, but unlike that moment when he was just getting off the ship, this isn’t played for laughs. Zuko can’t lie very well, and that’s serious. Also, Zhao confirms the Air Nomad genocide over here in the B-plot, while over in the A-plot we’re still waiting for that painful shoe to drop. Builds tension - it’s not just Katara’s suspicions anymore, but straight from the mouth of a Fire Nation commander.

(6:19) Can’t help but notice that Zhao is a firm believer in the Avatar’s power. The man has done his spirit research.

(6:23) “If you have an ounce of loyalty left, you’ll tell me what you found.” More implications that Zuko is not perceived to be totally on board with broader Fire Nation goals. If he was, why would his loyalty be in question?

(6:38) Zhao halts Zuko here as his men report that they interrogated Zuko’s own soldiers offscreen. So this entire thing was never about how well Zuko could lie, but Zhao giving Zuko enough rope to hang himself. Zhao ends up being lower stakes and lower competence compared to the endgame villains, but man, even now, the villains of this show do not mess around.

(7:06) Speaking of early-instalment weirdness, not sure the writers worked out quite what to do with Sokka this episode. He’s basically a running gag in this episode, almost entirely lacking in depth and nuance. Almost entirely - I’ll point out those moments when we get to them.

(7:22) For all Aang believed his people might be alive, he can’t deny the emptiness of the temple.

(7:33) There we go! There’s the depth from Sokka that repeated “I’m hungry” gags don’t get through. Sokka sees that Aang is depressed, and asks a question about something Aang genuinely enjoys. Followed by the cut to Aang thoroughly kicking Sokka’s ass at a sport designed for airbenders.

(7:53) Sokka let Aang kick his ass at an airbending sport for seven rounds.

(8:06) More nuance from Sokka as he and Katara find evidence of Fire Nation soldiers on temple grounds. He says that he and Katara should tell Aang, but when Katara decides otherwise, he doesn’t overrule her and force the confrontation. He respects that Katara’s got the better relationship with Aang. At the same time, his call-out of her failure to tell Aang is a pretty gentle one that recognises why she doesn’t want to tell him.

This is what I mean by Katara’s greatest strength also being one of her most severe character flaws. She’s so driven to help and protect the people she cares about - but this occasionally veers into being overprotective.

(8:49) Sokka continues to argue that Katara should tell Aang after the cut. Goes to show some of the differences between the siblings. Katara puts her friend’s feelings first, Sokka prioritises truth and facts. Handled badly, I’m sure we can all see how this could be extremely sexist storytelling.

Here, though, the story appreciates that the harsh truth of what happened to the Air Nomads is unimaginably harsh, and should be broken appropriately. Aang needs to know the truth, and Aang deserves emotional consideration for the impact of that truth. Katara’s not wrong to be sensitive about a sensitive subject; she’s just wrong in taking that last step in lying by omission.

(8:57) Aang introduces Monk Gyatso via statue, so we have some idea of Aang’s family situation. Note the outfit.

(9:06) Cut from the solemn and wise statue to Gyatso imparting important cake-baking airbending techniques to Aang. These are some priorities I can get behind. And frankly you can see the similarity between the teacher who uses airbending to help with baking, to Aang who uses airbending to get bison snot out of clothes. Practical, everyday use.

(9:22) “The only mistake [the monks] made was telling you before you turned sixteen.” More implications! Aang was told about being the Avatar very young. Reasoning left obscure. It’s also giving some texture to the Air Nomads; they’re not idealised, but capable of making ordinary human mistakes right off the bat.

(9:29) “We must act on what is,” Monk Gyatso says, which is also clearly something else Aang took to heart. The pan over the Southern Air Temple as it was a hundred years ago is also pretty heartbreaking, with all the greenery, and the bison, and the people.

(9:47) Next plot flag, guide for Aang in the inner sanctuary.

(10:08) I strongly disapprove of wasted cake. Though as we see, Gyatso was trying to maintain Aang’s sense of fun and improve his aim, both of which are legitimate goals.

(10:54) Aaaaand Sokka’s back to being a food joke.

(11:58) More hints at Zuko’s status given that Commander Zhao feels pretty safe calling the Fire Lord’s son pathetic.

(12:10) This gives us another layer of complexity in Zuko’s plot this season. He’s now competing with Zhao to find the Avatar. More than that, he’s the underdog here, compared to the much better resourced Zhao.

This is some vital positioning to maintain audience engagement in the heel part of Zuko’s slow heel-face-turn, where the risk is people turning off Zuko as he does bad things for bad reasons. We don’t meet Zhao from Aang, Katara, and Sokka’s point of view, where he’d be pretty similar to Zuko in some important ways. We meet Zhao from Zuko’s PoV, so we’re clear on how Zuko is better by comparison, and so we barrack for Zuko to continue to show those better qualities.

(12:30) In a rare background detail failure, not many of these Avatar statues appear to depict female Avatars.

(13:07) A characterisation detail for Aang I like. Upon realising that every statue here depicts one of his past lives, he doesn’t appear to feel it as an oppressive weight - no, he treats it as a Cool Thing.

Meanwhile, Sokka doesn’t believe in reincarnation. While hanging out with the Avatar.

(13:21) Our first look at Roku. (Next to him, it’s Very Definitely Not Kyoshi. Early instalments!)

(13:31) And the exposition! Now we know who it was vanished from that spire in the intro.

(13:45) The show frames Aang’s knowledge of Roku’s name as a sign of their connection, past life to reincarnation. Personally, I would have thought that especially in Aang’s time, people would have been quite likely to know the name of the previous Avatar. Given that Katara and Sokka were both born a hundred odd years after Roku died, and grew up in a very isolated place, I can believe that they wouldn’t have known Roku’s name.

(14:00) Even in the middle of the Southern Air Temple, the kids immediately hide when they hear footsteps and see a shadow, assuming it’s a firebender approaching. That’s how cautious they are already.

(14:17) Introducing Momo!

(15:23) What starts riling Zuko up here is Zhao treating him as inconsequential. Kid covers up his deep-seated self-worth issues by insisting on the external validation.

(15:33) Aside from Zhao emphasising the disparity in his and Zuko’s respective resources, Zhao also tells us that Zuko is formally banished.

(15:38) But then Zhao gets to the heart of Zuko’s issues. “Your own father doesn’t even want you.” We’ve seen this episode that Zuko’s got the one battered little ship. We know from the previous episodes that Zuko needs to capture the Avatar, and heard his desire to return home. Now we get the concrete info that Zuko’s dad kicked him out.

Again, this is all important in setting up Zuko’s long arc. This kid is being treated horribly by a representative of his own nation. The viewers are already being given reasons not to want to see Zuko defeated, but to want him to get out.

(15:47) When Zuko maintains that his father will welcome him home with honour if he just captures the Avatar, Zhao immediately undermines that idea by telling Zuko that if his father really wanted him, he’d’ve just rescinded the banishment without conditions. He’s Fire Lord, he can do that. This is another case of both sides being right here! Ozai does eventually welcome Zuko home with honour for ‘killing the Avatar’ - but by then Zuko’s got an inkling that Ozai’s acceptance is 100% conditional, and his father does not truly want Zuko back or care for him as a person. Because if he did care about Zuko as a person, he’d never have done any of the things he did in Zuko’s backstory.

(16:01) Zhao says that Zuko’s scar proves he’s a failure and a disgrace. Details left out. It’s enough to connect Zuko’s scar with his banishment, though.

(16:07) The introduction of Agni Kai, which is clearly a duel.

(16:17) Iroh asks Zuko if he remembers the last time he challenged a master. Zuko replies in the affirmative as we pan from the unscarred side of his face to the scarred side. Again, implications. Combined with Zhao’s earlier comments about Zuko’s time at sea not tempering his tongue, we actually have a decent picture of the events leading up to Zuko’s banishing, here in episode three. We definitely have the implications that Zuko said something, fought a duel against a master, lost (or he wouldn’t be a failure), and was scarred.

The show won’t confirm this for another ten episodes. But the backstory’s there.

(16:32) Meanwhile, back in the A plot, Aang chases Momo around the ruins of the Southern Air Temple.

(16:41) And comes across a rather grisly sight for a kids’ show. There are a lot of bodies in the room Aang walks into, arranged so it’s clear this was no accident.

(16:49) Gets worse as Aang spots Gyatso’s distinctive necklace (which was in focus on the statue earlier). There’s no good way to find this out, but Aang stumbled into the scene of his parental figure’s violent demise. Again, with the context of ‘The Storm’, this is way, way worse. It was already bad.

(17:07) Aang is understandably distraught, and unfortunately distraught untrained Avatar = Avatar state.

(17:22) As Katara wanders through the sanctuary and its depictions of past Avatars, she sees the eyes of the statues light up and knows that something’s up with Aang.

(17:26) Cut to elsewhere (definitely Earth Kingdom), followed by what must be the Northern Water Tribe, and the Fire Nation, where their depictions of Avatars are also lit up. Note that the Earth Kingdom’s mural definitely looks more like Kyoshi.

(17:35) The sages at the Fire Nation temple spell it out - this is inarguable proof that the Avatar’s back. Again ups some tension for us. The Avatar’s return is now public knowledge, and we know more people than Zuko and Zhao will be after our protagonists.

(18:03) When not reduced to a running gag, Sokka is already super quick on the uptake - he put together that Aang discovered his mentor’s corpse from the outfit, too, it seems.

(18:35) Iroh instructs Zuko to remember his firebending basics. We’ve already heard one - the breath.

(18:50) This fight scene helps us do some assessment of how dangerous Zuko and Zhao are in straight fights. Initial threat scaling - we’ll get more information over the course of the season. In the meantime, enjoy the choreography! One of the reasons the fight scenes are great is because the writers and animators did their research into the martial arts styles that bending is based on; another is because they don’t lose sight of the fact that characters are involved, with differing temperaments, goals, and skill sets. Avatar fight scenes convey character as well as progress plot.

Over the brief course of this fight we see Zuko start very aggressively, lose breath control, and get reminded to break Zhao’s footwork. That is, he’s not paying attention to Iroh’s basics. When Zhao counterattacks, Zuko’s defensive work is noticeably weaker than Zhao’s, basically tanking the fireballs on his forearms and torso while he gets pushed backwards (Zhao manages to break fireballs apart or split them well in front of him and away from his core, without losing ground).

(19:40) We can see Zuko’s fear as someone aims a fireball at his face. But with that, he turns the tables, gets up, and starts a counter-counterattack. Aimed at Zhao’s feet, as Iroh said to do. Zuko does not win this fight on skill alone - he wins because when he gets knocked down, he gets back up and tries again, applying the lesson of his previous mistakes. Could this be Zuko’s arc in miniature? I think it might be!

(20:15) Given a free shot at Zhao, Zuko declines to so much as scorch one of his earlobes. A gesture Zhao was not willing to make bare seconds ago, and going by the scar, also not a mercy extended by Zuko’s previous opponent. This is why he’s the less bad guy right now - Zuko’s not hurting people, not even his enemies, just because he can.

(20:29) Cheap shot from Zhao there, so we know he’s not one to accept when he’s lost.

(20:32) Completely cancelled by Iroh, out of fucking nowhere, who effortlessly knocks Zhao on his ass. Like I said, initial threat scaling. Early season one, the extent of Iroh’s abilities are hinted at rather than showcased.

(20:52) “Even in exile, my nephew is more honourable than you,” Iroh says. He also thanks Zhao for the tea.

(21:03) “Did you really mean that, Uncle?” Zuko asks, once they’re out of Zhao’s earshot. There speaks a young man who does not often get positive feedback from anyone, and who can’t believe someone was sincere about their public praise.

(21:08) Iroh implies that he meant it, without explicitly saying so. It’s graceful - gives Zuko that confirmation, but doesn’t put Zuko in a place where he has to accept a compliment he’s not ready for or equipped to handle.

(21:15) Meanwhile, back at the A-plot, we’re seeing Katara at her best. It’s true that her desire to protect Aang didn’t work and didn’t help. We don’t leave off on the ‘greatest weakness’ part, but on the ‘greatest strength’ part. She empathises with Aang’s pain and offers of herself to help Aang. “Sokka and I - we’re your family now.” Without hesitation.

(21:38) The Water Tribe siblings step closer to each other for reassurance once the threat of being blown off the mountain has receded. Little things like that show you how close Katara and Sokka are.

(21:46) Again, Sokka’s got Katara’s back in her decision that Aang is now family. He doesn’t initiate like Katara does, but he’s on board.

(21:53) The first thing Aang says is “I’m sorry.” I can’t help but think that the uncontrolled Avatar State must really, really suck for Aang. It’s not gone into in any detail, but how bad must he feel that he endangered his new friends and further damaged the temple? His first words here are to apologise to others, rather than continuing to manage his own grief.

Aang is a very thoughtful person in many ways.

(22:03) Not stupid, though, as he can see that if the Fire Nation targeted the Southern Air Temple, chances are good they got to the others as well. Katara hugs him as he tries to deal with the fact that he is the last airbender.

(22:17) Aang emphasises the fact that he’s going to need some help from Roku. Just throwing that out there for future plot.

(22:44) “You, me, and Appa are all that’s left of this place,” Aang says with what seems rather likely to be a faked smile. He and Katara laugh at the newly-named Momo’s theft of Sokka’s fruit.

(23:04) But the fact that this doesn’t erase Aang’s grief is emphasised by the end of episode, where he silently watches the ruined and empty Southern Air Temple recede into the distance. Even though he’s good at putting up a front and focusing on the good things that are, the loss of his home and people will underpin Aang’s character for the rest of the series.

This episode is a damned important one, and the importance comes out more when looked at holistically rather than my running commentary above. For Katara and Sokka, this episode gives the key detail of their mother’s death, and gives them that solid and explicit emotional commitment to Aang that will provide them with motivation for sticking with him all series, but this isn’t their episode.

This episode kicks Aang out of his past and locks Aang into the hero’s journey in the A-plot. Meanwhile, in the B-plot, it sets Zuko up not as a primary villain, but as a deuteragonist, catching us up on how he too has been kicked out of home and left to quest. This episode shows us why neither protagonist nor deuteragonist can go home again.

#a:tla #cw: violence #cw: abuse #fine toothed comb edition

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inawickedlittletown · 3 years

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Buck and Maddie in 4x03 - meta

Notes: the first of my meta for this episode...obviously there be spoilers here.

There are all these secrets surrounding Buck. First we have the whole thing with the “covid crush” and the reveal that it’s actually a therapist. And I really really love that for Buck. I love the perspective that this is given in normalizing therapy and in Buck having realized that not only is it healthy and normal, but that it would help him. And we can see that in how despite hiding it for a while, Buck does come clean about it to Maddie and Chimney. We’ve seen that this is something he wants to keep close to the vest, that he isn’t fully comfortable talking about and I like to think that he gets to the point of wanting to come clean about it due to the therapy.

The response he gets is interesting.

Chimney’s makes sense, he points out that all of them have been to therapy due to their jobs and it isn’t something to be ashamed of. We know that Maddie has and Chimney implies he too has had his time in therapy. But also, we know Buck has as well. Back in S1 where he was sexually assaulted and in S3, he heavily implies that he had gone to see Frank at some point or at least knew him.

Maddie, however, immediately grows concerned. It’s understandable because for someone to need therapy there must be something wrong and Buck was hiding it. But Maddie immediately asks “why did you lie” instead of “why didn’t you tell us” which makes it seem like Buck was the one to tell them he was dating someone whereas the past couple of episodes have clearly shown us that it is Chimney and Maddie that keep pressing Buck about his “covid crush” without him confirming it and outrightly denying it. He never lied. He just didn’t tell them what he was doing. He’s an adult and he has a right to his privacy especially with something this personal. So right off the back, Maddie’s response isn’t the best.

“It’s not about the job. It’s about me...everyone has issues,” Buck says and Chimney makes light of it by pointing out that maybe parents should have a fund for therapy instead of school for their kids.

I really love what Chim says here because he is trying to lighten the moment, but he also brings up the idea that parents screw up their kids and that they’re the ones likely at blame for those kids growing up to need therapy. Chimney at this point doesn’t really know anything about the Buckley parents and yet he is insightful. He’s right on the nose on all of it.

The moment is tinged with awkwardness that mostly seems to come from Maddie. Chimney is acting normal and Buck is acting as normal as someone that shared something major and personal should be. Maddie, though, is bothered. And for someone like Maddie who was a nurse and who personally knows how therapy can help and who has gone through multiple different therapies, she is very put off by Buck speaking to a therapist. It’s very unlike Maddie.

And then Maddie goes to see Buck at his place. She shows up unexpectedly, seems to have some idea that Buck wasn’t comfortable talking about the therapy thing with Chimney even though it was Buck that brought up the therapy thing in the first place and the whole scene just seems like Maddie is waiting for Buck to come out and tell her that there is some real traumatic reason for it. Even when Buck tells her there is nothing to tell she expects something and then Buck says “It’s all your fault” and Maddie’s face gives away some surprise. Her “what” is full of shock and she’s expecting something other than Buck saying that she called him “sad and lonely”, but she relaxes then.

Buck explains himself. He talks about Abby and about how he didn’t stop being sad or lonely after talking to her and about how he does know he has people but that it doesn’t stop him from wondering if he won’t have them at some point. He can’t trust that he’ll keep his family which says more about the people that have been in Buck’s life that have left him than about Buck even if Buck might see it differently.

Then Buck says: “The world is an uncertain place. You have to protect yourself. Thanks, mom and dad.” And all of that is connected, right? So is this something that their parents taught them? Not by trying to protect their kids from the world but by they themselves being the thing they needed to be protected from?

I have never subscribed to the idea that the Buckley parents were abusive and in this episode we are told they were not. But we know from Buck later on that they weren’t good with kids, that they were more interested in each other, and so it seems obvious that what Buck feels is abandonment from the two people that should never have made him feel that way. Buck has expressed feelings of being left behind before when saying to Maddie that he’s the one left behind in S3. So, he’s learned to not hold onto people or trust that they will remain because he’s used to being left. All of this is very consistent with his character. He’s been left by his parents, by Maddie, by Abby, by Ally...and who knows who else during the time before the 118.

Maddie seems insistent on wanting to help Buck which is great except that it’s also strange that she almost doesn’t seem to believe that therapy is the right answer. It makes me wonder about what Maddie thinks Buck will find by talking to a therapist. She asks him if he’s told their parents about the therapy which implies that both Buck and Maddie are at least communicating with their parents regularly enough. It also gives us this idea that Maddie expects a certain type of reaction from their parents about Buck seeing a therapist. Which leads to the question of what type of thing — perhaps some sort of buried memory — Maddie expects to come out.

Buck says, “You know how they are” to explain why he hasn’t said anything and the parents and goes on to explain that he’s fine and wants to be “finer”. Maddie isn’t reassured and Buck tells her that she can’t fix this for him and goes on to tell her that they are the same and that he always thought she was sad too. This implies that whatever this big secret is, it has a big impact on Maddie too except that she actually knows what it is.

This scene is a little strange. It’s very clear that Maddie has info that she isn’t sharing and very concerned with and also that Buck doesn’t suspect a thing and that he just wants to be a better person and find himself. To be honest, Maddie’s concern is very strange to me. I don’t know what to expect in terms of what kind of thing Buck could uncover by going to therapy? There can’t be much that fits the bill.

“What everything you do to protect someone, ends up hurting them?” Maddie asks Chimney later on and this is very clearly about Buck even if she frames it to be about fear in what she will be like as a mother and a fear of not doing right by her kids. Obviously that fear is real, but it’s all connected to Buck. The Buckley parents do get mentioned and we get a repeat of what Maddie said in S3, “They’re not bad people, just bad parents” which sounds like a rehearsed line that Maddie has been using her entire life. Chim is quick to reassure her and the moment is lovely in terms of their relationship and yet it leaves Chim wondering what he can do for Maddie to really reassure her so much so that he goes to Buck to ask him about his and Maddie’s parents.

Chimney’s approach by letting know Buck that he doesn’t have to answer speaks to how much Chim cares about Buck and respects him despite all the teasing he imparts on Buck. Buck says that his sex life is more interesting than his parents. It’s news to Buck that Maddie fears being like their parents with her baby. Buck explains that it felt like their parents were miles away, absent, not great with kids, and that they were an average dysfunctional family. In many ways very normal and yet it is so clear that Maddie knows more about this. And we get Buck telling Chim they weren’t abusive, we’re back to the “good people but bad parents” thing.

Maddie calls her mom. It’s a bit awkward and Maddie immediately gives us the information that they usually text or e-mail, so clearly Maddie felt this was important enough to warrant a phone call. Maddie is very defensive the entire phone call and clearly uncomfortable. What irks me is that Maddie expects her mom to either be in better communication with Buck and already know about the therapy and that when worried about her brother she talks to her mom who has been established as distant and not a part of her or Buck’s life. And then, Maddie tells her mom about Buck being in therapy and I wish we knew what the mom is saying, but Maddie is clearly unhappy about it and yet just like Maddie, the mom expects therapy to bring out new information for Buck in some way unrelated to him being told directly.

I do wonder at Maddie deciding to tell her mom about the therapy when she was aware that Buck was only just recently comfortable with her knowing what he was doing. It’s such a breach of privacy for Maddie to share that information. And while there is context for why she is doing so, I just don’t find that necessary. Not when Buck clearly doesn’t know what the secret is and when Buck in that earlier scene told her he hadn’t spoken to their parents because of how they are? So how does any of that tell Maddie that it’s okay for her to share that information?

I wonder about Maddie needing her mom to approve Buck finding out the secret or feeling like she needs permission to tell him about the secret. All of it is fishy. All we know is that Buck has been lied to his entire life because that is what Maddie says to her mom over the phone.

There are a lot of theories as to the secret. So far all we know is that Oliver Stark debunked the idea that Maddie was actually Buck’s mom. There are theories about Buck maybe being adopted, about Buck repressing something traumatic that happened when he was young, and there really are a lot of possibilities but the main thing I wonder about is what kind of thing would be unearthed in therapy.

After all, Maddie’s reaction is more about her fear that Buck already knew and that was his reason for therapy, but the fear goes deep enough that she actually believes him in therapy will bring this up and I don’t know if this is just Maddie’s guilt for keeping something from Buck or the pregnancy hormones, but it really feels unnecessary. If she really wanted to keep protecting Buck and keeping him in the dark, she shouldn’t have been talking to her mom about Buck or letting the whole thing get to her in a way that makes Chim want to ask questions.

Maddie does, by the end of the episode, decide to fill Chimney in on what she’s hiding by immediately saying that she’s trying to protect someone. Buck. Maddie tells Chim because they’re going to be a family and so she shouldn’t hide things from him and depending on what it turns out to be I hope that it isn’t something that Buck should have had the privilege of hearing first before Maddie went and told anyone else. Also interesting is that Maddie says family shouldn’t hide things from each other when there’s been a giant secret hanging over the Buckley family with everyone but Buck being aware of it.

Ultimately, I am very very curious and I love this focus that Buck’s gotten especially when it concerns his past since this is everything that the fans have wanted. We’re getting this build up towards Buck Begins and I am so here for it.

#911 fox #911 meta #evan buckley #maddie buckley #911 on fox #meta #spoilers #911 spoilers

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moiraineswife · 3 years

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Jasnah Meta - The Importance of Context

AKA: PLEASE stop saying that Jasnah is pro-genocide when she is. Not. At all. In any way. Shape or form. Whatsoever.

TL;DR: Nowhere, at any point, in four ginormous books of text, does Jasnah ever say ‘you know what’s great? Genocide.’ She never even implies. It she never even actually, seriously, suggests it. Please stop saying she does as though it’s canon I lose 12 years of my life every time it’s mentioned.

AND NOW FOR THE LONG VERSION BECAUSE Y’ALL KNOW I CAN’T LEAVE IT AT THAT!!!!!

PLEASE NOTE! THERE WILL BE SOME MINOR RHYTHM OF WAR SPOILERS IN HERE. PLEASE AVERT YOUR EYEBALLS IF THIS IS A DISTRESSING CONCEPT TO YOU.

So first things first, let us discuss The Scene Itself:

“Yes. The answer is obvious. We need to find the Heralds.”

Kaladin nodded in agreement.

“Then,” Jasnah added, “we need to kill them.”

“What?” Kaladin demanded. “Woman, are you insane?”

“The Stormfather laid it out,” Jasnah said, unperturbed. “The Heralds made a pact. When they died, their souls traveled to Damnation and trapped the spirits of the Voidbringers, preventing them from returning.”

“Yeah. Then the Heralds were tortured until they broke.”

“The Stormfather said their pact was weakened, but did not say it was destroyed,” Jasnah said. “I suggest that we at least see if one of them is willing to return to Damnation. Perhaps they can still prevent the spirits of the enemy from being reborn. It’s either that, or we completely exterminate the parshmen so that the enemy has no hosts.” She met Kaladin’s eyes. “In the face of such an atrocity, I would consider the sacrifice of one or more Heralds to be a small price.”

“Storms!” Kaladin said, standing up straight. “Have you no sympathy?”

“I have plenty, bridgeman. Fortunately, I temper it with logic. Perhaps you should consider acquiring some at a future date.”

So the only time Jasnah actually brings up this concept it’s to, hyperbolically, point out that asking the Heralds to return to Braize and trap the Fused may not be the worst idea.

She’s not actually suggesting this as a valid or legitimate tactic. It’s to contrast the plan Kaladin just called her ‘insane’ for suggesting (I bet that’s gonna hurt a million times more than it already does in 900 years when we get Jasnah’s book and backstory but hey. Back on topic) and point out that, in the face of the apocalypse, this is the kind of level they have to think on.

I’ve already talked about the nuances of this scene at length here, so I’ll just do a quick summary: Jasnah is not as composed about any of this internally as she makes out to be - even what she suggests with the Heralds.

When we see her alone with Ivory, reading Taln’s repeated mantra, Ivory notes that she’s troubled. The words (and where he was/how he was being treated when they were recorded) is enough to trigger a twenty year old flashback in her.

This scene is one of the clearest moments (along with the Kharbranth thug scene, I suspect) where Jasnah’s outward projection of her internal feelings and thoughts least matches up with reality.

In spite of the inflammatory remark that sparks this all off, she doesn’t want to assassinate any Heralds. She quite clearly says she wants to “see if one of them is WILLING to return to Damnation.” She wants to have a conversation with them, understand the Oathpact, and see if any of them would consent to buying them some time. She is not suggesting they knife one of the Heralds in a back alley. That’s Moash’s job.

This is supported by what she does in canon. Jasnah is actually the one who recognises Taln and Ash and, somehow, manages to persuade them to join her at Urithiru and help. She treats them with nothing but dignity and respect in her scenes with them in Rhythm of War, and tries to find out more about the Oathpact and their options - as she said she wanted to do.

But since Jasnah is a Kholin, which means the ‘D’ in her DNA stands for DRAMA, she doesn’t say that, instead she says: “let us find the Heralds and kill them.” (I love her so much y’all. Ahem. Anyway).

But there’s method to this madness, too. Please click the ‘keep reading’ button to discover why! (have to turn my own posts into clickbait bc they’re so long I have to put in a cut to spare ur dashboards).

Jasnah likes to push people. She likes to force them to think, and consider all angles of a problem, and come to terms with their own thoughts and opinions. This is one of the things that frustrates Shallan about Jasnah in TWOK:

Shallan caught a victorious glimmer in her eye. She wasn’t necessarily advocating ideas because she believed them; she just wanted to push Shallan. It was infuriating. How was Shallan to know what Jasnah really thought if she adopted conflicting points of view like this?

-TWOK 36

Jasnah doesn’t want to brutally murder the Heralds and force them to return to their maddening idea of hell. But in phrasing it as she does, she can get an insight into Kaladin. Despite the fact we know him very well at this point, this is, this is the first time Jasnah has interacted with him on-screen, and only the second time she’s met him ever.

“That Windrunner. What do you think of him, Shallan? I find him much as I imagined his order, but I have only met him once. It has all come so quickly. After years of struggling in the shadows, everything coming to light—and despite my years of study—I understand so very little.”

Oathbringer, 33

Jasnah in that scene is deliberately being as exaggerated, ruthless, cold, and harsh as she can get away with. She’s trying to push Kaladin. She wants to bait responses from him, to get an idea of what kind of man he is, and what he stands for. She focuses entirely on him on that scene, and the reactions we as readers get see that as well.

“If you wish, Captain,” Jasnah snapped, “I can get you some mink kits to cuddle while the adults plan. None of us want to talk about this, but that does not make it any less inevitable.”

“I’d love that,” Kaladin responded. “In turn, I’ll get you some eels to cuddle. You’ll feel right at home.”

Jasnah, curiously, smiled.

Jasnah likes to be pushed as well. She likes to have people push back with her, and stand up for themselves, assert themselves, make their arguments. She all but encourages Dalinar to publicly do so in RoW.

Socially, in spite of Kaladin’s rank or status as a Windrunner, it’s probably 100% Not Acceptable to ask an Alethi princess if she wants a basket full of eels to cuddle because she is one, effectively. But Jasnah’s unphased - and even pleased - by Kal’s response. She likes that she’s seeing this from him, that he’s unguarded, and passionate, and more than willing to go toe-to-toe with her, which few people are.

Also, because I foresee potential problems in this meta that I would like to nip in the bud right now, I don’t think that Jasnah is doing this to play with people? That’s not really in her nature or who she is. There’s a purpose to everything she does, and there’s a purpose to her doing this, too.

With Shallan it was to encourage her to think for herself and form her own thoughts and opinions. Just before in that scene, Shallan asked why Jasnah couldn’t just tell her what to think and what was the right philosophy to have in life. Jasnah replied it was something she had to discover for herself - and that’s how she approaches all of their studies.

Jasnah never teaches Shallan what to think, or even what happened, despite that being the meat of her study. Instead, she teaches Shallan how to think, how to study, how to learn, how to critically reason, and how to form and argue her own thoughts and conclusions.

With Kal, I think it’s a quick and brutal way of quickly getting to grips with a new, very important, element in what’s going on in her world. Remember, too, that one of Jasnah’s most obvious aims, aside from protecting the world, is protecting her family. And Kaladin is very close to everyone that she loves and holds most dear, while she knows nothing about him.

However, something else that’s important to note, which, for me anyway, RoW all but confirmed: Jasnah has low cognitive empathy.

She’d come to realize, early in her youth, that she didn’t approach relationships the same way everyone else seemed to. Her partners in the past had always complained that she was too cold, so academic. That had frustrated her. How was she to learn what others felt if she couldn’t ask them?

Chapter 99 really was an absolute fucking gift, I mean really. Asexuality AND low empathy, all in one go. What a delight.

This little snippet can be read as her being asexual, potentially, but I actually think it reads more heavily and obviously about her being neurodivergent? And specially low cognitive empathy. Brandon says that, to him, Jasnah is not autistic spectrum, but you just keep giving me more evidence to say she is buddy!! Anyway. Diagnostic debates aside.

I would guess some of y’all don’t know what the heck I mean by ‘cognitive empathy’ (I didn’t before I researched all of this a couple of years ago).

There are two types of empathy, in strict psychology terms (and then there’s the colloquial way we use it to just mean ‘a good person with feelings’ which drives me BANANAS but that’s a rant for another day):

Affective empathy - which basically means ‘this person around me is happy/sad/excited, I am also now feeling that way. Because emotion is infectious like a cold! How thrilling’.

Cognitive empathy - is the ability a person has to pick up on/know what others are feeling without having to be told. Using tone/body language/facial expression etc etc. It’s something I, and a lot of other autistic people, are bad at.

So is Jasnah!

Her previous partners disliked her probably verbally vibe checking them every other week to find out where they were at. Jasnah was frustrated because how the heck else is she meant to know wtf?? What an absolute mood this woman is. Anyway.

This revelation/confirmation makes a LOT of Jasnah scenes make a lot more sense. Including: chapter 64, and her insistence, to the point of it almost being illogical, that she fight without her Surgebinding to try and get as clear a picutre of what her soldiers are facing as she can. Jasnah starts off that chapter by saying she’s never actually been in a war before, and states throughout that she wasn’t prepared for what it was actually like.

Her low empathy means that, without a personal context/experience to relate to and draw emotional experience from, she struggles to understand exactly what her troops are going through.

Obviously she knows that ‘war is bad, battles are scary and not fun’. But she has no way of emotionally relating/truly understanding what they’re feeling. This is one of the reasons I think it’s so important to her, despite Ivory’s chiding, to do it that way so that she can understand.

Similar thing is happening here with Kaladin. Jasnah struggles to instinctively Get Vibes from people, so she goes about things in a very scholarly way.

She does research and makes notes (see: her little folio on the highprinces (which, by the way, misses out on several important aspects of them Shallan picks up on pretty quickly by the power of Intuition), she asks questions - and she sets up scenarios that push people into blatant emotion so she can observe and get an idea of what makes them tick.

TL;DR TAKE TWO: Jasnah does not want to murder all of the Singers. Jasnah never says she wants to. Jasnah only uses it as a ‘see, asking the Heralds to go back to Damnation isn’t actually that bad now is it?’ hyperbolic counterpoint after Kaladin asked her if she was insane. Jasnah is not actually what she pretends to be in that scene. She is but a hapless gay who cannot detect emotions so she has to conduct her Vibe Checks differently from other people. She is highly valid in every way and i stan her.

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arr-jim-lad · 4 years

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so, why /is/ Joshu good actually and doesn't deserve all the hate he gets?

Because the hate comes mostly from the people who are incapable of empathizing with what’s honestly a really pitiable person. They only see the negatives and don’t question why he acts like he does. Also, he’s brave AF.

And don’t get me wrong: there ARE negatives. Joshu is by no means a completely misunderstood good person, he’s kind of a scumbag, but so are most JoJo characters. And yet, people apparently just love to hate Joshu specifically.

When I started reading Jojolion, I initially couldn’t help but just feel bad for the guy, because I realized what he struggles with, and how it affects him as a person who’s honestly just trying his best most of the time.

Here’s the big thing that I think puts a LOT in perspective:

Joshu is essentially the prime example of the neglected middle child. He has an older brother who is his father’s pride and joy, an older sister who is a successful model, and a younger, blind sister who everyone coddles. Norisuke is very loving and playful with his daughters and very chummy with his older son, but Joshu never really gets the same loving treatment.

Instead, Joshu is seen treated sternly and unfairly by his brother and father, who both just seem annoyed by his presence. It’s very, painfully clear to me that this is something that makes Joshu extremely insecure, as it can be easily observed from his facial expressions. For example, here’s him when Josuke is given his usual space on family photographs;

He’s shown shivering when Norisuke yells at him, and standing next to his father clearly means a lot to him, but his feelings are not taken into account at all.

This clearly causes him a lot of stress, as he is already insecure about his position in the family, and it makes PERFECT SENSE for him to feel threatened by Josuke, who immediately gained his father’s love, respect, and support.

This kind of behavior towards Joshu is seen again during the beetle battle arc with Jobin, who belittles him several times in a short amount of time, and orders him to cheer for Josuke (threatening him with violence if he won’t), despite Joshu clearly not liking Josuke for reasons that I really can’t judge him for.

And Joshu always obliges.

Mind you - this is not the behavior they have towards Joshu ALL the time, but Joshu is the only Higashikata kid we see getting this kind of treatment.

Joshu, to me, comes across as someone who is absolutely starved for validation from his brother and father, but he never gets it. Instead, he’s constantly pushed around and belittled by them, and treated as an annoyance. A stranger in their home is being given more care and respect than the son.

It just felt really really hard to me to watch what I feel was sadly a fairly realistic depiction of how some children in larger families just don’t get the same amount of love and support as others.

Okay, now I’ll tackle some of the biggest things that people point at when they try to claim that Joshu is a terrible character;

He's a “nice guy” and is possessive over Yasuho who's not interested

He tried to r*pe Yasuho (I’ll say it right here and now: This is a COMPLETE AND UTTER misrepresentation of the events that transpired)

He assaulted Kaato

When we start Jojolion, Joshu has a mistaken impression that him and Yasuho are a couple. That assumption is not completely groundless on his part, because both him and Yasuho confirm that they DID kiss, so you really can’t blame him for having a certain idea of a relationship.

When first seeing Josuke and Yasuho, Joshu gets the wrong idea and believes that Josuke was at the very least being extremely inappropriate to Yasuho, with him being naked and all. He immediately tries to save her by attacking him.

Joshu is indeed very possessive of Yasuho and while that’s not something that can be excused, we CAN track down to the reason why he acts that way, and that reason once again goes back to him being neglected by his family.

It looks to me like Yasuho remained his friend because she pitied him, as she off-handedly acknowledges how poorly socialized he is;

If his father and brother cared to give him a better example and lead him, he would probably be less of a creep. Instead, all he had was his confused feelings, the entitlement that come from being raised in a rich family, and no one to teach him how to properly behave - mind you that he also grew up without a mother.

The reason he clings to Yasuho as much as he does is very likely because she gave him the empathy that he feels like he lacks at home. She’s essentially his comfort person.

I think it’s also important to point out that Joshu is not possessive of Yasuho in an objectifying manner - he genuinely cares for her and wants to protect her. That doesn’t excuse some of his actions of course, but I think it’s still fair to acknowledge it.

Next, the r*pe accusation, and context is EVERYTHING here.

Here’s what happened to lead up to the so-called r*pe attempt, and this includes spoilers for the Paper Moon King arc (Vol.6, Chapers 23-25)

Yasuho was attacked by a stand that made everyone look the same to her, and was unable to tell one person from the other. She called Josuke for help, but while waiting for him, she ran into Joshu.

What followed was a whole slew of statements that Joshu TERRIBLY misinterpreted, as his thirsty unsocialized ass tends to do.

One thing leads to another and Joshu takes off his pants - at which point Yasuho realized that he’s not Josuke, at which point she screams Josuke’s name, and Joshu practically freezes in place, the gears in his head probably starting to turn a bit. And then Yasuho knocks him out and that’s where that ends.

I’d say that Joshu was definitely over-eager to get into Yasuho’s pants, but he only did what he thought she wanted, and I believe that if he wasn’t knocked out when he was, he would probably back off once the mistake was acknowledged. Joshu did not want to r*pe Yasuho. That was NEVER his intent.

Joshu is someone who’s entitled, but he’s not evil.

Last thing I see people point to when shit talking Joshu is his harassment of Kaato, and honestly, I am shocked that people are even remotely able to misinterpret that scene, which does nothing but show how protective Joshu is of his family, and how quick he is to defend them.

The following is a spoiler of Vol.14, Chapter 58.

We see the mother of the Higashikata family return after being imprisoned for 15 years for killing a child. She is a murderer and enters the house uninvited, possibly while everyone else was still sleeping.

This is how Norisuke, the father, reacts:

To reiterate:

The father is so startled by the presence of this woman, that he screams and falls on the ground with shock. He then proceeds to yell at her, demanding for her to get out. She doesn’t.

The convicted murderer then proceeds to walk towards Daiya, the youngest daughter, and that’s when Joshu immediately takes action.

He trips Kaato with a chair and then proceeds to speak to her with a very clear intent to try to make her leave.

Is what he said inappropriate? Abso-fucking-lutely. But that was the INTENT.

I genuinely don’t understand why people think this is something that proves that Joshu is a terrible person when what he’s doing is honestly really damn brave.

Think back to how Norisuke reacted to Kaato. For what Joshu knew, she could’ve had an extremely dangerous ability, but he jumped in to stop her from reaching his little sister anyway.

One last thing, and this is a spoiler for some of the most recent chapters of Jojolion; the Endless Calamity arc (Vol.24, chapter 95)

I want to point out one more extremely brave thing Joshu has done; He saved Yasuho’s life while once again possibly putting his own life in danger.

Here’s the scene: Joshu and his sisters just watched his older brother possibly murder their father during a heated confrontation and a clash of ideals.

During this, Yasuho is currently dying. Her stand is trapped in a cellphone, and not close enough to an electrical socket to escape. Jobin had FULL INTENT to kill her. But then this scene happens;

The phone is suddenly by the socket, and Paisley Park got to escape. We never see it being moved, but there is a panel specifically directing our attention to Joshu’s foot.

Someone moved the phone to let Paisley Park escape, and all signs point to that being Joshu.

Again - Joshu, who just watched his brother possibly murder his father, and who had fully attempted murdering his friend. From what Joshu was concerned, nothing would stop Jobin from killing him as well.

Joshu has flaws. He’s entitled, he’s annoying and he’s creepy. He’s also very stupid and very naive at times.

But there are also reasons for why he turned out this way, and those reasons are just.. plainly sad. I can’t help but to pity this character and just hope the best for him, because he deserves to feel loved by someone because he’s not a bad person.

Personally, I think Joshu is a really interesting character and I thoroughly enjoyed every most moments featuring him, especially interacting with his family, because their relationships come across very realistic and lovable (minus the times Joshu is unfairly belittled).

He’s also a really funny character whose ideas, thoughts, and opinions and just a delight to read every time he gets to just act casually.

PS - his hairstyle is great and y’all are just mean

#jjba meta #joshu higashikata #jojolion #jojo's bizarre adventure #joshu #Anonymous

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marginal-notes · 3 years

Text

TLOK Episode One a.k.a. Korra immediately goes on a rampage

So, as mentioned, I’m finally getting around to watching The Legend of Korra with all of my terrible tastes and general thoughts.

Don’t give me spoilers, my indignation will be funnier without them.

What I Know About Korra Going In:

If the show can have all of Aang’s bending teachers still around for the audience’s nostalgic pleasure, Suki better be alive and kicking too or I am going to throw a fit

Technology progressed pretty intensely in ways that I will want to pick apart later

Listen, what the fuck is Republic City. Why. Why does this exist. Show you better answer me fast with why this exist for a legitimate in world reason that isn’t just: “The audience is a bunch of American kids and teenagers and we want to uphold the liberal ideals of democracy because of course that’s the motives of the victors after a global war of probably unprecedented scope despite like, Zero (0) indication that the idea of democracy was rattling around anyone’s heads in ATLA.”

If this is the reason, I’m going to quit watching. Disgraceful. Disgusting.

Something involving anti-bender sentiment.

Something involving something called the Red Lotus which I am side-eyeing the shit out of

Bloodbending?????

Spirit World shenanigans and Avatar backstory that’s on thin ice with me.

Love triangles. UGH. TERRIBLE. WHY DOES MEDIA DO THIS. WHO FINDS THIS INTERESTING. PLEASE RAISE YOUR HAND SO YOU CAN EXPLAIN TO ME.

Alright, here we go.

WELL, 30 SECONDS IN AND I GOT MY WISH FOR AN EXPLAINATION ABOUT REPUBLIC CITY.

Avatar Aang and Fire Lord Zuko transformed the Fire Nation colonies into the United Republic of Nations, a society where benders and nonbenders from all over the world could live and thrive together in peace and harmony.

Okay. I’m.... I’m going to withhold judgement for now until I watch like, literally more than 30 seconds to fully form my thoughts about this move. I THINK IT’S A DUMB MOVE AND IF THIS IS WHY PEOPLE KEEP HAVING FIRE NATION DEMOCRACY FICS I QUIT.

So. We get a panning shot into this city. Very urban city that’s the product of the industrialization and like whatever the hell that propaganda voice over is talking about.

As a method of setting the scene and immediately letting the viewers feel and know the passage of time between ATLA and TLOK, I love this shot. There’s no mistaking this for being immediately after ATLA. We’re listening to one of Aang’s kids. There are skyscrapers. The Fire Nation palace in ATLA probably counted towards the architectural development towards urban skyscrapers, but that architecture is fully formed by TLOK. Brilliant.

I'm the Avatar! You gotta deal with it!

What a cute brat. Her poor parents, oh my god.

Also, is she supposed to be a prodigy.

Again with immediately setting contrasts against ATLA. Very cool demonstration, extremely effective distinction between Aang’s journey around the world trying to find teachers and learning how to bend in the middle of a war vs. Korra at peacetime with a whole entire facility dedicated to her.

Not sure about how I feel regarding the White Lotus’s presence.

IS THAT SUPPOSED TO BE KATARA????

That's your grandmother, Meelo.

Does he not visit his parents. It can’t be that hard to swing by for like. Yearly festivals if the Water Tribe has those. I don’t see why not. Maybe something for when the winter night ends, I can see that being festive.

Tenzin do you like. Not call? Not write?? Sir???

Oh my god, Pema. I hope she really likes kids, despite how rowdy they are.

Wait. How old is Tenzin. Thirties to forties?

How old is Katara.

Is this going to be a repeat of the Fire Nation royal miracle babies.

I get that, but I don't think keeping me locked up in this compound like a prisoner is what he had in mind.

Going by the episode title, I bet we know what Korra has in mind. Speaking of this compound, where’s the Southern Tribe? The aerial shots look like it’s in the middle of nowhere. Is she so far removed that she doesn’t even spend time with the tribe she was born into? Cause that sure as hell wasn’t how Aang was raised.

Honestly fascinating as these contrasts keep coming. The bizarre presence of the White Lotus. The way her teachers come to her instead of her seeking her teachers the way Aang and Roku did.

The Avatar must have always been a special political figure, without any good contemporaries to our world, to be honest. Back in ATLA, we see that Roku isn’t beholden to Fire Nation citizenship - he seems to transcend that. And it honestly seems important that Roku and Aang went out to the world, experienced the other nations and their ways of life. I think Aang does have a line regarding this.

Because Korra’s situation? Can easily turn into a nightmare, given the realities of what being the Avatar could easily mean.

OKAY THIS SHIP. Very cool looking, very neat, I continue to love every visual manifestation of the passage of time between ATLA and TLOK. One small question. What’s with the rigging poles.

(source)

To be fair, this is a battleship from the British navy, but aesthetically I think we can say this is a fair inspiration. From what I remember while researching the coal fic, the rigging and poles there serve no function. It’s aesthetical. At best, there’s a limited function, but it’s predominantly for aesthetics in the transition into the ships like the Titanic with no rigging at all.

Which raises my question about WHY ON EARTH?? The Fire Nation navy in ATLA??? Were clearly way past this stage in design? Literally during Sozin’s time too??? Almost two hundred years before this current shot in TLOK? Why would the ship design regress like this??? The Water Tribe ships probably wouldn’t evolve into the designs that Europe used? Earth Kingdom ships would probably be more inspired by East Asian designs which also wouldn’t end up with this system for sails?

Where does this aesthetic come from.

IS THAT A CAR.

....

.......

..........

I am not qualified at all for dissecting the potential social and cultural explanation for the western influenced aesthetics appearing. I am but an ignorant banana, I don’t know shit.

.......

oooooooh this is going to slowly annoy me isn’t it..........

That will be twenty yuans.

[Jaws theme]

The city's huge. I bet we could find a place to rustle up something to eat.

You know, I’ve seen plenty of weird shit in Central Park and around NYC before. Korra, you are so unprepared.

Are you tired of living under the tyranny of benders? Then join the Equalists!

Oh boy. Let’s.... let’s put a pin in this thought. I’ll come back to it once I know more about what’s going on. Because. This will either be fun. Or I’m going to have to create a second spite fic folder. Please, show, don’t give me reason to create a second spite fic folder.

On a different note though, I really do love the choices so far for setting up this show’s forward path. There’s no way to mistake this as a rerun of ATLA. This is it’s own separate story and I love that. I really do respect that. The way the different threads are emerging feel really smooth: 1) the impact of Korra’s isolation towards her culture shock in the giant city - which must smell and sound REALLY weird to her; 2) her prodigious talent in the physical, exciting parts of bending meshing with her teenage nature and also clashing with the spiritual parts of being the World Bridge; 3) the absolute hot bed of chaos every part of Republic City must be.

Kinda funny that people would still have sideburns in the same style as from like. Seventy years ago. Vintage.

Mr. Chung, please tell me that you have my money, or else I can't guarantee I can protect your fine establishment.

My terrible taste in interests rears its head again. Listen, you cannot imply something like the mafia or the triads exist in universe and not have me immediately ALL OVER THAT. Republic City, you are such a mess. Like, for this alone, I might write a single fic for TLOK that’s just about trash collection and disposal. And corruption. And-

I am fascinated by the genetics and molecular/cellular biology behind the yellow and white eyes in this universe.

Police! Freeze where you are!

Bitch what the fuck. How many of these rigid airships are part of the police. Are all of them for the police? Are the police literally patrolling people from the sky?

Also, that better be helium in those ships instead of hydrogen by this point in time. I’ve already made my post about the fleet of hydrogen ships in Sozin’s Comet.

How much property damage is being inflicted thanks to these couple minutes. The police just. Stab the brick work. There have got to be so many bitchy lawsuits about that.

This poor girl’s culture shock.

HEY I HOPE THAT POLICE OFFICER SWUNG THEMSELF ON A CLOTHLINE, NOT AN ELECTRIC LINE LIKE I FIRST THOUGHT.

HEY YOU CAN RIP SOMEONE’S SCALP OFF LIKE THAT.

HEY WHAT IS WITH THIS WHOLE SCENE.

HOW ARE THEY JUST RIDING ON THOSE WIRES, HOW MUCH TENSION IS IN THAT STUFF.

HOW DOES THAT ZEPPLIN MOVE THAT FAST AND LIKE. AGILE.

YALL.

WHY DOES THE POLICE STATION LOOK LIKE THAT

Well then, why are you treating me like a criminal? Avatar Aang and your mother were friends. They saved the world together.

Oh this bit is fascinating, I love it. It’s only been 18 minutes, but the level of sheer propaganda everywhere trailing after Aang is really cool. There’s so much I want to know now about how Aang got from the end of ATLA, where he probably wasn’t thinking AT ALL about this kind of cult legacy forming around him, to this.

Lin Beifong’s shut down of Korra’s attempt to use her status as Avatar is great. Just because Korra’s born into this elite role and then locked up and probably pampered in her compound, where everyone is well aware of her status and what it means, it doesn’t mean she gets to strut around with no idea how stuff works or the context behind what she’s seeing and then doing whatever she wants.

Contrasts, love ‘em.

On a different note, the design of this room.

As far as I can tell, it’s a dim, doorless room, which is honestly. Really terrible design. And it says something about the way the Republic City police functions and how that reflects on the chaos of the city itself.

Putting someone dragged into the police station in a dim room without any door as a sign of a possible escape is just a terrible idea. The only thing you’re going to succeed in is making the person tenser and more belligerent. Your suspect or witness gets more nervous, gets more combative, gets more unreliable in this kind of environment. In turn, the police probably starts feeling more and more entitled to harsher retaliation. Conflict resolution? De-escalation? That really doesn’t look like its in the core of the city police. They’re wearing armor for god’s sake.

Everything so far in this first impression of the police is really damning about their attitude and Lin Beifong’s leadership. Rather than using a rappel line down from the airships, they damage buildings. In chasing Korra, they further damage property. The armor, this freaking room. The fact that so much about the active police shown so far depends on metalbending, which implies that very few people can join the field police. The fact that for the gang to be so blatantly in the open about their presence and territory, there must be dirty cops on their payroll.

There has to be so much Lin Beifong hate in this city.

I have done my best to guide Republic City toward the dream my father had for it, but you're right. It has fallen out of balance since he passed.

If anyone tries convincing me Republic City was ever in “balance” they’re a punk ass liar. I don’t think the city could have ever been in balance, whatever that is. The way it was created, the speed it expanded, the life that must be lived there - balance? Don’t kid me with that propaganda.

Tenzin could be trying to find a balance alright. I just wonder how many people vehemently disagree with his idea of balance.

Hello? I'm Korra, your new Avatar.

Well, TLOK is definitely in the era of mass distribution of news and the idea of public sentiment at a level never seen before. This is going to be very interesting for its populist implications, along with other developments regarding politics.

Oh Korra. Did no one try rehearsing this with you? This is a terrible first impression for you to give to people.

Also, what is this building. Is this like a city hall? Why is the roof on the building to the side slanted like that. That’s an angle I’d expect from like. Snow concerns. In northern Europe.

Love that Avatar Aang propaganda. Starting to feel like we’re going to see a lot of it going forward.

Oh my god, everything about this press briefing (?) is highly concerning. This rampaging teenager suddenly appearing without any warning or announcement. The clear lack of script or practice. The open location just to anyone instead of to a select set of journalists who would be sympathetic/under government control. Lin fucking Beifong and Tenzin being the only people accompanying Korra on the stage.

What a disaster.

FINAL THOUGHTS

You know, I’m enjoying this more than I expected to. The general writing is great, the use of visuals and other small details to set the time and place is excellent, the worldbuilding implications are rich in potential. I’m looking forward to exploring where the plot threads introduced so far will lead towards!

#the legend of korra #navi watches lok #these are each going to get pretty long #i'm a really annoying person to watch stuff with #i'm half seeing half SUPER not seeing why the fandom likes lin beifong so much #republic city makes me miss living in manhattan though

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starbuck · 4 years

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All of Armitage’s Looks: Rated

Well, this was inevitable, wasn’t it? Being someone who very readily admits to having Armitage’s entire wardrobe memorized (and who will not apologize for how weird that is), I feel that I’m the perfect person to make this post, although perhaps not the most objective...

So, without further ado, allow me to present to you: every single one of Armitage’s Looks in chronological order: Rated.

#1 - Enjoying The Birthday -- 11/10

Unlike most named characters, Armitage does not appear until episode 4 but oh what an entrance it is... Look at that smile!!!! Actually, take an extra good look because you’ll never see it again.

Outfit-wise, this is just his normal steward uniform but I like those boots. Probably not unique to him but they’re very nice and remind me of a pair I own.

Bonus points for being the second person on the tackle-pile, following Tozer.

(You could accuse me of rating too high right off the bat, but look at his smiling face again and tell me I’m wrong.)

#2 - “Mr. Armitage, what do you report?” -- 8/10

And thus we are introduced to Armitage by name. Appropriately, he is partaking in his most consistent character-defining activity: protecting Tozer from harm (which, in this case, is the Not-Bear which has just come out of nowhere and ripped part of Heather’s skull off).

I’m gonna be honest: I don’t like how this style of coat looks when it’s fully buttoned-up. I think it’s awkward and boxy (see Gibson’s coat in the mutiny-planning scene at the beginning of ep 7 for a better idea of what I mean) and this is before Armitage figured out the belt trick that corrects the problem so I’m deducting points for the coat.

Luckily for him though, his hat is of my favorite variety in the show so I’m delighted to see it despite it just being his uniform. Also loving our first look at his blue sweater (peeking out beyond his coat-sleeves) and his gray gloves.

Further points added for this being the first of many scenes where he carries a gun, endlessly confusing the fandom at large about what the hell his job is.

#3 - tfw You’re Responsible For This -- 5/10

So I’m just gonna come right out and say that this is one of my favorite images of him in the entire show but, just as Look #1 was rated higher due to the context of the scene despite the outfit itself being average, this one’s rating, in turn, must suffer.

Things I love about this: the hat (obviously), the fact that the coat looks worlds better just because it’s slightly unbuttoned, the delicate dusting of snow, the way his face looks at this angle.

Things I don’t love about this: literally Everything Else.

Aiding in the racist kidnapping of an innocent woman and then not owning up to it twenty minutes after your introduction is not a good look, no matter how emotionally conflicted about it you are.

#4 - Who the Fuck is This Guy? -- 6/10

October 20th, 2019 was not the day that my obsession with Armitage began, but it was the day that I took a screenshot of this exact moment because I had no idea who this man was or why we were getting a close-up of him. It would take me two more months to figure his identity out.

But, to the point, not much to say here since it’s just his normal uniform again except that this is our first proper look at his hair which I absolutely adore. Also loving the little anchor buttons on his jacket - very cute!

Once again, points deducted for the unfortunate context.

#5 - Slops! -- 7/10

This look is noteworthy for a few reasons. First of all, we see his tan slops for the first time! Slops just sort of look horrible by default unfortunately but I’m enjoying the hat + slops combo here... it works for him. Secondly, Armitage disappears for the entirety of episode 5 so this is the first time we’ve seen the man since the lashing scene. I guess it was so traumatic to witness that he had to take a break.

He has a gun again though, so things can’t be all bad.

#6 - Big Carnivale Hours -- 8/10

I have given up on trying to figure out what the hell is going on with the marines and their costume theme. Are they knights.... with crowns? That’s all I’ve been able to figure. Who’s idea was this? (Despite having no evidence, I blame Pilkington.) So what does that make Armitage? Is he a squire? Or a knight that just doesn’t have a crown like the others because they ran out of them? Whatever the case, he’s clearly a part of their theme despite not being a marine himself which I think is adorable regardless.

Speaking of adorable, let’s just forget everything that happens for the rest of this episode and appreciate how he’s hanging out with Tozer and Heather. Isn’t that nice? God I’m distressed.

Taking a look at the costume itself, you’ll see that it’s essentially a cut-up burlap sack and a sheet over his regular uniform but realism is not the goal here and the DIY vibe is actually quite nice imo.

#7 - Enter: The Belt -- 10/10

The belt has arrived on the scene! Note its success in not only making the coat itself more appealing but making the coat + slops combo work against all odds.

We really get it all here: belt, (unbuttoned) coat, hat, welsh wig, gloves, and slops! What more could I possibly ask for in an outfit? It’s both stylish and practical.

And plus, I like his attitude in this scene - optimistic-leaning realism about the dangers ahead. I can get behind that.

Overall, no complaints from me - this is a perfect look.

#8 - tfw You Allowed This -- 7/10

This is a Significant Look mostly because we see his hair again, for the first time since episode 4! It’s a bit longer and more unkempt but still maintains a pleasing shape overall. Honestly, I think it looks good this way and its a pity we didn’t get to see it more in the transition stages (assuming it was steadily growing out since ep 4 like most people’s). Additionally, there’s a bit of stubble going on here which I respect.

Rated lower than it might be simply because, as has been established, slops on their own are just kinda ugly. I don’t have a lot to work with here outfit-wise. His face is lovely but this screenshot is a sepia-toned nightmare.

A bonus point for his desperate “please explain this clearly illegal thing we’re doing in a way that makes sense to Little” glance at Tozer, who is already on it.

#9 - Agony -- 8/10

It took me awhile, even after becoming aware of who Armitage was, to appreciate how truly miserable he looks in this scene. And I mean, why wouldn’t he be miserable? Tozer, a man who Armitage risked his own life to drag to safety at Carnivale, is about to be executed for something that’s arguably just as much Armitage’s fault and there’s not a thing he can do about it.

So... that’s depressing.

But, looking at the outfit itself, we see that it’s pretty similar to some past Looks. In fact, it’s identical to what he was wearing when the Tuunbaq attacked Heather with the exception of the belt which is, of course, a new addition since then! And look at the difference a belt can make... You almost don’t notice that the coat is buttoned up all the way.

#10 - The Same Outfit But Now He’s Saving Tozer So Its Cooler -- 9/10

Y’all ever think about the fact that, when things went to shit, Armitage’s first instinct was to grab a gun, find Tozer, and rescue him? I mean you probably don’t but I do. Constantly.

Obviously I love this part and the outfit is still solid (note how well the belt shows off his figure!) but it loses out on being a perfect 10/10 because he must have dropped his hat while picking up the gun so we never see it again. A necessary sacrifice but one that I mourn nonetheless.

RIP Armitage’s cool hat, ??-1848.

#11 - The Blue Sweater -- 8/10

It’s warming up so that means we finally get a look at the lovely layers that have been hiding under Armitage’s coat. It’s important to me to bring special attention to the sweater because, although (as I’ve mentioned) he has it on all the way back in ep 4, this is one of only two scenes in the entire show where we get a proper look at it.

Further, not only is he wearing the blue sweater, but he also has a blue vest on over it! Now, I’ll admit, these aren’t exactly complimentary shades of blue but it still works for me.

Note also that the belt he had around his coat has been repurposed to aid in holding up his slops-pants over his normal pants (which are held up by the suspenders). Does this man’s resourcefulness ever cease?

As much as I’d love to give a higher rating for the blue sweater, I can’t ignore the new beard which is... it isn’t... it’s Not Great. I don’t have as much animosity towards it as I used to but I can’t pretend that I love it.

#12 - Let Us Fly These Deadly Waters! -- 9/10

I’m not sure why but I’ve always found this outfit very appealing. The tan slops-pants go nicely with the white shirt and blue vest. It’s a solid look - I’d wear this irl honestly.

And bonus points for his trying to convince Tozer to leave Hickey, even though he was ultimately unsuccessful.

(P.S. - yes, the title for this one is a Moby-Dick reference... Did you really think I would make it through this entire post without one?)

...and now, last but not least, I present to you my absolute favorite Armitage Look™... all the other times I said some other outfit was my favorite, I was lying because what I am about to show you is truly the cream of the crop. Without further ado:

#13 - Kidnapping is Bad So At Least Look Good Doing It -- 12/10

Are y’all seeing this? Are you SEEING this????? It is episode fucking 10!! Everyone is dying!!! And yet here’s Armitage waltzing up in his best outfit of the entire show. What the fuck!!!!!!!

Do I even need to explain why this is exceptional? Just look at it! Look at how the vest is buttoned up and tucked into his slops-pants! Look at the suspenders over top which match the slops-pants in color! Look at the gun and keyring that look like they were made to accessorize this outfit specifically! Heck, even his hair and beard look much better from this angle.

Now, I’m not trying to discount the fact that Armitage was absolutely miserable throughout this entire episode, and understandably so, but, even with that in mind, I can’t bring myself to rate this look any lower. It’s just That Perfect.

If one must inevitably die horribly in the arctic, this is an excellent outfit to die in.

Well, that’s that! Thank you all so much for reading and I hope you enjoyed this! I’m glad that my ridiculous opinions about Armitage’s wardrobe finally came in handy for something other than my own amusement.

#the terror amc #the terror #thomas armitage #hell yeah let's tag this nonsense!#tbh i'm very proud of this post tho #it literally did take me all day #12 hours from conception to completion (with many breaks of course!)#and worth every second!#I love this man and his exceptional fashion sense #and i need you all to appreciate it as well #like i said - i hope y'all enjoy and thanks to those who read through my rambling!#love y'all!

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rachelillustrates · 4 years

Photo

An Exploration of Kiliel

OKAY, fandom thoughts on my art blog because of Story Study.

My Wife and I finally watched The Hobbit movies, so I’ve finally gotten to Kiliel (..... ❤ ) and I have some headcanons/thoughts about Tauriel’s introduction to the story, the flow of their romance, and what’s important.

(So this will be part meta, part headcanon as I sort that out.)

What’s striking me right away - other than the fact that I came into these movies ALREADY shipping them and am damn pleased about it, thanks Tumblr - is that we are given.... well, bupkis on Tauriel’s motivations and backstory. And the person I’m watching these movies with, who I love very much, was quick to point out that her introduction and immediate positioning as a Romantic Female Lead could read very shallow to the casual viewer.

(Which I am not, thank the Gods.)

So, what of Tauriel’s backstory and deeper life goals? Digging into the fandom, I found notes that her parents were killed by Orcs when she was young, and that Legolas took her under his wing afterward (making him her mentor, and thus making the idea of their romance even less attractive to me, since that means he would hold even MORE sway and authority over her and there would be very little equality for her there. Also, Gimli).

But that’s it. And we’re not given that in the main plot of the movie at all.

What we are given is the information that she’s conscious of the dangers to the outside world, and wants to protect her people by stopping those dangers at the source, despite contrary orders from her King.

So what I think the movie intended, with that scene where she talks to the Elvenking about her concerns and how she immediately chooses to go after the Dwarves later - motivated primarily by the thought of saving Kili - is that Tauriel has a deeper drive to help save the whole world from the threats she sees to it. Because of what happened to her parents, because she knows the spiders are coming from outside their borders, etc. The featurette “Tauriel: Daughter of the Forest” says of her “She has a great curiosity of other races, of the world outside - she literally hasn’t been anywhere...” (mentioned in part 2, part 1 is here). So, to me, her motivations for leaving Mirkwood include that - as well as saving this Dwarf she feels an inexplicably deep bond with already.

On that note, I wish they had gone a bit deeper into her and Kili's immediate connection than what we were shown. I do appreciate how she insisted on fending for herself, in their Battle Couple introduction, and how Kili immediately accepted her for who she is - the trousers joke was, admittedly, a little uncomfortable for me due to personal reasons, but I think it could be read as him meeting her aggression in battle with aggressive flirting, and in that light, her positive response to it (in what she said to Legolas, and in returning to check on him of her own volition) makes a lot more sense to me. And while I really enjoyed and understood the Feast of Starlight scene, those less romance-genre minded than myself may not have understood that as deep "enough” (for more of the intentions of the plot in that scene and the take the actors had on it, click here. Includes a hysterical Leoglas moment at the end!).

Rewatching it, I do see and recognize how deep their connection is and how meaningful what they choose to share of themselves is - especially with the idea of Kili honoring and respecting (nay, being attracted to) her ferocity, and the fact that most of her kin probably don't automatically respect her for such things. The sexism among the Elves is not as bad as it is with humans, but it is still there. Who knows how much Tauriel has had to fight for her place as the Captain of the Guard, being a woman. And again, it probably wasn’t as bad for her as it was for, say, Eowyn - but no matter how much space there is for women to step up and be active agents of the story in the mythology of the world, Tolkien didn’t choose to make women part of the action, actively, most of the time. So the world still reads as a mostly Men-at-War, Women-at-Home place. And that has to have had an impact on Tauriel’s life. And in addition to how charming Kili is, just as himself, the fact that he sees that part of her, respects her and admires her FOR it, must hold a lot of weight.

Another part of what I've seen, in re-immersing myself in the fandom now, has been this idea that both Kili's culture and Tauriel's culture have an idea of soulmates, the One person who, when you meet them, shakes you to your core, and you are never the same again. I really think that's what the writing was going for (see Evangeline Lily’s comments in part 2 of “Tauriel: Daughter of the Forest,” particularly), but it wasn't given the space and depth that it needed to be apparent on surface level of casual viewing.

So, from my fangirling perspective, I imagine that they both felt that right away, but were so surprised by it - because of the unexpectedness of their circumstances, and the animosity between their peoples- that they didn't know how to handle it, and fell into awkward humor, and slightly clumsy attempts to get to know each other as they tried to sort it out.

I imagine that Tauriel's outright denial of any connection to Legolas, and immediate acceptance of his father's racism toward her in that context, was also swayed by her newfound feelings. They (Tauriel and Kili) probably did talk more, as well, about their families and their deepest dreams after the Feast of Starlight scene cut off. We just aren’t given that information.

(Anyone else for a romantic adventure Kiliel-centric mini series?)

Then of course, we are given the healing scene. What I got from this, beyond their romance, was that Tauriel always looks to be helpful. When she takes the athelas from Bofur, she looks like she’s had a revelation. She realizes she can help, she can heal Kili, and that gives her an outlet of action for all the confusing feelings she’s having. She goes right into business mode about that - and Kili, all pained and fevered, barely realizes it’s her. But when he does, he looks at her in wonder (with a fever-dream angelic view of the magic around her, even! Sidenote - I LOVE how messy her hair was. Both beauty and realistic adventure life). And she looks back at him with such serious kindness, telling him to trust her, without words. Of course, he does....only to then believe that she wasn’t there at all, and spill his heart out to this apparition of the person he already knows he loves.

And in that, he is so sure that she’s beyond his reach, even though he knows he loves her already. Even though as he talks about how she’s on another level of existence than his, his action is still to reach for her hand, still reaching for her, despite the words he’s saying. He still wants to believe it is possible - that they are possible - even as he’s trying to accept that they can never be.

Which, of course, leads into the beach scene. After the whirlwind of surviving Smaug’s attack, too (extra shoutout to the writing there, regarding Tauriel and Bard’s children - she’s aware enough to realize that Bard’s son is the only one of the three of them that might have had any sliver of training for situations like this, because human misogyny, so she uses that to protect all of them - “Your sisters will die if we stay here,” etc. - but as soon as he runs off to help his father, she still makes the girls her priority, as well as the Dwarves. Headcanoning that if Kili had survived, and they married and moved into Erebor, she would have damn well taught those girls how to fight).

Anyway, back to the beach. I think my favorite part of that moment, other than the Heart Wrenching Perfection of what Kili says to her (and how it’s acted!), is that he has realized that she wasn’t a fever dream after all - that he did, in fact, say all those potentially embarrassing romantic feely-feels things right to her actual face - and instead of being embarrassed, he just GOES for it. He is that sure. Sure enough, that even when she can’t let herself reciprocate his feelings (even though she clearly does - and she doesn't say no, btw, she is interrupted by Legolas' arrival and thusly the reminder of her duty and her 'place') he then gives her the token from his mother, to let her know she’ll always be in his heart, no matter what she decides. And he almost doesn't, he almost leaves, but turns back in the last moment, in that desperate, loving attempt to try again. No matter how impossible it seems.

MY freaking heart.

Also, when Tauriel then learns of her banishment, she looks shaken at first - but quickly, almost relieved. See here, at about 39 seconds in. She has clearly been fighting against her own heart each moment since Kili came into her life - even though, as I mentioned before, he provides a grand excuse for her to go help other people beyond Mirkwood’s borders. And now, released from the obligations she has to her people, to her King, who doesn’t fully respect her anyway, she is free to do what she could not just moments ago. She is free to choose her own path - to follow her heart, and her ambitions to help the world.

Of course, she follows Legolas first - the path of least resistance being to follow her mentor and Prince. And I get from that that she’s shut herself off from her own emotions for so long - likely due to her parent’s death, early in her life - that she really doesn’t know what to do with herself, in that freedom, and in love. So, following her nearest authority figure, giving herself a moment to breathe and decide later, seems natural.

But, luckily, that path leads right back Erebor.

And unluckily, right into the tragic ending.

But first, she confronts the Elvenking (who has banished her, and therefore freed her, though that was not his intention) about his refusal to stay and help. His concern for his own people, again, will lead to them not being there to save the lives of others suffering in the world around them. And she’s not having that - in general, even if a large part of it is her love for Kili. The script focuses only on that love - with Thranduil refusing to accept that she really loves Kili, comparing what he imagines she feels to what he felt for his late wife, it seems - but there is so much in her whole narrative that has already pointed to her desire to help the whole world, even before she lets herself start feeling for Kili. And this moment plays right into that deeper motivation.

Of course, her story being a romance, finding and protecting Kili is her first priority. And sadly, that goes, as we know, badly.

It bothers me a LOT that she “had” to be damseled in the Big Fight. BUT. We at least get the strength of their connection before she gets trampled by Bolg (and the surety of her voice when she calls for him, and the focus that hearing her, and his calling back out to her, gives him - yes. It’s subtle, but its very strong and very there). And at least they get to see each other one last time - Kili knows, no matter what happens, she chose to come after him after all.

And all the emotion, in her watching him die, and him realizing what they’ve lost even though she did choose him.....ugh. My heart, again. They are both just so clearly broken - Tauriel so confused, not able to accept that its come to this, after she chose to find him, after everything. Kili so brokenhearted that after all his hoping - after she chose him back - they still can’t be together (not to mention the fact that he’s just lost his brother, too, the only other person we see him love as intensely as her). And then, in the last moments of (this part of) the fight, when Kili is gone and Tauriel is alone again, her pain is so great, her anger so clear, her love so deep, she is willing to use her own momentum and throw herself off the tower’s edge with Bolg, just to try and make for damn sure that he pays for what he’s done.

(I will forever maintain that the fact that that didn’t kill him - that SHE didn’t get to kill him - is a travesty. Especially with his murder of Kili, but also for the gross tongue thing. Very uncomfortable with what that implied.)

I’m gonna skip over the intervention of Legolas to save her life, cause that’s not important here, suffice to say that once again I am Pissed as Hell that they felt the need to damsel her so much. Sigh. I must assume, from a writing standpoint, that they chose to nerf her in this battle because she’s never been involved in war like this - fights to protect Mirkwood, yes, but not War Battle. HOWEVER, there are ways for them to have written through that and not made her look so weak. Especially considering that she is a seasoned warrior - AND had fought Orcs before, as we saw in “The Desolation of Smaug” - and between her and Kili, who one of Thorin’s strongest warriors, they should have at least been able to do better together. Crudmuffins! That, of course, would have messed with the outcome of the source material, but who of us would really be complaining? Hmm? (Sorry Tolkien.)

Their canon story ends, of course, with Tauriel having to come to terms with her feelings and Kili’s death all at once. As as much as I spent most of the movies harshing on Thranduil (except to honor how fabulous he is, stylistically and attitude-wise, and make as many Party Elk jokes as I could), i am glad they brought him back for this scene - not only that he gave Legolas a direction away from mooning over Tauriel, but that he got to help Tauriel accept what had happened (in his own blunt way). The way he watches her here, and looks at her, I feel like he’s really seeing her and accepting her as a person and not below him for the first time. I’m also headcanoning, since we know that Tauriel was orphaned and bonded with Legolas soon after (as her mentor - and honestly, I read their relationship as more of a broship/sibling situation), I feel like she was taken under the wing of his household - not because he approved, but because it was the Right Thing and probably looked good to his people, even if he couldn’t fully accept her due to her heritage. I also feel like the fact that she asks him to take the love away from her, since it hurts so much, also points to a more parental role than he would admit. If your heart was broken, who else would you ask to take those feelings from you - at that first heartbreak - than a parent?

But of course, he can’t - all he can do is finally admit, despite his earlier insistence otherwise, that her love for Kili IS real (I feel like he might have gone through something absolutely similar with his wife’s passing - finding her falling in battle, mourning over her body). And that smashes any hope she had that she could keep denying how she feels - it passes over her face, visibly and physically, that shock that he’s admitting it, then frustrated realization that if it’s real, she can’t deny her feelings anymore and can’t close her heart to it, and then just pure pain again as she realizes what she had and the full measure of what she’s lost.

And then she kisses him, as if she’s sealing that love and acceptance - the only time, super duper heart-stabbingly tragically, that she’ll ever get to you know, according to this version of the story.

I can only hope that afterward, Tauriel chose to honor herself and Kili’s memory by continuing to help the world at large, in her exile. And that she surprise and “oh shit”-ness of Thranduil’s expression upon realizing that an Elf could truly love a Dwarf means that he will be kinder to Legolas when he brings Gimli home.

Now, as far as the runestone goes, I initially wanted to believe that Tauriel would take it back after she gave it back to Kili in death, maybe to return it to his mother on a well-intentioned trip to meet her, to give them both closure. However, upon learning about what’s specifically written ON the stone, I have a different thought - Middle Earth News points out here that the runes on it translate to “Return to me.” Obviously, at its creation and initial giving, that was about Kili’s mother bidding her reckless son to come home safe. But when Kili gave the stone to Tauriel on the beach, he made it theirs as well. He bid Tauriel to return to him by giving it to her. And so now, in returning it to him upon his death, Tauriel bids Kili in turn to return to her, death be damned.

So while at first glance, that returning of the runestone may look like Tauriel denying her feelings again, its really a further, even more solid gesture of that acceptance. And honestly, to me, an expression of hope.

And I feel like hope is what really strikes me, about this ship. They have SO much potential, not only in how little we’ve been given of them in canon, but the potential they see in each other in those brief moments where they obviously imagine what their lives could be like, if they could be. One of my favorite shows says, early in its story, “Believing in even the possibility of a happy ending is a powerful thing.” And that is exactly what I see in them, and why they strike me as so wonderful. They are hope, and the belief in love despite all odds against them, despite all the darkness around them.

And no matter how shakily that might appear to be set up, that is gorgeous, at its heart and root.

And if you got this far in all my scattered ramblings, thank you!

(The art above is my own, btw. For more of my own star-crossed inter-fantasy-racial height-difference queer fae, click here 💕 )

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