#i feel like there is some subtle commentary on pessimism here

[applestorms]

been reading through some of the author commentary from the patreon post archive for HS^2 stuff & writing notes on certain quotes from it and i think i've come up with (slightly) more distinct reasons for why the epilogues/homestuck^2 feel so off and/or frustrating to me. not gonna post the full thing + i'm only about halfway through reading it all, but here's a few points (warning this one gets kinda political):

It’s possible “Ultimate” Dirk’s presence was suppressing other splinters of himself from manifesting.

Wait, so... Ult. Dirk is just suppressing the other splinters? But I thought the entire point was that he subsumed all the other splinters to become one Ultimate Self? Weird, but I guess that plays more into the narrative powers side of things that they put a lot of emphasis on. That, or the creators don't have a very clear idea of what actually makes an Ultimate Self, which would. also work lmfao

Unlike the other victors of the game, Jane threw herself into the world the kids made together. She grew up preparing to take over a major company, and has the confidence to show for it.

Gonna get more into two ideas here in a bit related to this quote, the first being HS^2's Trump Era politics & the second being Jane more specifically. Here's the first connection:

I don’t know if you noticed, but everything is terrible right now. And I don’t mean just in Homestuck’s dumb fake earth. I mean in our dumb real earth. Our planet is burning and folks go to bed hungry just so twelve guys can have more money than Croesus could have ever dreamed of. The concept of “truth” is at its most tenuous – political divisions involve contradictory interpretations of basic facts. I’ve been playing a lot of Death Stranding recently. Basically any media that you’re making in 2019 has to either address what’s going on around us or come off sanitized, sterilized, with its head in the sand. Kojima offers a simple power fantasy: Through Norman Reedus’s sweaty, urine-filled labor, the things that divide us can be banished. America can be unified again.

HS^2 is kind of agonizingly pessimistic when it comes to its (not at all subtle) political messaging, which I suppose you can in part attribute to a Trump-era leftist/liberal culture, but I personally also attribute to a specific flavor of white person existential pessimism. What frustrates me about HS^2's politics in particular though is just how much it talks down to the reader, acting like their (frankly, imo, pretty fuckin basic) reflections on the flaws of capitalism, gender constructs, and contemporary American politics are these revolutionary ideas that nobody other than them truly understands. It's really aggravating to read, honestly, and reminds me a lot of the perspective reflected on in this video by F.D Signifier about Bo Burnham's Inside & white performative liberalism, though in this context the creators are much more insufferable about it than Burnham ever was. (This is NOT to say every creator working on HS^2 was white or even ascribes/d to these kinds of politics, but that's one of the voices that I feel comes through the strongest.)

Edit: Re-watched that whole video and he really does get at the exact idea I'm thinking of. However, I would add that the thing that makes HS^2 feel especially insufferable to me is the fact that it doesn't feel like the authors are engaging in their politics as genuinely or personally as Burnham does. Where Burnham's look into these issues is self-reflective, the existential dread coming from the ways in which he himself plays a part in perpetuation of systems of oppression, I feel like HS^2's creators were unwilling to look at the ways in which they themselves might've benefited from the same kinds of privileges. It's just- it's egotistical, honestly! And it's a vibe that I get from a lot of heavily queer, young, white fandom spaces, which presume that because of their own experiences with queer and trans-based bigotry they understand everything and don't have to examine their own biases or any other nuances to their social position/the privileges they might personally have & continue to benefit from. I don't know- Homestuck was never going to be a good medium for examining the nuances of race and privilege, that was determined by the very first page or whenever Hussie decided non-canon races were a thing, but that doesn't make it any less agonizing to watch such a ham-fisted, pompous attempt at "social commentary." Ugh.

I guess I can understand the desire to get HS^2's politics to be more up to date and with it, again considering what the Trump-era American political landscape looked like (and what HS proper looked like, let's be real), but the way they approach this just makes the authors seem that much more immature to me. I hesitate to even call this political commentary, it's just pointing out that things are bad and then complaining about it. There's no hope here and it shows, and I personally have very little patience when it comes to that kind of perspective. I don't want to be too harsh to the creators or completely undermine the ways they might've faced structural social challenges (yes, trans people have it fucking bad right now! And there was absolutely some bigoted shit directed at the creators that was more reprehensible than anything here, I was there when this shit was coming out, I saw it all too (alongside the genuinely good criticism that they wrote off just as easily, but I digress)), but this shit is just bad, I'm sorry.

Privilege, safety, and inherited wealth do funny things to the brain. People justify to themselves why they have what they have. If you have enough for long enough, you start to convince yourself you deserve it. Jane won the game, lost very little, and as god of a new world decided to dominate its markets as a corporate mogul. Her conception of what was possible with her capability and god-like reason was shaded, limited by the world she grew up in. She is not a goddess of fantasy, a semi-mythical trickster creature like Jasprose, or a meta-aware marionette master like Dirk. She saw a new world and chose, simply, to replicate the power structures of the 21st-century America she was raised in. Boardrooms, power pantsuits, formality and professionalism.

(Longer quote here justifying the horror they did to Jane's character but let's add one more before I elaborate further)

But in the end, isn’t that what every story is? Trying to untie knots that you put in the rope yourself?

This quote is very telling and gets at my issue with the Jane quote from above, really one of my main issues with the all post-canon shit just in general: when the authors were creating a bunch of problems and inserting them into the story, something that is (typically) necessary for any kind of meaningful storytelling, they went about the process of introducing that conflict totally wrong.

In the original story of HS, problems for the characters primarily originated from Sburb, which acts as both the game they're playing and, as is demonstrated throughout Act 1, the world itself. Problems in the story thus often feel at least kind of true to life because they either originate directly from the game & its constructs (which the characters have no control over, parallel to how you can't usually control the world irl) or individuals responding to those circumstances w/ their own set of unique characteristics (Vriska being an active character and creating villains to become a hero but also Rose deciding she has to go through with a suicide mission in response to the game/Doc Scratch and Dave in turn responding to her actions, etc. etc.).

This is not necessarily true for all of the story or every single plot point/character arc, but I think it generally follows, and so for as meta as HS gets, it never really felt to me like you could see the hand of the author when it comes to how major plot elements are introduced, outside of a few very overt examples. Problems are able to crop up fairly naturally through characters responding in what they think to be natural/rational ways to their circumstances, but may or may not be due to the limitations on their understanding. The situation and environment of Sburb and the world of HS itself may be absurd and stupid and crazy and very obviously created by an author, but the characters typically feel consistent and true to themselves as people in how they respond to the absurdity and confusion of their world. It's one of the reasons why I think HS is so appealing as a coming of age story actually, since stepping into adulthood (or even just your teenage years) does often feel like entering a world that is crazy and cruel and unknowable with all of these malicious, far-away forces that know way more than you could ever possibly understand controlling every detail of the world around you and deciding your fate before you even get the chance to know it's coming. These are kids, they really don't have a lot of power even once they ascend to godhood in comparison to the forces they're dealing with, and the story & world reflects that.

The problem w/ HS^2 & the Epilogues is that the authors don't have the same game construct to work with, barely have a world at all to begin with actually, and so they instead twist pretty much every single character into the worst possible versions of themselves in order to try and recreate the same HS absurdity. But it just doesn't work, because there is no real explanation for why every character is suddenly at their lowest point and acting like a fucking idiot all the time other than "ooo adulthood makes everyone worse!" and vague gestures to capitalism and privilege (or what I would call structural ignorance, though I don't think they ever call it that), so the story just comes across as incredibly cruel and uncaring and unabashedly pessimistic in a way that's just miserable to read.

Yes, Jane grew up privileged, it makes sense that she would be sympathetic to capitalism and try to recreate the same social structures that fucked people up on the original Earth- but that is not nearly enough justification for why she has suddenly gone full fascist dictator endorsing troll eugenics and trying to murder people, and it doesn't even work well as social commentary cause it's so extreme right from the start that it couldn't possibly reflect real life issues or the development of actual fascist/bigoted ideas. Yes, Trump's ties to the alt-right are fucking terrifying and conservative politics in general in the U.S. nowadays are incredibly fucked, but there's still logical people and seemingly rational explanations being utilized to justify the bullshit that many people genuinely believe in and HS^2 fails to meaningfully reflect or comment on any of those, at least from what I can tell. Everyone is consistent with how they are terrible, I'll give them that, for Dirk and Jane and everyone else the flaws that are being emphasized are ones that are generally kind of consistent with canon, but I simply cannot get behind why they suddenly decided to be the worst possible versions of themselves other than that the authors realize they needed plot and decided that the best way to make Candy and Meat the Bad Timelines:tm: was to spontaneously make everyone as insufferable as possible.

I think a part of the problem is the time skip, honestly. And the fact that Earth C as a location itself is surprisingly underutilized when it comes to creating problems for the characters. The characters are gods ruling over a world where they can be dictator of the globe at the end of a single election. Without the game and the lack of distinct outside villains, there is nothing stopping them from having full agency over everything other than each other, so in order to create plot, instead of going through the effort to create a world or social structure they just made everyone worse and called it a day. It's like the epitome of white liberalism's inability to understand bad systems vs. bad individuals- there are no real systems here, nothing that actually functions past a name, so everyone is just fucking terrible.

(Honestly, I think the fact that there are no overt outside villains could've been a good way of transitioning to the fact that these characters aren't kids anymore- if Dirk and Jane didn't have to be transformed into fucking caricatures of themselves in order to do it. Really the problem is that so many of the characters that used to add interesting nuance to the social conflict are fucking dead now. RIP trolls.)

Since this is turning out to be the political astronaut ramble I guess I'll just keep going for a bit: one of the most meaningful insights a professor has ever given to me came is the idea that we "haven't earned our pessimism yet," as the younger generations, or haven't faced The Shit directly or long enough to justify having as little hope as we do. Many of us have looked at the problem and given up before even trying to solve it, and are, in fact, not really justified in making such a decision.

For me, there's an additional layer to that idea as well: one of the ideas that Beauvoir talks about in her feminist philosophy is that of agency, wherein social privilege allows for certain groups to decide which meaning-creating projects they want to or to not take on where others are not allowed to make the same choice. If you sit in any kind of position of social privilege, that historical role has continually been the one to not only benefit from the rules, but make them in the first place. This kind of pessimism is thus not just unearned, not just frustrating to listen to, but actively harmful to the creation of meaningful change. Who really benefits from inaction? From a lack of change to the status quo? And who are the privileged to make decisions about whether or not we're allowed to fight for this shit in the first place?

#astronaut rambles #big warning this one got a lot more political (sorry?) #i hope this doesn't come across as too harsh ik it gets a little preachy at the end #but i just. i have *so* little patience for that shit now guys #it was insufferable when hs^2 was first coming out and the creators were scrambling to justify their own actions #all the while bullying any fans that dared to try and reasonably criticize their terrible and/or questionable creative decisions #and it only gets worse the more time that passes #i almost get secondhand embarrassment reading these commentaries just from how unprofessional they can be #do not recommend #hs #rose tag #it's kind of difficult for me to properly criticize post-canon stuff actually #i don't know what it is about it #it's like it's just consistent enough w/ just enough half-decent ideas that sometimes i think its not that bad or ill even enjoy parts of i #but then i read certain comments and just. Remember #the Horrors #kinda scared to post this one but i've read it over a few times guess i'll just go for it

[welllpthisishappening]

Should Auld Acquaintance be Forgot

Honestly, Emma was less mad about the whole thing than she expected. Disappointed, that was the word. And everyone knew that disappointed was far worse than mad. 

Because being dateless on New Year’s Eve was one thing. Being dateless while pining over a roommate with a secret Match.com profile and apparent relationship-type desires that were the complete opposite of her was—

Disappointing, really. 

If Killian kissed anybody, she was going to drink an entire bottle of champagne by herself. 

-----

Rating: Teen, kissing, far too many Grinch references

Word Count: 9.2K

AN: Today is our last festive prompt! Or, at least one that’s a stand-alone story. Our said prompts come from @kmomof4​ who asked for “i don't wanna get up-- you're comfy."// "i'm cold. come closer." //"i love you a lot, but please stop trying to cook me dinner, you suck.” And I got all three in. As always, I cannot thank you guys enough for clicking and reading and saying such nice things. Here’s to a 2021 that’s full of even more fic, satisfying TV storylines and lots of fictional characters making out. 

Also on Ao3 if that’s your jam

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“Shit.”

“Merry Christmas.”

Rolling her eyes over the top of the phone in her hand, Ruby didn’t look particularly amused at the distinct lack of enthusiasm in Emma’s voice. That was something of a theme. For like—the last thirty-six hours, but also the majority of their relationship, and none this should have come as a surprise, only she’d had a lot of wine in the last forty-six minutes, and it might have been catching up with her. Was definitely catching up with her. 

“How much did you pay for the garbage alcohol you’ve been shoving at me?” Emma asked archly, and she was only slightly worried about getting home. Her head felt muddled. Like there were too many thoughts, and this time of year always did that to her brain, and her consciousness, and at least eighty-two percent of this was Mary Margaret’s fault. 

For deciding that they were going to have a party. 

On New Year’s Eve. 

Like complete cliches. 

“I’ll have you know,” Ruby drawled, eyes dropping back to her phone and whatever noise it was making, “that I paid at least twelve dollars for—”

“—Lies,” Elsa yelled, and it was a testament their current situation that she’d raised her voice at all. Nothing like that ever happened, and the overall roll rate of Ruby’s eyes was going to give her a migraine. 

Her phone made another noise. 

“She’s lying to you,” Elsa added. “Straight to your face.”

She’d still be staring down a dateless New Year’s Eve, but—

Emma scrunched her nose. “What else is new?”

“Oh, I take offense to that,” Ruby cried, but she was almost too obviously distracted, and the inability of this conversation to be concise was starting to grate on Emma’s nerves. Or what remained of them. Maybe she was the Grinch.

No, that wasn’t right. The Grinch had an enlarged heart, which Emma certainly did not have — and that was nice and appropriately festive for the season, the Grinch, not her, and he had a dog. Emma didn’t have a dog. If she had a dog, there was no possible way she’d be annoyed as she was. 

Whatever, honestly. 

Her date, or lack thereof, was not important, and she was going to drink this entire bottle of Barefoot Moscato, price tag be damned, and then she was going to figure out some way to get home. Without falling over. 

Also, the Grinch didn’t have a roommate. Unless you counted the dog, and Emma didn’t think Max could conceivably hold so many titles in a twenty-two minute animated Christmas special, and she imagined the Grinch was also not pining after his dog slash roommate slash stand-in reindeer. That’d be weird. 

For a twenty-two minute animated Christmas special. 

She’d never seen the Jim Carey version. Or that other one with Benedict whatever-his-name-is.

Away from dating apps and wine that was very likely going to give her one hell of a headache, and Killian would at least make sure she was vaguely hydrated before she collapsed on some sort of horizontal surface. She wasn’t going to be picky about which one, honestly. 

“Why are there so many versions of the Grinch?”

Ruby didn’t look at her. Her eyebrows moved, though. Lifted ever so slightly into her hairline, and Elsa’s glance wasn’t exactly subtle, and Emma needed to go home. 

“Expand on that for me,” Ruby said, lips twisted as soon as she stopped talking. Something was wrong. Well, more wrong. In an alcohol-saturated sort of way that included all those previously discussed mobile dating apps. 

“There are so many Grinches,” Emma said. “You think that’s a commentary on society? Like as a whole? That we need to—”

“—Embrace the spirit of Christmas?”

“Because we as a general population are all assholes?”

“You’ve had too much wine.”

“Not a question,” Elsa mumbled, elbow bumping Emma’s shoulder when she perched on the edge of the sofa, and Ruby’s eyes were still doing that thing. Widening every now and then — a flash of understanding mixing in with surprise, and Emma wasn’t sure how many muscles were in a human thumb, but she figured all of Ruby’s were getting quite a workout, scrolling as quickly as they were. 

“If I have,” Emma muttered, “it is entirely Ruby’s fault. Who buys pink Moscato and expects their guests not to drink the whole bottle?”

“Seems to suggest you’re a guest, though,” Ruby said, “and that’s awfully prim and proper.”

Ruby couldn’t possibly be Cindy Lou Who in this metaphor. 

Emma couldn’t argue with that. Mostly because she’d drank so much of the pink Moscato. “Ok, ok, forget the wine for two seconds. And the Grinch. Why were you making proclamations before? They were very loud and—”

Nothing changed. The phone was still there — wobbling slightly because it seemed Ruby’s forearm strength was lacking just a bit, but the screen didn’t change, and Emma was certain this was somehow also Taylor Swift’s fault. For rerecording Love Story and letting Ryan Reynolds use it in that Match.com ad. 

“So…”

Although really that made it more Scooter whatever-his-last-name-was’s fault, for stealing all of Taylor Swift’s songs and being a noted and massive dick, and Emma’s inability to remember anyone’s last name was clearly something of a personality failing. 

“Thoughts?” Ruby pressed. 

At least twelve-thousand, but none of them seemed especially interested in being said out loud, and Emma’s tongue felt like it was simultaneously growing and dissolving in her mouth. None of it was particularly comfortable, what legitimately felt like cotton balls bursting out of her cheeks and making it difficult to breathe, and she should have lived in a cave. With her dog and the inexplicable set of antlers she owned to make that same dog look like a reindeer, and then she wouldn’t have to be staring at Killian Jones’ dating profile on goddamn Match.com eight days before a New Year’s Eve party she only marginally wanted to attend. 

“Don’t people just use Tinder now?” 

Emma’s voice did not sound like her own. Presumably because of the tongue thing and the cotton ball analogy, and she wondered if the Uber driver she was inevitably going to request would be especially annoyed by her desire to blast Taylor Swift in the backseat. 

She’d give them five stars. 

No matter what — because she wasn’t an asshole, but especially if they let Emma blast Taylor Swift in the backseat. 

Ruby rolled her eyes. “You’re very old; you know that?” 

Her face was very warm. 

“Buy me better wine.”

Emma had never gone into cardiac arrest before, but the sinking feeling in her chest was sudden and a little jarring and she tried very hard to swallow down the wad of emotion currently taking up residence in the middle of her throat. Didn’t work. 

“Only nine bucks, honestly?”

Failed spectacularly, quite honestly. 

“I don’t want to know,” she announced. “Whatever he put on there is his—”

“What Killian does or doesn’t do in the world of modern dating has nothing to do with me,” Emma said, only a little disappointed because she didn’t think people got multiple miracles in their lives and to having hers ensure her voice didn’t shake over those particular words in that particular order felt lame. 

“I don’t care.”

All things considered. 

Scrunching her nose, Ruby’s nod lacked a certain sense of honesty. “Sure, sure, sure, well—” She shrugged. “—He’s here. Being available. Presumably for New Year’s, and…”

Emma waited for the rest. All the reasons she’d heard before, and her friends were convinced. Something about inevitable, and happily ever after, but that second part was mostly Mary Margaret and it was likely easier to believe in the fairy tale when you were living it. 

Pessimism was also fairly lame. As far as defining traits went. 

“What are you—” Elsa started, but then she was moving and her teeth clicked exactly five times, as soon as she looked at the screen, and Emma was not capable of dealing with any of this. Watching her friends gape at her, Ruby’s phone still held loosely in her hand, and neither one of them objected when she finally managed to get to her feet. 

And the Uber driver didn’t offer to play any Taylor Swift, but Emma didn’t ask and she didn’t blast it in the backseat. 

So, that felt like a victory. Which she desperately needed — to counteract the state of her pancreas and half a dozen other internal organs when her thumb hovered over the button, and it took at least two minutes and twelve seconds for Match.com to download. 

She should have waited until she was on wifi. 

To say that Emma’s relationship with Killian Jones was complicated would be something of an understatement. And she wouldn’t use the word relationship. 

He was her friend. 

Her very good looking friend, with stupid eyes that regularly flashed at her like he was too aware of the mush-like state it sent her into, and he was friends with her brother, and once upon a time she’d briefly considered hating him, but that never really stuck and he made hot chocolate better than anyone she knew. Refused to use the prepackaged mix. Did something on the oven that Emma didn’t entirely understand, and never trusted herself to try on her own, and Killian was never late with his half of the rent. 

Or any of the utilities. 

Living together was a decision born of convenience and the extra room Killian had once Will moved out, but it also made a lot of sense and it was good. Really good. Would have been great if Emma wasn’t pining after him and his stupid eyes like some lovelorn idiot, but she had gotten almost impossibly good at rationalizing the whole thing in the last few years, and—

“Shit, shit, shit,” she chanted, slumped in the corner of the couch with her knees threatening to impale her chin and there must have been a record for frustrated cursing while staring at a roommate's dating profile. She’d definitely passed it, like, seven minutes ago. 

Scrolling down only led to scrolling back up, twisting her lower lip between her teeth while staring at photos and lists and options she was sure came from some AI or relationship-type algorithm and coming to terms with the end of the world was harder than she expected it to be.  

At least the end of her love life. 

Of which there wasn’t much to begin with, so it probably wasn’t very hard for the whole thing to topple over, but Emma was feeling especially melodramatic and they needed to buy some WD-40. For their very squeaky door. 

“Hey,” Killian said, shrugging out of his jacket and it was apparently snowing out. Flakes dusted his shoulder, clung to several strands of hair, and Emma couldn’t melt into the couch. They couldn’t afford to buy another one. “That can’t be good for your spine.”

Humming, Killian didn’t bother brushing the snow out of his hair before he walked forward, falling onto the other end of the couch and pulling Emma’s sock-covered feet into his lap. “Are they any cookies left?”

“I’m going to tell Mary Margaret you’re a cookie glutton and—”

Sixteen guys had messaged her already. 

“So I’ve heard. Whatcha you doing?”

Maybe that was a compliment. Emma didn’t think so, though. 

She couldn’t believe she had to make a profile. To stalk her roommate. And his interests. There were a lot of interests on Killian’s Match.com profile. 

Strictly speaking, she didn’t have much experience with shoulders and their proclivity to being rested on, but she liked to believe Killian’s was one of the more comfortable out there. Her head fit very well, at least. 

“Nothing.”

So as to avoid any lingering after-effects from its continued failure. 

“I’ve got twenty-seven bucks on him asking at the party,” Killian said, “but Locksley thinks he’s just going to lose any sense of self-control and blurt it out before, I just—”

Emma’s phone dinged. 

Again. Multiple times, in quick succession — and she should have turned off notifications for that stupid app, but she wasn’t really using it for its intended purpose and Killian was staring at her. With a look that made it all too clear he knew what was going on. 

That didn’t make her feel any better. 

“Ruby said she was thinking about bringing someone,” he muttered, “to, uh—to the thing. The New Year’s thing.”

The air shifted. Crackled with electricity Emma knew she was imagining, and want she was only barely managing to temper and if Will did propose to Belle on New Year’s Eve she refused to be held accountable for her emotional reaction. She’d totally cry. 

“Call it a thing again.”

Ruby would never let her hear the end of that.

Shaking his head brusquely, Killian’s grip tightened around Emma’s ankle. She had no idea he was holding her ankle — fingers wrapped all the way around the joint until the tips threatened to touch because apparently his fingers were that long, and she’d probably only obsess about that for like the next few years, or so. Which seemed reasonable. 

“Anyone good?” he asked, low and gruff and whatever was back in the middle of her throat did not appear intent on leaving any time soon. No matter how many times Emma swallowed. 

Or how often Killian’s eyes flickered. Towards her throat.

The idea never even crossed her mind, honestly. 

Flinching the way she did only guaranteed that Emma’s spine collided with the arm of their couch, but she was at least less inclined to melt and she supposed romantic beggars could not be choosers. “Yuh huh,” she said, “and you’re well acquainted with the noises and the reasons behind the noise?”

That probably wasn’t important. 

And just like that—it was fine. Well, maybe not fine, but at last fine adjacent, and something inching closer to normal, and Killian kissed her temple again before he stood up. 

“You’re avoiding my question.”

She didn’t pick up her phone until she went to bed, dragging every blanket they owned behind her down the hallway. 

On the ever-growing list of problems Emma had during a week when problems were supposed to be non-existent, Killian's Match.com profile had very easily cemented itself at the top of the list. 

It didn’t match — her, at least. Every single thing he was apparently looking for in some sort of potential life partner was the exact opposite of every single thing that made Emma her. Musical tastes were diametrically opposed, movies she’d never once seen him watch in the legitimate decades she’d known him were praised with the kind of adjectives even Robert Ebert would scoff at. The pictures were good, but Emma knew that was more a result of her attraction to her roommate than anything else, and he said he liked people who cooked. 

She couldn’t cook. 

She tried. 

Twenty-four hours after the weird couch incident, which was a name only Emma was using, she was sure, and the smoke alarm had gone off and—

This was Ruby’s fault. And Taylor Swift. Whose new album was very good, and made for perfect and consistent pining music. 

She was so disappointed she was positive she reeked with it.

“Cooking,” Emma said, like that was an explanation and not an excuse and she was definitely using too many of her personal miracles. “Nothing caught on fire!”

Lolling his head to the side, Killian leveled her with an exasperated expression. Brows pinched together and that shade of blue wasn’t quite as sharp, but was still somehow almost amused and she didn’t think the oven was supposed to make that noise. It was very loud. “Lack of flames is not a sign of success, love,” he said, “and it’s—ah, fuck.”

The smoke alarm was louder than the oven. 

Blasting through their apartment and, Emma was sure, through the entire building, the beep hit its rhythmic stride quickly, so she reacted like an adult to the whole situation by gritting her teeth and squeezing her eyes shut. Killian breezed by her, swinging open another squeaky door and fumbling through what sounded like several dozen boxes and he cursed. More than once.

Emma nodded. 

Emma cracked open one eye. “We do, I—”

Their neighbors must hate them. Rightfully so. 

“We definitely own a broom,” she promised, “we’re not savages. We clean.”

Graham was probably very nice.

“Was there a reason for that?”

Emma swallowed. Still didn’t help. 

“Swan.”

“Alright,” Killian said softly, “c’mere.”

Saying that what happened next happened quicker than Emma expected it to, also suggested that Emma expected it to happen at all, which was one of the bigger lies she’d told in the last week or so, and she was really growing a metric shit ton of lies, so that was especially impressive and she yelped very loudly. As soon as hands gripped her hips, lifting her off the floor and directing her underneath the questionably loud smoke detector. 

“This could wake the dead,” she proclaimed, shouting the words because if they were going to descend into total farce, then she was really going to lean into it.

Killian’s head fell to her stomach. If she died right there, she hoped he didn’t drop her. Although, she’d also be dead, so—she probably wouldn’t notice. 

“Just turn it off, love.”

She hated all that music. 

“See,” he grunted, “that makes it sound like we don’t have a broom, and—” Adjusting her, one of her legs twisted around his, something Emma was going to claim as instinct and not that same want that was another one of her more defining characteristics, and he definitely exhaled. Loudly. And directly into her t-shirt. “—Swan, I really need you to fix this, love.”

Using his shoulder as leverage, and keeping her leg exactly where it was, she still had to stretch her arm out and it took far more movement than either one of them could apparently handle silently for her to press the button that fixed everything. 

Despised The Godfather, on some sort of fundamental level and Kay deserved better than Michael Corleone, even if that version of Al Pacino was almost kind of attractive, but—

Relatively speaking, at least. 

He didn’t lift his head immediately. Or drop her. That probably wasn’t a metaphor. 

Emma’s metaphors regularly sucked, anyway. 

“Pizza or Chinese?”

Chuckling into her stomach, Killian’s laugh warmed her from the inside out and kept the goosebumps there and she’d kind of forgotten he was shirtless. Idiot bastard, that was her.

Graham Humbert had owned more plaid shirts than anyone Emma had ever seen. 

“Order extra egg rolls, and I’m in,” Killian said, finally working her back to the ground and they didn’t move. They stood there. Staring at each other, and conducting more inventory, and Emma could only imagine the penance she’d have to do for keeping her stomach in its correct spot. 

“Deal.”

“She’s in love with him.”

“Which part?” Ruby asked. “How in love Emma is with Jones or whether or not we were acknowledging his shitty dating profile?” 

“Doesn’t have to,” Elsa muttered over the top of her half-empty glass. “It basically broadcasts out of her.”

They took the batteries out of the smoke detector a day later. 

“Either or, I guess.”

Not the safest thing they’d ever done, but Emma kept trying to cook and failing spectacularly and she was certain the people at the Chinese restaurant fourteen blocks away knew their order based solely on the sound of her voice when she called. 

“Does this have a name?”

Slumped as she was over the edge of the bar, Emma barely noticed the lift in Killian’s eyebrows, but that also might have been her tendency to be preoccupied with his mouth and he was smiling at her. Wide. Meaningful—ly. 

Distractingly. 

At some point that afternoon, she’d decided she needed to respond to Graham’s messages. Or, well—keep responding. There’d been some conversation, what might have been construed as flirting if Emma’s thumbs didn’t keep cramping up while they flew across her phone’s keyboard, but that definitely wasn’t a sign either, and the overall lightness in her body was likely a direct result of whatever blue-colored alcoholic concoction Killian had put in front of her forty-seven minutes before. There were gummy—things floating in it. 

Or there had been. 

She’d eaten them. 

Her mouth felt a little numb. 

“What do you think we should call it?”

Propping her chin on her hand made Emma wobble a bit, Killian’s lips twitching again. Idiot bastard asshole. Poor Graham. She was a jerk. And his eyes were getting brighter. 

Killian’s. Not Graham’s. 

She had no idea what Graham’s eyes did. 

“Are you serving me unnamed alcohol?” Emma asked, and she was sure she did not slur her words the way it sounded. 

He shrugged. 

Good thing the holiday season was nearly over. 

And Will’s reaction was far too loud, tossing a towel over his back before he draped himself across Killian’s back, hooking his own chin over that slightly lifted shoulder. “He’s showing off, Em. That’s all it is. Are you going to die, though?”

At the bar. 

“Your tongue is blue.”

Four seats away from Leroy the regular. 

“Don’t move so quickly, Swan,” Killian said, a hand finding her cheek and that was fine. Totally fine. Great, even. Super—

Califragilisticexpialidocious. 

So, she was more drunk than she’d been. Like, ever. 

“Your fault,” she mumbled. Burrowing further into his palm was not an option Emma had, so naturally that’s exactly what she did and Will made another noise. “Something to add, Scar—” Emma paused, lifting an impatient finger when both men in front of her dared to laugh. “—Let, you jerky jerkface.”

“You will find out whenever else does, kid,” Will guaranteed. “And there were at least four different types of rum in that swill he gave you.”

That would have annoyed Belle.

Humming, Will untwisted his limbs from Killian, a different hand finding her cheek and the strands of hair that were hanging over her eyes and she scowled when he tapped her chin. “Trying to impress you,” Will repeated intently.

“Is he—” Emma’s brain couldn’t keep up. Thoughts rushed through her, firing synapses that were only passably functional, and the lights from the jukebox across the room were starting to float in her vision. Pressing her fingers into her cheek, Emma knew the skin there moved, but she also could not feel a single thing and—“You’re laughing at me.”

Her head hurt. Ached, even through the haze she’d only recently evolved into, and Emma hated bowling. Was absolutely God awful at it. The kind of awful that required bumpers whenever they’d gone, and they used to go when they were kids. On New Year’s Eve afternoon, some tradition that Ruth had come up with and David honored, even after he and Mary Margaret had segued into happily ever after, and Emma could count on one hand how many times she’d crested the 100-point mark. 

“I am,” he said, “but you’re also sloshed, so I’m willing to give you a pass. And no.”

She felt oddly similar now. 

Playing a game she wasn’t very good at, with more gutter balls than any self-respecting adult should record. Eight pounds of cylindrical force kept rolling through her, threatening anything in its path, but not hitting what it was supposed to, and she also could have eaten an entire tub of bowling alley snacks right now. 

“Why are fries better in a bowling alley? Like, better than anywhere else.” 

Will’s eyes narrowed. “Better than Shake Shack?”

Blinking continued to be one of Emma’s less impressive reactions, but she was stuck on that bowling ball metaphor and Killian’s arm around her shoulders made it impossible to talk. 

“‘S’totally different.”

“You ready, love?”

“We’re leaving, love,” Killian said, and there was at least part of her that was smart enough to pick on repeat endearments. And then promptly cling to them. In her swollen heart. 

“For?”

“Make sure you brush your tongue too tonight, Em,” Will advised, “otherwise that blue is going to stick.”

Saluting left her more off-balance than she’d been all night, laughter echoing behind them as Killian pulled the door shut and he’d ordered them a car. Emma honestly had no idea how they got in said car, but then they were moving and she was only slightly dizzy and he—

He made another noise, slumping next to her, which made it even easier for Emma to touch as much of him as possible and he didn’t object. She didn’t think he would. Ever, actually. 

“Smell really good.”

God, poor Graham. 

She was the worst. 

David played hockey when he was a kid. 

“Not as such, no,” Killian said, “just thinking we might be able to add something new and—” His shoulder shifted under her cheek, Emma’s soft hum of disapproval making him smile. She still didn’t check. “—Not that we haven’t been making money, but...people gotta have a schtick.”

No sound. Nothing except engines, and there could only be one engine in a car, Emma was fairly positive, so that didn’t really make sense and Killian stared ahead when she tilted her head up. “Sometimes,” Killian admitted softly, “but, uh—like I said, just trying to get something that might help us a little more and weddings are expensive, y’know?”

“Whatever,” Emma groaned, “just—I’m saying it’s a good bar.”

Thinking about melting as often as she was, was starting to become patently ridiculous. 

“You’re trying to come up with ridiculous bachelorette party drinks—”

With such God awful interests in the opposite sex. 

Emma rapped her knuckles against his chest. “To help pay for Scarlet’s wedding?”

The world was a joke. Happy Holidays. 

“You’re not getting ready with Lucas or Elsa or anything tomorrow, are you?”

Huh. No grand slam, then. 

Of all the questions she definitely wasn’t prepared for, that was at the bottom of the list. Emma was not actually making any of these lists. “This isn’t prom.”

Being hungover on New Year’s Eve was one of the crueler jokes the universe had played on her in the last week or so. 

“Yeah, ok,” she said, letting her head drop back to his shoulder and Emma wasn’t sure why it sounded like he exhaled. In something almost like relief. Eyes fluttering the way they were, she must have imagined it, another ridiculous metaphor and even dumber analogy and her groan was especially pitiful when the car stopped. No way her stomach was going to stay where it was supposed to for the rest of the night.

All of Emma hurt, muscles she hadn’t been aware she was in possession of seemingly rising up in revolt of her very existence, and she couldn’t really turn her head. Which endlessly delighted Ruby in a way that was making her reconsider their friendship, and Killian kept glancing in their direction. His arm bumped Emma’s no less than twenty-four times in the car over. 

And for as much as she wanted to crawl under several mountains of blankets and consider all her romantic shortcomings, something in the back of Emma’s mind preened a bit under his flitting gaze, trying not to meet his eyes too often. Only to fail every time — if Ruby’s laughter was any indication, and Will had groaned several times, but he also didn’t appear to be engaged yet and Emma had apologized to Graham that afternoon. 

Through text, though. So it only kind of counted. She wasn’t even sure parts of the messages were English. Her head felt like it was going to snap open, which made the champagne she was practically shotgunning at that point a very bad decision, but she’d been on a roll on that front, so she had no intention of altering course and it was nearly midnight.

“This is depressing,” Ruby announced. “He’s staring again.”

Rolling her eyes was an impossibility if Emma didn’t want to make a spectacle of herself in front of her brother and some of the teachers from Mary Margaret’s school, and Ruby’s date was nice. Had a lot of pictures of her dog on her phone, but nice all the same.

More blinking. Honestly, she was a mess. The teachers kept hogging space on the couch. Killian smiled when he looked at Emma, that time. “Elaborate on that.”

“Are you the dumbest person alive?”

“No, this is just our general opinion of you. Both of you, really. I—are you not almost painfully aware of how in love Killian is with you? Em, he is staring at you. Like, right now. Blatantly. Obviously. Some other adverb.”

“We live together.”

Wide eyes and an impressively straight row of teeth were all the warning Emma got before there was a hand on her shoulder and he smelled just as good as she was hopeful she hadn’t mentioned last night, but that felt like wishful thinking and Emma did not, in fact, eject any bodily fluids when Killian turned her. Victories, she was flush with them. 

“I’m so bad at cooking.”

“Hey,” she breathed, and Ruby groaned so loudly it likely did damage to the ozone layer. 

Frozen to the spot, she tried very hard to regulate her breathing and fix her pulse, and neither thing worked. And then. Something clicked — almost audibly in her brain, and her soul and her heart’s potential for explosion was suddenly something she had to worry about. 

Killian’s lips twitched. “You got a second?”

“Please don’t look at me like that,” Killian murmured. She barely heard him. Not when there were fingers tracing up her side and lingering on the small of her back, and Emma’s head moved her head as slowly as she could. 

If she moved any faster, she’d either fall over or wake up from this very lucid dream and neither of those things were all that positive. 

“Cooking, it’s—I love you a lot, but you are absolutely atrocious at it.”

“You’ve got to stop cooking, love.”

The world stopped. Paused, at least. Gave Emma’s muddled mind a second to catch up, and she’d need several more seconds, but she also wasn’t quite that greedy and Killian’s smile widened. As soon as her fingers curled into his shirt. 

He didn’t move his hands. 

“I—” she stammered. “I am...but we don’t match!”

“What is happening right now?” Emma breathed, only cautiously optimistic she wanted the answer. 

A chorus of angry jeers rained down on them — Will using Robin to keep himself upright while he flipped Killian off with both hands. “Pining piner who pines like a goddamn idiot.”

“Well, I’m fairly in love with you. To an almost ridiculous degree.”

“I do appreciate the cooking effort though,” he added. “But it’s a very old profile, made almost entirely by Scarlet in—”

“I honestly forgot it existed,” Killian continued, “I’ve never used it, really. Just knew that Scarlet had made the thing, and then I ignored the messages and—”

As it was, her fingers were already tight enough that Emma very easily pulled herself up and the hand at her waist helped keep her balanced and they were very good at this. Kissing, specifically. Heads tilted automatically to an angle that made it all too easy for Emma to open her mouth, and Killian’s tongue was even more distracting when it was brushing hers, and someone was groaning, but that might have been her, or possibly him and his hair was soft. Between her fingers. 

“Not as many as you did.”

Breathing was suddenly a secondary concern, and Emma’s lungs had already proved they were basically made of steel, or at least impervious to the flames currently exploding between her ribs and none of that was biologically accurate. 

She never did find out where her pancreas was. 

And she was so busy dealing with the way the solar system appeared to be reordering itself around the pair of them, that Emma didn’t notice the countdown or the metallic crown tossed at her feet. Only that there were eventually cheers and Ryan Seacrest’s face plastered across the TV on the other side of the room, and one of Killian’s hands had worked underneath her shirt. 

The sparkly one that had made his eyes noticeably widen several hours earlier. 

“How did you figure it out?”

#cs ff #captain swan #captain swan ff #captain swan fic #cs fic #festive fic a thon 2k20 #this ended up much longer than i thought #so really the perfect way to end the year #thanks for reading internet #i think you're all swell

[plays-the-thing]

Netflix’s Witcher: What Makes a Good Adaptation? – A companion piece

If you’ve somehow found this without seeing the video first, here’s a link:

In this video I analyze the screen adaptations of Lord of the Rings, A Song of Ice and Fire, and the Witcher series. I use the comparisons of the three to discuss what makes adaptations in general work and to explain why I feel the Witcher is heading down the road to mediocrity.

However, this is a hugely complicated subject, and the works themselves are also complex, especially Martin’s work. I make plenty of claims in the video that a reasonable person could disagree with without any explanation for why I think they are true. Unfortunately, if I were to go down every rabbit hole that I touch on the video would be hours long, so I have to gloss over some potentially confusing or controversial statements.

Enter this post. Here I will be attempting to pre-empt any questions that I think people may have, and go through my thought process on certain claims. I don’t recommend that you read the whole thing. Each explanation will be followed by a timestamp and relevant quote from the video that I am expanding upon so that you can quickly search the page and find what you are looking for.

 I’m sure there will be things I don’t think to cover, or things that are poorly reasoned both here and in the video, so feel free to ask additional questions. Just please check to make sure you aren’t asking something that I already covered here.

 I will also be attempting to give as much credit as possible to all the wonderful writers and creators who have influenced my thinking with regards to these works. I’ll be linking as much as possible to my sources, as well as to additional content that expands on ideas I mention. Also I’ve included some personal tidbits and commentary, just for fun.

 Under a cut for length.

INTRODUCTION:

Huge props to the people who put together the behind-the-scenes footage of LOTR. I’ve watched all the bonus footage numerous times in my life. If you have any interest in the nitty-gritty of how movies get made, I can’t recommend it enough. It really shows all the work and complexity that goes into making movies. That they even get made at all is honestly incredible, especially massive undertakings like LOTR.

[3:30] And if you've ever wondered what the hell happened to The Hobbit, to me it seemed like they were indulging all of these worst impulses instead of catching themselves and editing them out like they did in LOTR.

As soon as I saw that they were making three Hobbit movies my hopes plummeted. It just reeked of executive meddling, and of trying to make the story into something it just isn’t. Lo and behold, that’s what we got: sticking in loads of unnecessary and thematically incoherent material to stretch out the runtime and make it more “epic.” I couldn’t bring myself to watch past the first one, but Lindsay Ellis has an excellent video series exploring in detail what went wrong with the trilogy.

PART ONE: LORD OF THE RINGS

[8:40] If you followed the events and the chronology of the book they would just hang out with Faramir for a little bit and then the movie would end

Technically it’s more complicated than this because that’s already following the revised movie timeline. In reality, Frodo would have just left the Black Gate. They *are* moving the events around to some extent, usually by a few of days here and there, but they can’t move stuff together that takes place weeks apart or the whole timeline would crumble.

[9:55] You can call it the theme, the soul, the spirit, the point, or whatever else you want, but the great works of fiction have something at their core that pulls everything together and elevates it into art. It’s a difficult thing to describe, but I think this scene perfectly tapped into the soul of Tolkien’s work.

Huge shout out to Bob Case and his video “Blame of Thrones” for first introducing me to this concept and the language of the “spirit” of a work to describe this phenomenon. In many ways the first two parts of this video are merely building on the LOTR-GOT comparison that he makes in that video, digging a little deeper and looking at more specific and concrete (and spoileriffic) examples of what he’s talking about so that we can apply these ideas to the Witcher…and beyond. Like all his work, it’s excellent. His YouTube is pretty much inactive these days, but he also occasionally writes content for Shamus Young’s blog if you want more of his work.

PART TWO: GAME OF THRONES

Alright, here it is: the section that really caused me to want to make this companion piece. Earlier I mentioned that I have sympathy for the GoT showrunners, and I really do. Martin’s work is incredibly complex, and so this section dominates the blogpost because there is so much to explain and no way that I could explain it all in the video without incredible bloat.

First I should mention that I, and all the writers I am going to credit here, share a very specific interpretation of Martin’s work. This isn’t the only interpretation. I doubt it’s the interpretation of the majority of readers. Obviously, I fully believe it is the correct interpretation, but the showrunners clearly had a wildly different one.

People who have this interpretation express it in different ways. Joannalannister collects hers in her tag #the-meaning-of-asoiaf. PoorQuentyn expresses it here, and in his analysis of Davos, Quentyn, and Tyrion. Other writers express it in their own ways.

With my lit degree hanging over my head, I can’t help but see it as a problem of competing artistic movements. To me, HBO’s Game of Thrones is part of the art movement of the past few decades, namely postmodernism. Art movements are complex, but basically postmodernism is the cynical reaction to the sincerity of modernism which came before it. Cynicism is, I think, the defining trait of Game of Thrones.

But it is NOT the defining trait of the books. In my view, Martin’s ASOIAF is part of the art movement that we are moving towards, which is starting to become known as metamodernism. Metamodernism is a reaction to the nihilistic pessimism and cynicism of postmodernism, and replaces it not with the unbridled sincerity of modernism, but rather oscillation between the two modes. It can be both ironic and sincere, deconstructionist and constructionist, apathetic and affectual. Once you have peeled back all the layers however, it is ultimately hopeful and optimistic. It embraces a sense of radical optimism. In metamodernist works optimism is often radical because the world the characters live in can be so dark. But that darkness serves only to highlight those characters that can hold fast to virtue amidst such darkness.

So, be warned. If you believe that Martin’s work is all about controlling the Iron Throne, and believe that cynicism is for the wise and honor is for fools, we just aren’t going to see eye to eye.

[12:45] Ned is a competent northern politician who has some trouble adapting to southern culture. Through a combination of bad luck, some understandable mistakes, and a misconception about his position, he fails in his goals.

The show didn’t invent the idea of Stupid Honorable Ned. Plenty of people believed this, even before the show. Obviously I believe they are wrong. If you would like to read more about it I would suggest Steven Attewell’s analysis of Ned’s chapters that he does on his blog, particularly Eddard XI and Eddard XIII. Steven does a much better job of analyzing Ned as a political actor than I ever could.

[13:00] Most of these changes are subtle…the best example is the council debate about whether or not to assassinate Daenerys.

Many of the ideas in this section are pulled from two essays by turtle-paced: Poor Doomed Ned and The Argument to Assassinate Daenerys. Turtle goes deep into the details of the differences between the Ned Stark of the books and the show, and I skimmed some of their comparisons for my argument. Steven Attewell’s analysis of this chapter is also worth reading.

[14:09] It’s a good argument, and I think in the books we are expected to mostly agree with Ned, both morally and politically.

When I say “expected” I mean from the authors point of view, which of course relies on me being correct about my interpretation of Martin’s work. Obviously I think I’m right, but if you don’t agree with my interpretation you may not agree with this statement.

[14:16] Notice also that the supporters of the assassination: Littlefinger, Varys, Renly, and Pycelle are all villains (all except Pycelle are trying to destabilize the kingdom), and the people who oppose it, Ned and Barristan, are heroes.

Each of them represents a different sort of evil. Littlefinger is a scheming sociopathic villain. Varys is a well-intentioned extremist whose willingness to commit utterly heinous acts in the pursuit of his goals makes him a villain. This is because, as Huxley puts it, “The end cannot justify the means, for the simple and obvious reason that the means employed determine the nature of the ends produced.”  Renly is narcissistic ambitious evil, willing to throw a realm into war to satisfy his own ego, and is totally uncaring about the lives of other people. It isn’t precisely correct to say that Pycelle is a villain because he represents the banality of evil. He thinks he’s just doing his job, but he’s morally bankrupt and politically corrupt.

[16:40] It would take too long to list all the ways that Tywin is awful, and everyone knows it.

To clarify, I mean that everyone in-universe knows it. For some god-forsaken reason, some readers seem to think that Tywin was just being effective after he unleashed the Mountain on the Riverlands and violated every military and political norm in Westeros.

If you are going to say that he is “Machiavellian” I would encourage you to actually read The Prince, where Machiavelli says “Nevertheless a prince ought to inspire fear in such a way that, if he does not win love, he avoids hatred” and goes into the reasons why.

[17:17] Tywin on the other hand accomplished a lot of short-term gains by being as treacherous and dishonorable as possible. But this has a cost: by proving themselves fair-weather allies they surround themselves with the same. Nobody trusts them, and so their allies scheme and betray them.

Oberyn and Doran are both scheming in their own way to revenge themselves on the Lannisters for the deaths of Elia and her children. The Tyrells poison Joffrey and scheme to spirit Sansa away to Highgarden.

[17:36] Ned failed due to a couple of minor mistakes, some bad luck, and treachery.

I mention a few times that Ned, and more broadly the Starks, get “unlucky.” Again, Steven Attewell does an excellent job of documenting this with his keen eye for how GRRM cheats political realities, but I’ll note a few of the many ways George has to bend over backward to screw the Starks.

In AGoT Catelyn leaves King’s Landing roughly around the same time that Tyrion leaves the wall, and both are on horseback. In order for them to meet at the Inn at the Crossroads Tyrion has to travel roughly 2,000 miles in the same time that Catelyn travels 400 miles. This is basically impossible, but necessary for the plot so that Catelyn can lose Tyrion at the Eyrie. If she had caught him somewhere further north she could have simply chucked him into her own dungeons and managed his trial herself.

Cersei has been trying to kill Robert for goodness knows how long with just as unreliable methods as “get him drunk on a hunt.” In order for Ned to get screwed she has to succeed in killing Robert at precisely that moment. If it had failed like every one of her other attempts she is most likely dead, because Ned would tell Robert the truth about her children as soon as he got back.

In order for Theon to take Winterfell, veteran military man and castellan Ser Rodrik Cassell has to stupidly empty the Winterfell garrison while he knows that Ironborn raiders are running loose in the North, not even leaving behind a mere twenty-five to fifty men that would have completely thrashed Theon’s assault. If Theon can’t take Winterfell, the Red Wedding doesn’t happen (as Martin has told us that the real inciting incident of the Red Wedding was the fall of Winterfell).

[17:41] However, killing him was a terrible idea, and backfired on the Lannisters instantly.

Continuing this theme, the Lannisters were in an absolutely horrible position at the beginning of the War of the Five Kings. They pretty much just have their bannerman in the Westerlands. Stannis seems to have the support of most of the Crownlands, and he and Renly are splitting the lords of the Reach and the Stormlands (with Renly having the larger chunk). The Starks have all the support of the North and the Riverlands combined. The Lannisters are surrounded by enemies who outnumber them on all sides. Killing Ned immediately jumpstarts a war that will almost certainly crush the Lannisters. That it didn’t took some very thin plotting and improbable developments at times, but overall George made it work. For more analysis of this, again check out Steven Attewell Blog: Race for the Iron Throne.

[17:48] Tywin was killed by both a guest whom he considered his ally, and his son.

I firmly believe Oberyn poisoned Tywin. Here’s a good rundown of the evidence. Beyond simple means, motive, and opportunity it also provides neat answers to lingering odd questions like why Tywin rotted so oddly and aggressively, why Tyrion knew he would find him in the privy, why Oberyn was willing to chuck his life away for a confession before seeming to have secured revenge against Tywin.

It’s also thematically juicy. I love the idea that Tywin, who so egregiously violated Westerosi norms culminating in the total breach of the social contract at the Red Wedding, was a victim of contrapasso. He can’t be protected by social norms, so he gets poisoned by his guest and ally. Did Tyrion know he was dying? Had he put it all together? Was that bolt really an act of mercy? Perhaps it was one final service to the Lannisters, to keep the dream of their alliance with the Martells alive. Who knows, but boy is it interesting to consider.

[18:13] his alliances fall to pieces, and his children are abandoned by even their own family.

I’m referring here to the infighting between the Tyrells and Lannisters (and Martells, though they never had any intent of staying true to the alliance) after Tywin’s death (though there was some before as well, just intensified after Cersei takes over from Tywin). Kevan forces Cersei to take the walk of shame, and Jaime and the rest of the Lannisters abandon her to that fate.

[19:41] Just like Lord of the Rings, and the Witcher, ASOIAF is clearly dedicated to anti-violence. Not pacifism: all three works have heroes dealing out retributive violence in order to try and restore justice.

I understand it might be odd to suggest that three works which feature so much violence can be dedicated to anti-violence, but depicting something is not the same as endorsing it. I would argue in the case of Martin’s work in particular that his depiction of violence, so un-romantically brutal and direct, is intentionally revolting, and therefore is designed to be anti-violence. Martin purposefully makes you want revenge on certain characters, gives it to you, and then forces you to stare at the inhumanity of this thing you thought you wanted. Yeah I wanted Theon to pay, but not like that. Yeah, I wanted Cersei to pay, but not like that. Yeah, I want the Freys to pay, but I don’t think I’m going to like what Stoneheart is going to do to them.

There is a certain amount of this in the Witcher as well. I can specifically think of one scene in The Blood of Elves, but I promised no Witcher spoilers.

The violence in LOTR is much more romanticized, but as Faramir says: “I do not love the bright sword for its sharpness, nor the arrow for its swiftness, nor the warrior for his glory. I love only that which they defend.” The hero is still Frodo, who doesn’t fight anyone or anything in the whole story. Frodo is a pacifist, but his pacifism is enabled by others who are willing to fight.

[20:07] In a Dance with Dragons Daenerys allows the old slave-holding class to maintain too much power and so they immediately attempt to continue the old violence of slavery. Daenerys did not commit enough violence against the slave-owners, so they were allowed to continue existing, and as long as they existed they were always going to abuse and oppress the ex-slaves.

A couple years after the release of ADWD, an obnoxiously wrong and poisonous idea began to creep into the ASOIAF fandom: Daenerys’ violence against the slaveowners in Slaver’s Bay is dangerous and immoral, and peace is the better option. This idea was most persuasively argued in the Meereenese Blot’s series of essays.

I’ll quote some of the conclusion here:

“They are supposed to feel this generic distrust for everyone, and to fail to grasp that their peaces were actually quite successful. Dany is supposed to conclude — wrongly — that her behavior through most of the book was silly and foolish. And if you came away with those impressions too, it’s perfectly understandable…The whole plotline is designed to maneuver Dany into a mental place where she’ll decide to sideline her concerns for innocent life, and take what she wants with fire and blood.”

This idea, much like the idea that Daenerys is some sort of unhinged fascist just waiting for the right trigger, makes me unbelievably angry. This idea that I am supposed to value the life of the slaveowner and the slave equally, and that maintaining a “peaceful” slave-owning society is an acceptable alternative to violent revolution is so fundamentally revolting to me, that it turns my stomach even to write that sentence.

Some fans went even as far as to suggest that Daenerys’ occupation of Meereen was a parallel to the US occupation of Iraq, and that she was engaged in erasing an authentic slave-owning culture that she despised. If you read the above series of essays, you can see that they are, at the least, enabling that kind of thinking.

To be clear, I do not consider any slave society to be worth a damn thing. Anything that continues it is evil and all that attempts to destroy it is good. That being said, once again Steven Attewell does a better job than I ever could of rebutting the ideas of the Meereneese Blot, and explaining how the correct parallel of Daenerys’ actions in Meereen is the American mistake of abandoning radical reconstruction. He describes her actions in Meereen as abandoning a revolution half complete. I highly recommend reading it, especially if you are American. 

Martin is not a pacifist. He has said he would have fought in WWII. He demonstrated against Vietnam. As far as I know, the first time George ever used the words “Fire and Blood” was in a book released in 1982 called Fevre Dream:

“I never held much with slavery […]. You can’t just go… usin’ another kind of people, like they wasn’t people at all. Know what I mean? Got to end, sooner or later. Better if it ends peaceful, but it’s got to end even if it has to be with fire and blood, you see? Maybe that’s what them abolitionists been sayin’ all along. You try to be reasonable, that’s only right, but if it don’t work, you got to be ready. Some things is just wrong. They got to be ended.”

Daenerys is a slave-freeing, slave-owner-killing Hero with a capital H. She has made mistakes. I weep for the lives of the slaves that she has thrown away by abandoning her revolution, by failing to give the people of Astapor the strength to defend themselves, by maintaining a false peace that allows the Meereneese KKK to kill ex-slaves in the night.  I shed no tears for the slaveowners that she has killed. When you treat other human beings as property you forfeit your right to Prosperity, Freedom, and Life. Preferably in that order—I would prefer that a slave society could peacefully transition, that those who attempted to continue it could be locked up, and that bloodshed could be avoided. But sometimes violence is necessary.

Daenerys will make more mistakes, I am sure. I believe that she will swing too far in the other direction, temporarily. But that’s a topic for another time.

[20:57] She comforts the hound even as he threatens her and helps him on his path from violence to peace.

Sandor did not die, despite what the Elder Brother told Brienne. He uses his words very carefully, to suggest that the Hound is dead, but that Sandor Clegane the man is simply “at rest.” He has become a brother of the isle.

“On the upper slopes they saw three boys driving sheep, and higher still they passed a lichyard where a brother bigger than Brienne was struggling to dig a grave. From the way he moved, it was plain to see that he was lame.” - Brienne VI, AFFC

[21:40] If they don’t understand why Tywin is a villain then of course they won’t understand why the Others are the main villains of the series, and will probably replace them with some blonde queen. And if you don’t understand that the cold of the human heart is the real enemy than of course you’ll think you can stop winter by just stabbing it. Like Tywin would.

In the books the Others are the villains. They are what the whole story is building towards, much like in LOTR the story builds towards Frodo casting the ring into the Fire. Martin has said that he thinks that the finishing chapters of LOTR, like the Scouring of the Shire, were important, so we may see something like that, but the clear emphasis will be on the existential evil, and cleaning up Cersei or Aegon “Targaryen’s” mess will be a clear step down in importance. It’s something that the heroes have grown beyond, but still need to handle, just like Saruman in the Shire.

[22:04] There’s nothing wrong with liking Game of Thrones, or disliking Lord of the Rings, or anything else.

I really do mean this. I am going to be critical of things you like, and am going to praise things you love. People are different, that’s to be expected. I am not here to pretend that people should only like the things I like. I’m interested in what makes these stories work. I said much the same thing in my last video about some of the new Star Wars properties. People tend to get really attached to the media they like (I’m no exception) and that can color our perception of criticism. Do try to keep in mind that if you like something I criticize it isn’t an attack on you. You have a sacred and personal relationship to the things you enjoy that no one can take from you. I like all kinds of stuff that other people might consider bad, and that’s okay. Actually it’s great, because it gives us something to talk about.

I may genuinely hate Game of Thrones because it butchers something I came to love, but that doesn’t mean I have anything against the people who do like it for their own reasons. We’re all just out here enjoying what we like.

PART THREE: THE WITCHER

There is less in this section for two reasons. First, I promised not to spoil anything past the material covered in the show and I’ll stick to that here. Second—full disclosure here—I haven’t read all of the books because after Blood of Elves I got pretty bored and from what I had heard they did not improve in quality, and if anything got worse. Having already felt that going from the anthologies to Blood I was happy to end my reading there.

If something I say is contradicted by a later book that I didn’t read feel free to let me know.

[23:31] First I should mention that Sapkowski’s works are not on the same level as Tolkien’s and Martin’s, who are the best and second-best fantasy authors of all time. I have enjoyed the Witcher books that I have read, but they are not anywhere near as complex or beautifully written.

This is just my opinion, see above paragraph. I really do think that it’s a pretty common opinion though. I’ve read it before, and you often see people recommend the first two Witcher anthologies in a “if you like it maybe see if you like the rest of them?” sort of way. Book sales numbers also support this, though by all accounts they are exploding in the wake of the show.

But, one potential issue is that I’m reading a translation so I have no idea how good Sapkowski’s prose actually is. You get a lot of sentences in the US edition like: “it must be both bothersome and irritating.” Translation is art, not science, and passages like these make me worry that the translator is just translating each phrase without worrying about all the subtlety that makes language beautiful. These are minor examples of course, but they worry me about what else might be changed. So take my criticism of his writing with a giant, translated, grain of salt, in that I don’t read Polish.

[23:58] Despite this, Geralt the Witcher has been worming his way into popular culture for years, interestingly on the back of a series of video games

Google trends clearly show that the video games are what primarily generated interest in the character before the show. There were no English editions until around the time the games started coming out, and the US editions all feature concept art from the games on the covers. The release of the subsequently translated books after the games received very little attention in comparison to the games.

[24:15] In my opinion, that decline of focus on Geralt was the greatest weakness in the books, and the focus on Geralt is the greatest strength of the games. Because Geralt is at the core of what made Sapkowski’s story and world engaging in the first place. He is a fascinating character in a way that Ciri, who is a fairly standard fantasy “chosen child,” could never be.

This is just my opinion, and I explain why I think Geralt is so great in the subsequent paragraphs. Reasonable people can disagree on this, but I’ve come across more than a couple fantasy characters who could be generically described as “royal orphans with special powers.” It’s not exactly novel. Geralt is pretty novel, at least in terms of what I have read.

[24:49] He suffers many of the same psychological problems that characters like Tyrion and Brienne suffer from in Martin’s work

The technical name for these kinds of issues is “internalized bigotry.” This happens when you get treated consistently horribly by the society you live in due to some fundamental fact about yourself that you didn’t choose, and eventually you begin to believe and “internalize” their opinion of you. For example, people expect Tyrion to be unlovable, conniving, lecherous, and debauched. Eventually he simply leans into these characteristics, because in a way it’s almost easier to be what people expect you to be.

[25:48] To top it off, he hides all this inside a cynical and nihilistic exterior, he pretends he doesn’t care when in fact, he cares more than anyone.

The shot that accompanies this, of Geralt looking intently at what’s happening in the room while others tend to be watching with a sort of mild curiosity like you might at an unexpected circus performance, did an awesome job of conveying this idea.

[26:36] This was kind of a cool idea, but predictably their scenes ended up being generally less interesting and engaging then Geralt’s. Yennefer’s were sometimes fantastic but Ciri’s rarely were.

This was the opinion of fans that I most commonly observed. I don’t have any empirical evidence of this. If you have any that either supports or contradicts this please let me know, I would be fascinated to see it. I could see someone really loving Yennefer’s scenes, and I personally enjoyed a lot of them, but I don’t understand how someone could walk away from the first season with Ciri as their favorite character of the three. I’ll come back to this in a later section.

[27:40] In many ways the first two books, and the games, have more in common with Sherlock Holmes than they do most other fantasy stories.

Really a more accurate comparison would be Philip Marlowe since Geralt is definitely more of an American Pulp detective than a British one. I do love the similarity between Geralt’s Witcher Senses in The Witcher 3 and Sherlock’s detective vision in Crimes and Punishment. I can’t make the same comparison to a Philip Marlowe game, because no one’s made one yet.

Actually that’s not strictly true. There was one game that came out in 1996.

[28:12] But Netflix’s Witcher has barely a whiff of detective fiction anywhere. I think this has caused a lot of fans to feel alienated by the show, even if they can’t explain exactly why.

It’s not reasonable to expect people to know why they like or don’t like something. It’s a feeling, and unless they have experience with writing, narratology, literature, film studies, or just read a lot of tvtropes.org, they are not likely to be able to put their finger on what it is. This causes people to disproportionally blame the things that are most obviously wrong. The premiere example of this is Jar Jar Binks in The Phantom Menace. Jar Jar was obviously bad, but he doesn’t even come close to the top ten biggest problems with the movie. It was much worse that there was no main character or understandable plot and drama. Check out Red Letter Media’s legendary review for more on that.

I think a similar thing happened with Ciri, in that her story was sort of obviously underwhelming and so received a lot of flak, but there are deeper problems with the show.

[32:04] The third change is more subtle, but I’m worried that this Geralt genuinely believes in neutrality.

Just like Ned, the showrunners would not be the first to espouse this view. This quote in particular about “evil is evil” is obnoxiously peddled about as a justification for fence-sitting despite the fact that Geralt’s actual behavior doesn’t support it at all.

I don’t know for sure if the showrunners genuinely think Geralt tries to be neutral. There’s some evidence for yes in the first episode, the Borch episode, the Striga episode, and a couple of others. There’s strong evidence for no in the Duny/Pavetta episode. We’ll just have to see.

To be clear, when I mean “neutral” I mean in the face of immediate violence or injustice. Geralt often doesn’t care who is king, as he explains to Ostrit. But he won’t let a Striga continue to kill people just for coin.

[37:20]  When the writers took away Ned’s best arguments for his actions, when they took his story of existential triumph, of not compromising his morals, and turned it into a simple tragedy, they showed they clearly did not understand his heroism.

See PoorQuentyn’s explanation of existential heroism, and how it applies to ASOIAF.

[37:58] In the books, Ciri and Yennefer are included in the story through their connection to Geralt, because he is our hero and the foundation of our connection to the world. In the show they are included before ever having met Geralt, and they take up time that could have been spent focusing on those devilish detective details that make Geralt’s stories and character work.

Originally this video had a lot of discussion about how well these two other characters worked, but it ended up being kind of useless because it comes down to personal opinion, and the writers failure to properly use Geralt massively overshadows whether or not someone liked or didn’t like either of the other two leads. Again, I get why someone could like Yennefer’s scenes. I get why someone could maybe even like her scenes more than Geralt’s. Anya Chalotra did great. I thought the writing was a little weak at times, but on balance pretty decent. Geralt gets the benefit of all his stories being straight adaptations, and she didn’t, so it was a pretty decent job.

On the other hand, I thought Ciri’s storyline was a giant waste of space. When I think of all the best moments in the show, Ciri doesn’t show up in any of them. She spends the entire season running away from and interacting with fairly minor and forgettable characters that did not need to be introduced in this season. Calanthe, Eist, and Mousesack were great characters and the actors gave great performances, but that did not make up for the fact that her storyline went nowhere and did nothing to justify its inclusion. If someone loved Ciri’s storyline I would genuinely be interested to know why.

[39:10] I do have some sympathy for the writers of the Witcher.

Many times in this video I mention sympathy for various writers. Moviemaking is a massively complex undertaking. If you know anything about the difficulty of getting these things together you’ll know that it’s an absolute miracle any movie gets made and takes herculean effort from everyone involved. Television series are arguably even worse because they are longer, more complex, and often have a lower budget despite that. The people involved are honestly doing their best, and I recognize that, even if I criticize the product.

[39:47] They are in this unfortunate position where they can’t really pull the majority of their writing straight from the books because the material isn’t really strong enough by itself.

The books are very dialogue heavy. As I allude to, the one scene that was very close to the book is that scene with Filavandrel and it’s just obnoxious because the two characters just dialogue at each other. It goes on even longer in the book. How well that works in a book is up for debate but it wasn’t going to work on the screen, and it didn’t.

These problems are not insurmountable though. You can put other footage over these monologues. You could have included some footage of Elves fighting in their war. You could have footage of the “cursed” daughters of Lilit being locked in towers or autopsied while Stregobor explains it. I get this is more budget, but that budget went other places.

On the other hand some great scenes that I think would have translated excellently shot-for-shot from the book with little additional budget, like Renfri and Geralt in the Alderman’s attic, are entirely cut. Ah well.

[40:25] Well, I have my theories, but it in the end it doesn’t really matter.

I have a sneaking suspicion that somebody thought it needed to be more “epic” than the first two books are, so we got all this princess and political stuff in early. If there’s any merit to the idea that this series “copied” GoT, it’s somewhere in here, just like how the Hobbit got poisoned with all of the “epicness” of LOTR.

[44:54] Lastly, I’m gonna do my best to put out more regular content going forward. I’m aiming for at least one video a month.

I place no limitation on topics. It’ll probably be mostly media analysis, but if I’m honest I’m just going to write about whatever interests me. That’s the best way to keep myself interested.

That being said, if you have something you think I should analyze let me know. If I’m interested, I might do it.

#witcher #netflix witcher #lotr #asoiaf #game of thrones #anti-got #lord of the rings #adaptation #video companions

[ghostmartyr]

SnK 118 Thoughts

Zeke gets shot, Falco gets a hug, everyone who makes sense is out of jail, and for a brief time, everyone is united in being perfectly fine fucking Marley right the fuck up.

Minus the characters who live there.

But all told, for the first time in months, it’s a happy chapter. :)

:)

:)

In a rare turn of events, I think I’m going to specifically aim to talk about things out of order. I say this with no real sense of how I usually construct these posts, I just make blanket assumptions about how they’ve probably gone in the past without corroboration.

SO WE’RE GOING TO TALK ABOUT CUTE KIDDOS HAVING FEELINGS AND BEING DUMB.

The ones who aren’t legal adults, to be clear on the definition of ‘kiddo’ as used here.

Falco.

Gabi.

You get to go back to the hellscape that is your brainwashed existence, I’m so happy for you both.

The complications of Falco and Gabi fighting so hard to return to a world that doesn’t give a damn about them are things that... honestly, I just don’t want to do that this month. It’s a disaster. Marley’s fucked. Paradis is fucked. No one cares about the right things. Every decision is going to blow up in everyone’s face.

But Falco gets a hug from his big brother.

The youngest characters we’ve followed through this are treated with kindness.

This whole chapter is a breath of relief in the sea of unending horrors that we’ve been dragged through to get here. More on the rest later, but for the moment, we’ve got the two little ones.

Nile doesn’t even hesitate to treat Falco as a child before an enemy.

In the outside world, a man Falco tries to help is scared of being touched by him because he’s an Eldian.

Sasha’s family is still worried about the two little Marleyans they picked up and lived with for a time.

After first contact, no one needs to tell Colt not to shoot Nile. He calls the man who hands his brother over “the enemy,” and is shocked by Gabi’s actions, but Colt runs with Gabi and Falco without looking back.

Nile doesn’t follow.

Nile’s the sort of man who looks at Falco and thinks this assault might be about saving a little boy.

Colt’s the sort of young man who thinks Falco being someone who might be affected by Zeke’s scream is somehow relevant to whether or not it happens.

This story, lately, has been relentlessly cruel.

Gabi and Falco run away from home on a suicide mission to avenge and protect their loved ones after they witness the ruthless destruction of their home. Gabi watches people trying to protect her get gunned down. Falco, the kind boy who delivers letters for a wounded soldier, is the spark that enables the entire tragedy.

They reach Paradis, end up in jail because no one knows what to do with them, escape, and have to live under the constant pressure of their guilt and worldview being challenged. The destruction of Reiner’s psyche that takes a sustained undercover operation over the course of years is inflicted on Gabi in weeks, and Falco has to watch the girl he likes suffer over crimes that he aided.

Gabi watches Falco help her over and over again, and when things really start crashing down, there’s not a thing she can do for him.

They’re separated from everything they know and everyone they love, and then each other.

They make their way back to each other.

The world looks at these two tiny, traumatized children, and refuses to let anything happen to them. The world takes Gabi’s hate and uncomplicated joy in being a good Warrior and deconstructs it with kindness. The world takes a little boy like Falco, who only ever tried to help people, and lets him find his brother.

The reveal of Falco being the one who helps Eren isn’t a mark of betrayal. It’s a shared bond of pain that comes from good intentions being unfairly manipulated by people who didn’t care to be kind.

So they’re at least kind to each other.

In a tiny pocket of all this violence, things aren’t complicated. There’s a little girl and a little boy, and they deserve safety. A child who grew up in an internment camp designed to manufacture and slaughter Eldian children dreams of a world where the girl he likes won’t die, and they’ll get married and be happy.

Falco has always been kind and stable to the point of parody, but that’s honestly fine. Good. That should be allowed to exist, even if it doesn’t make total sense. The good things should be allowed to survive.

Gabi’s arc here ends with the realization that her hurt isn’t all there is to the world. Other people--other sides have their own, and they aren’t evil for that. They aren’t devils.

Falco’s trip to Paradis ends with him finally confessing why he followed Gabi to begin with.

There is something so sweet to the way Falco describes it. I hope it’s a faithful translation, because it’s my favorite thing this series has done in some time.

It isn’t just about Gabi not dying. It isn’t just about her having a long life. It isn’t just about them getting married.

Falco’s dream is for the girl he likes to be happy forever. He likes her, but the core of his dream is that she’ll live as long as she wants, and she’ll be happy through all of it.

Nothing Falco has seen in this world should give him hope for any of that.

He hopes for it anyway.

And Gabi rips off his armband.

The Yeagerists’ perverse mirror of what Marley has always done to them--what Gabi has accepted into her life in her fierce chase of changing it--and Gabi rips it off.

Their world isn’t kind. It’s cruel, and harsh.

People are kind to them.

That’s the only thing that saves them.

Naturally, it’ll be devastating when the bad things keep on coming for them, and no, sorry, this is not their finale, it’s just the finale of all the potential happiness they can have, but for right now.

For right now, kids shouldn’t be on the battlefield. So everyone fighting tries to get them out of it.

Look.

Standards.

We spend time with characters with standards this chapter.

It’s. It’s so strange. What is this.

Also, the fact that our time is spent on this instead of letting Eren and Zeke touch makes me astoundingly nervous for what’s coming next. There are very. I don’t want to say few. Uh. There are, thanks to the Founding Titan, potentially many ways for things to end not poorly.

I would say the likelihood of any of them traveling smoothly is. nil.

For instance, the entire scheme Armin concocts to explain away Eren’s behavior in this! Sounds good, sounds nice. Sounds destructive, sounds impulsive. Sounds vaguely understandable by the horrifying standards we’ve come to expect.

Sounds okay. Ish.

Still involves Eren sparking a national incident that brings a big army into their island so they can kill them all using a destructive power we’re only kind of confident in him using safely.

With the side effect of all his friends being in the splash zone.

I realize that even Armin’s kind of on the fence on that making real sense, but it’s not a bad explanation for everything. Eren’s backed into a corner when Yelena does her reveal. He’s held hostage by it, but hey, by playing along, he’s found a way to make things okay.

Even in that elaborate AU Armin came up with on the spot--

--things remain less than good.

Unless we consider most of the MPs and other top brass, the majority of veterans, and assorted civilians turning into titans and possibly dying--unless we consider all of that a good thing.

There’s a school of thought where Eren can just magic touch everything back to Okay, but the levels of Not Okay being pounced in with reckless abandon are a bit. uh. geez, what’s the word...

Bad?

There is a very good chance that this is all very bad, and running might be in their best interests.

In the non-AU version, all of Eren’s friends are scrambling to keep him alive because he has fucked them all over so horribly that literally their only chance at not dying slow (or very fast), brutal deaths comes from protecting the fucker who fucked them over.

And Armin, realizing this, digs down deep to try and find some of that good ol’ fashioned Friendship Power to bullshit all of them into agreeing to this plan of attack for reasons beyond generously optimistic pessimism.

While kind of wondering if Eren maybe wasn’t kidding about killing everyone.

Armin’s whole role in this chapter is embracing a truth that he secretly thinks might be a lie so that his friends have a prayer of feeling positive about this fuckery.

You’re trying so hard, Armin.

I am so sorry for you.

And Connie.

Like, good grief. Falco gets a hug. Someone needs to give Connie a hug. There’s been a serious shortage of Connie hugs since Sasha died, and I realize how that works, but it should really go the other way around.

Realistically, I am so happy that Connie’s the one who’s at his breaking point. He’s always been a team player, and over and over, it turns out that the people he thought had his back weren’t on his team. He’s a simple guy. This is a simple problem.

So, simply, fuck everyone who has anything to do with it.

Connie is Best Boy.

Onyankopon’s okay too.

This is the meta commentary on Yelena qualifying as a serial killer that we deserve. She is so great. All of you new characters with your new disasters are so great.

It’s a little on the nose, because bless this series, it is not subtle about most things, but thank you Onyankopon for injecting some hecking positivity in this here jail cell.

The concept of a future has been humanity’s fight all along. A better world.

Then Paradis met the rest of the world, and was all, “o fuck.”

“o fuck,” has interlaced every inch of the plot in the current day. Whatever hope there was, Eren’s decisions in Liberio tarnished them, and the rise of the Yeagerists threw it into the trash.

This chapter is kind enough to bring it back.

This is what the heroes of this world do.

They look at the impossible odds, and choose to fight. Because to do otherwise means that this is the way the world stays. This is what they’re left with, and that is unacceptable.

We’ve strayed a bit from that point, lately. It’s a relief to have it back in plainspeak.

Then there’s Mikasa, and. Aaaaah.

Armin only truly starts championing the possibility that Eren can still be a force for good when Mikasa comes back to his words about her Ackerman blood. Really, I think he does it for both of them. He refuses to believe Mikasa’s life doesn’t belong to her, so Eren has to be lying, so things have to be salvageable.

Mikasa knows him too well. She knows there’s room for doubt.

She leaves her scarf behind.

Mikasa is someone of great principle. She has a deep sense of responsibility that has been present from day one. She takes charge of Eren. She takes charge of other recruits. She feels the weight of the entire world, and fights for it. Her focus on her family has never made the burdens everyone shoulders disappear in her mind.

I don’t think she has a better explanation for why she can’t let go of Eren than the one he’s provided.

He’s killed children. He, by Connie’s word, laughs when he’s told about Sasha’s death. He abandons them and runs off on his own, risking all of their lives. He spits hateful vitriol at them and throws them in prison, where they would have likely died without someone going behind his back.

How can wanting to protect someone like that be natural?

Her very first argument to Eren is that he wrapped the scarf around her. When the world went cold, he brought warmth and a home back to her.

How does that compare to what he’s done recently?

How could she feel warm at all when she just watched Eren murder people? How, when by his command, she killed for the first time?

She has a genetic predisposition to comply with something like that.

Doesn’t that make more sense than loving this monster?

Children are dead.

Eren killed them.

Her first instinct is still to protect him.

That can’t possibly be right.

Mikasa doesn’t defend monsters. She slays them. That’s who she is.

If she’s defending this one, there must be a reason. Something deeper than just loving her family with all her heart.

To which I’ll say, for my personal stance... sorry, Mikasa. Your love does run that deep. It’s always been at war with your principles. Protecting Eren and Armin at the expense of everything else has always put you in pain. Being willing to let Armin go during the Serum Bowl is almost as agonizing to her as watching him die.

Mikasa’s strongly held principles and strongly held love have always been in conflict, but in the background. In side remarks about overprotectiveness, interspersed with her guilt over what that overprotectiveness has led to.

Eren’s cruelty gives her the excuse.

Here’s how she can be both; one isn’t real.

Whether she fully believes it or not, it’s what makes sense, for a person like her. She shouldn’t still care so much for the fate of this monster. Caring so much is why Reiner is still alive. Caring so much is why Bertolt lived long enough to char Armin to a crisp.

Mikasa learns. Always.

She should be fast enough at taking down the monsters now that they can’t hurt anyone first.

In case I’m not putting this clearly enough, Mikasa is better than anyone in the history of ever, to the point that even she can’t believe how strongly she hold on to things.

And my last comment on the chapter is that Yelena and Armin’s song and dance continues to be firing at max cringe on every cylinder, one of you drop the pleasantries and pull a gun already.

It’s funny, but in the way Jean pretending to be a knife-wielding maniac is funny.

Just stab each other like normal enemies. Please.

So since things are hitting the boiling point here, I guess next month we’re doing a shift in perspective?

Levi and Hange try out their Super Mario 64 skills in not drowning. The results my surprise you.

Nothing good can come from any of this, but you know? Falco and Gabi got to be cute. Plus Colt and Falco hugged. It could and has been worse.

#Shingeki no Kyojin #SnK 118 #Gabi Braun #Falco Grice #Mikasa Ackerman #shingeki no spoilers #SnK spoilers #spoilers #tl;dr #chapter post

[shotattheshow]

[INTERVIEW] Cassandra Maze

Vancouver songstress Cassandra Maze is making quite the name for herself. As a standout in the CBC Searchlight competition, the young singer is getting noticed for her great voice and musical ability, drawing attention with her one-woman show performances. Maze took a break from her current tour to chat with us about how she got into music, her influences and the inspiration behind her sultry tunes.

Congratulations on making it to the 2016 top 10 of CBC Searchlight! What does it mean to you to make it this far in the contest?

It felt great to advance to the Top 10 regional finals in last year’s Searchlight competition. It meant a lot to me that my song and my live looping video entry resonated with enough fans and judges to make headway in the competition. Along with being named an early standout of the contest, placing Top 10 has pushed me to be an even better songwriter and performer this year!

How did you get into music? What made you decide to go for it as an artist?

I grew up in a musical household. Both my dad and brother played guitar and my mom often sang around the house. I started by imitating them, singing along to whatever music they put on — The Beatles, Jimi Hendrix, Journey, Sam Cooke, Nina Simone, Carole King — and I asked to be put in piano lessons at 7.

Music and performing were both important to me, but I decided not to go to post-secondary school for music and instead studied English Lit. Towards the end of my undergrad, however, I began to realize just how much music shaped my identity (more so than my academic pursuits), so I took the chance to tour Australia and the South Pacific, and now here I am two years later!

Your music has been described as alternative pop. What do you think sets it apart from more traditional, radio pop?

In terms of the sound, my music still has the melodic catchiness and upbeat groove of pop music, but it also maintains some gritty soul and edginess. In terms of the lyrics, nothing is off limits. I’ll write about attraction and romance, but also delve into subjects that deal with darker themes or that have a little more social commentary.

You're known for making tremendous use of loop pedals in your solo performances to layer vocals, synth and beats. How has performing as a one-woman band shaped your sound?

Live looping has given me an appreciation for layers and fullness in my recorded music. I definitely love to stack up vocal doubles and harmonies both in the studio and onstage with the help of my loop pedal. As a one-woman show, I also need to think from multiple musical perspectives (rhythm, bass, guitar, keys, etc.), and so I tend to take a unique, sometimes unusual, approach to things like bass lines or drum beats.

Who are your biggest influences, in music or otherwise?

Jeff Buckley, first and foremost. I first heard his music when I was 16 and my mom bought me a compilation album that was released in the anniversary of his passing. Because his music was so different compared to anything else I was listening to at the time, and because it had such emotional depth and complexity, it took me a while to get into it. But when I did, I was unequivocally hooked. It woke me up to new possibilities within my own songwriting. I also owe a lot of my knowledge and love of music to The Beatles. I went through a Beatles phase in high school that still isn’t over! Who else… My mom bought Carol King’s “Tapestry” for me when I was quite young, and I’ve cherished the songs from that album ever since. And now I’d say a lot of women in music influence me: Sia, Sara Bareilles, Tove Lo, Diane Birch…

Your first single "Wait" hit radio last week. What was the inspiration behind the song?

As the saying goes, “Good things come to those who wait”, but my co-writer, Tanner Aguiar, and I were having difficulty squaring that idea with the seemingly undeniable reality that nothing truly worthwhile happens when you just sit around and wait for it. We agreed that the saying would hold more water if it went along the lines of, “good things come to those who work extremely hard everyday in order to achieve their dreams.” The song also deals with the frustrations and uncertainty that comes with the feeling of being stuck in limbo.

I could be off here, but "Wait" opens with the lyric "Flash back to black and white" - is that a subtle nod to Amy Winehouse, "back to black"?

Interesting! Well let me first say that I love Amy Winehouse and her music. Truthfully, I didn’t have “Back to Black” in mind when I wrote the opening line to “Wait”, but it’s fascinating that you drew a comparison there and I think the meaning behind both lyrics do overlap. When I wrote, “Flash back to black and white”, I was referring to a time when I tried to get out there and fulfill my dreams but didn’t get the outcome I was hoping for, and so reverted into a comfortable but colourless state of waiting. Such a state is indeed like the “black” that Amy refers to, because it feels bleak and lends itself to nasty self-loathing and pessimism.

You performed at Studio Records on Feb. 25 in front of a hometown crowd. Is it nerve-racking performing for friends and family, or do you feel at home with them in the audience?

I’d say I feel more at home and the nerves I have are of the good variety. It’s always nice to see a familiar face in the audience.

I understand you have an EP coming out soon - when can fans ex-pect to hear more of your music?

Yeah! The EP will come out at the end of April, and the best way to stay up to date about the release is via my Facebook page.

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