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stxleslyds · 3 years

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MY TOUGHTS ON PART FOUR OF RED HOOD BY CHIP ZDARSKY :)

THIS ONE IS A MESS.

But first a little rant about my feelings about Red Hood in general at the moment.

I am not going to lie, it took me a long time to read this comic, I am kind of tired of reading this book, I feel like I lower my expectations each issue that passes by and I still get disappointed at the result.

Maybe I just love a Jason Todd that is no more and I have to accept the one we have now, but here is the thing, if this is what we get then I just don’t like it, and on rough days I hate it. These are very negative thoughts about one of the two DC characters that I love and I don’t enjoy having them, I don’t want DC to keep giving us this version of Jason or these versions of Jason, each time they change little things that just change the character from the one that he once was even more.

I feel a bit defeated about it and I don’t know, on one side I want to fight and scream so they can finally give Jason the characterization he deserves and for them to give up the bland formula they have going on with him and on the other side I just want them to stop, stop writing Jason Todd/Red Hood and that is so sad, imagine loving a character and wanting the publisher to stop making content with them because what they give is just terrible. I don’t know, this is a rant that I felt like writing before I read the issue (I did skimm it briefly), so don’t take this as part of the review, its just me explaining my feelings right now.

Anyway, I will start the review now, sorry for the rant.

Wonderful, this book is on crack (or should I say Cheerdrops?), the thing with this particular issue is that I had a great laugh, it’s funny but in a good way, it's stupid and it kind of doesn’t make sense, the only way to describe Zdarsky’s writing here is with a phrase that we say here in my country “se pisa el palito”, which means that he lies about something and after some time he reveals the truth himself by mistake or because he got confused, in this case Zdarsky makes Jason say something like “this time I have come prepared” but he is actually not prepared at all and like two pages later (within the same scene) he has Jason call himself an amateur, it's very weird and to me it translates to Zdarsky not liking Jason or just not caring about him at all.

And that sucks and it really bothers me. As I have said before this anthologies book might be called Batman: Urban Legends but the particular story I am reading is a RED HOOD one, I am not here for Batman content, I am here for Jason Todd content.

The fact that we are not getting a Jason-specific story in a Red Hood book is killing me, it would suck if we get, let’s say, a Nightwing book and its all about his relationship with Barbara…That is not a Nightwing book, that’s a Nightwing and (fake) Oracle book.

Anyway, this issue in general is like a connector, the things that happen are all happening because they will be developed in the next issues but what is said here is absolutely absurd so I will be talking about that.

This issue starts with a flashback and Jason from the present (who is currently a popsicle because he fell in Freeze’s trap) having a monologue. The flashback is set when Jason finds out that his birth mother is alive and is being used by the Joker so he (in civilian clothes) and Batman at doing some reckon. What I want to dive into is the monologue because it's interesting but also very dumb so here we go.

“What was I supposed to do? I thought I was an orphan; I carried that sadness and anger everywhere I went and then I found the woman who gave birth to me halfway across the world. I found her…and the Joker. He was blackmailing my mother, forcing her to help him steal medical supplies, which he replaced with a deadly gas, that was being hauled to a village.”

“Batman knew what he had to do. Save people, forever saving people. Batman has always been a master of control, every situation, everyone around him. He’s always known just how to handle everything. Until I came along.”

“How could he be surprised? How could the great Batman not know? I wouldn’t listen to him and he couldn’t hear me. And the fucking cycle continues.”

The first part of the monologue is pretty simple it's basically setting the scene in time and space for the reader and it also gives us a little insight on how Jason was feeling at the time which was quite nice. It sets up the fact that Jason wanted to help his birth mother out of a horrible situation, he wanted to save her from the Joker. (Hear that DC, haters and fanon, Jason was a good Robin and a loving and caring son!!!!!)

In the second paragraph of the monologue I would have assumed that Dick never existed in this universe because the idea of Batman being able to control Robin!Dick or Gotham back in the day by himself is incredibly funny to me but because Dick exists and has been mentioned in this story already I will just take it as Zdarsky wanting to really push the “Jason could never reach the level of good Robin because he was reckless and nothing like Dick” and the “Dick was always completely obedient and Batman’s perfect little soldier” narratives. It sucks man, this is like bad fanon made real and I don’t like it!

During this part we also have a little dialogue between Batman and Jason where the narrative of Jason being so incredibly reckless is explicitly shown once more.

Let me repeat myself, Jason didn’t take on the Joker because he wanted to prove himself to the Bat or to prove that he was as good a Robin as Dick was, Jason did what he did because he wanted to save the last person that he had that he felt was family, he wanted to save the woman who birthed him and that he was hoping he could call a mother. He worried and cared for this woman and then he was betrayed and it ended up ending with him dying at the hands of a mad man that to this day is still alive.

Jason wasn’t reckless for the sake of being reckless, he took the decisions he took because he didn’t feel heard by the man that was supposed to protect him and care for him, a man that had the same feelings of sadness over being an orphan, a man that despite being the greatest detective to ever detective in the multiverse couldn’t understand that Jason felt like the woman that was his birth mother could come first in his list of priorities. Jason was a child and the adult responsible of him at the time bares the fault of his death as much as the mad man that committed the crime.

There, I fucking said it.

Gladly in the third paragraph of the monologue Jason calls out Bruce on his bullshit.

Also, what the hell was Bruce thinking leaving Jason stranded in the middle of the dessert, the man literally takes the only mode of transportation away from him. What the hell.

That’s it for the first glimpse at the past, now we are in the present with Ice!Jason where Zdarsky lies to our faces, he says that Jason is prepared for this situation…I am sorry but I do not believe this.

Anyway, Jason does manage to break the ice but he trips on the iced floor almost as soon as he breaks free and falls in a hole. Are you kidding me? I know this is supposed to be funny but Jason has been written as this incompetent dumbass in this book so much that this is just insulting.

He manages to escape for three or four seconds but he realises once more that the whole thing was a trap because Freeze had actually closed all the exists with ice because he meant to trap the Bat (also maybe Freeze is under the effects of Cheerdrops?), Jason also tries to use his guns even though he had already thought about the fact that they wouldn’t fire because of the cold AND he didn’t pack his explosives, yeah… “I am now prepared”, sure Jan.

The last thing we see in this scene is Freeze getting ready to ice Red Hood once more before we start jumping from past to present scenes as Jason’s monologue continues, he does that a lot in this issue, it’s quite impressive.

We jump into the past and we see Jason going to help his mother in his Robin suit, her betrayal and the Joker being ready to torture and kill a child. From there we go back to the present where Jason manages to ask Oracle for help but not anyone’s he asks for the Batman’s help.

First let’s talk about the monologue that happens across these scenes because it has some interesting takes.

“Stupid amateur, its not going to be okay, not if we keep repeating the same mistakes. He never trusted me, I never trusted him. Neither of us lived up to the idea of ‘Batman and Robin’, the ‘Dynamic Duo’. Because Batman and Robin requires trust, it requires knowing you can’t do it alone.”

Let’s be honest as per the modern take on Batman and Robin (if it includes Bruce as Batman) the dynamic is quite dysfunctional, Batman doesn’t know how to care for a child and children shouldn’t be responsible for an adult’s safety, so the whole thing has been weird for every Robin, its not something that happened only to Jason but here is the thing, in Under the Red Hood (which is canon in this story) when Batman and Red Hood fought side by side Bruce said the following: “…Neither of us has the strength to take him out, it will require skill and teamwork. It happens before I have time to question it, a manoeuvre that comes without thought, executed as practiced and practiced many times in the cave.”

So, him and Jason worked well, they trusted each other and the work they were doing but that is not all, because they are in the middle of a fight the Red Hood doesn’t act recklessly and takes the opportunity attack the Bat when he is vulnerable, he sticks to the coordinated fight because he trusts it will work. Batman’s thoughts confirm that because he continues saying this: “To complete it (the manoeuvre) I’m forced to leave myself unprotected from an attack, an attack from the Red Hood. But the attack never comes, he just takes cover from the blast, like practiced.”

– Batman: Under the Red Hood, chapter 10.

This thing alone, written in 2005 kills the narrative of Bruce’s Batman and Jason’s Robin not working well together.

Secondly, I have to laugh about what it's actually said in the very last panels. I am sorry but it's too funny to me, I know it acts as a parallel to Jason asking for the Bat when he was about to die but this is a man, a grown man that has experience on this job, this situation would have never happened if Jason was written fairly. This is funny because of all the people in the world I would never imagine the Red Hood asking for Batman’s help. Fuck that.

Oracle of course contacts Batman but let me say something really quickly, Barbara and Bruce are both acting like Jason getting in trouble and needing help is an annoyance. What the hell is wrong with these people? Why would Jason work with Oracle or Batman in the first place?

Batman gets in the Batmobile as soon as he can and dares call Jason his son. No thank you sir, I will not be taking that kind of bullshit today. Anyway, the Bat also has a monologue because he can’t be less, here it goes.

“Jason. Dammit, son. I’m on my way, I won’t let you…” (explosions) “You’re alive. In the here, in the now. I know this, like magic…with a curse…You’re alive.”

“I don’t need to be there again, in the past. I’ve learned my lessons, the guilt doesn’t help me, it doesn’t have a hold on me anymore. You’re alive, Jason and I intend to keep it that way.”

To this I have to say the following, the only reason why Bruce is not feeling guilty about what happened to Jason is because Jason forgave Bruce/Batman for not arriving in time in order to save Jason from the explosion back in that warehouse all those years ago. Jason forgave Bruce when the final confrontation happened in UtRH. He did it because he believed that Bruce tried and still didn’t make it.

- Batman: Under the Red Hood, chapter 13.

And something else, Bruce might have been “keeping Jason alive” but he has harmed him. Rebirth RHatO #25 exists, I don’t know if it's canon within this particular story but I can’t not bring it up if this is what this man has to say.

My take on the Batman and Red Hood relationship is that it shouldn’t exist. Red Hood is not a Batman villain but he IS a Batman antagonist. STOP making Batman and Red Hood work together, with how things ended in UtRH Jason would never work with Bruce again. I am sorry but the concept of the Batfamily with Jason as a willing participant is the biggest lie this fandom and Lobdell gave us.

Enough of my takes, let's go back to the issue because it's ending is closer and the funniest panels in this whole ass book are coming!

Batman does Batman shit and as he grapples out of the Batmobile, he manages to get Ice!Jason out of a truck and everything comes to a stop, the bad guys come out of said vehicle and one of them is going in Red Hood's direction with the intention of killing him, Batman of course saves Jason and starts fighting the rest of the baddies.

I will show you funny panel number one.

You really want to make me believe that Bruce can pull that move, shut up!!!! There is no way! That’s some Nightwing level of leg work, stop it, if the Bat pulls that move he will break something or get stuck like that…

Ahh it doesn’t matter because as Batman finishes defeating all the baddies he goes to Jason’s side and here is where funny panel number 2 comes!

STOP IT, WHAT THE HELL IS THISSS? I am losing my mind over this, have you ever seen something and thought “oh this is wrong wrong” like what? This interaction is so wild to me, everything about it makes no sense…Imagine putting Jason Todd in such a vulnerable position that he is, I don’t know, happy or glad that the Bat showed up and that Batman would say that he will always be there for Jason, this shit is hilarious.

But that’s not the end, at this point nothing should shock me (as far as character designs) but this dude shows up…

Who the hell is this guy, and why does he look like that, why are all these new character designs the same and horrible? He reminds me of the weird discount-Joker-looking dude that we had in Rebirth RHatO #52

Anyway, the new dude that will be called Cheer (apparently) and Freeze ice Batman as well and that’s it, our Red Hood related suffering is over up until next month!

This one, this one was wild, I don’t know what else to say about it…I am honestly drained after reading the issue and writing this.

Let me know what you thought about this issue and if you want to read my reviews of the previous parts I will link them here! Part 1, Part 2 and Part 3!

#jason todd #red hood #robin jason todd #batman urban legends #urban legends red hood #red hood outlaw

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franniebanana · 3 years

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CQL Rewatch - Ep 19

Wow, Wei Wuxian looks so rough here. He’s spent some time under the knife (with no anesthetic), and then after that, he has just been waiting around for Jiang Cheng. It’s been seven days since Jiang Cheng went up that mountain. And of course Wei Wuxian is worried about him. What if something happened on his way down the mountain? What if he’d been captured or killed by the Wens? All the while, he’s basically defenseless here in Yiling (iirc). He’s sweating profusely, clutching at his middle—it’s possible he’s even suffering from an infection due to the transfer surgery. Seriously, the poor guy!

I love the visuals here: all these cloaked figures just filling this tea house, and not another soul in there other than the waiters. It’s both comical and heartbreaking the way that Wei Wuxian tries to immediately nope out of there, because he knows it’s a trap right away. Even with his Golden Core, I don’t know if he could have escaped them all—there were too many Wens, including the Core-Melting Hand. This part always really gets to me, because it truly is the first death of Wei Wuxian. It’s the death of who he once was: that smart, quirky, rascal of a youth, who made a very honest oath that essentially guided him to this point.

No joke, the first time I watched this, I was like, “Is that Lotus Pier? How tf did he get there?! How much did they change the story?!” And then a few seconds later, I realized this was a super sad dream/vision that Jiang Cheng was having and I channeled all my anger into sadness. This part is also super depressing. He has this vision of this happy family: his mother laughing, his father kissing his hand, just the picture of love. But it’s so far from what he had growing up, and you just realize that his greatest desire was really to have that happy family. But his parents are dead, he’s lost just about everyone at Lotus Pier—it’s so heartbreaking.

God, he just looks so broken! I’m sad now.

So even though I know the cost of Jiang Cheng’s happiness is Wei Wuxian giving up his own Golden Core, I still feel so happy here, seeing Jiang Cheng feeling like himself again. It’s because Wei Wuxian knows Jiang Cheng’s heart truly that he could offer up his own future so that Jiang Cheng could have a better one. I also just love this shot of Jiang Cheng kowtowing to the Immortal One, thanking her for healing him, and the camera pans past him, showcasing the beautiful scenery again. And then he walks down the mountain path with such a spring in his step! I love it!

I love that Wei Wuxian is still able to use his mind and play to their weaknesses. Wang Lingjao is extremely superstitious and fearful of the supernatural, and just the idea that he could haunt them scares the shit out of her. It’s just very cool to me that with all the abuse he endures, he still maintains a clear head and is able to fight back with his wit. This is yet another reason why I get annoyed when I see Wei Wuxian characterized as an idiot or someone who isn’t very smart. He proves his wit in just about every scene, so I don’t know why he gets this reputation in fanon. I feel like it’s derived from some overused yaoi/shojo trope where the “girl” has to be less smart than the “guy.” I don’t know how many things I’ve watched and read with a scatterbrained (but not charming) female lead—it’s overused.

This is so cool, because Wei Wuxian is scared out of his mind—he’s terrified of being left to die in the Burial Mounds. He’s heard all the stories: people don’t return, their souls get torn apart, etc. But what is cool is that he turns everything around and makes this place his source of power. He’s the man who conquered the Burial Mounds. It’s very satisfying to see that. FYI, I’m not going to talk about how he falls for like 20 minutes.

But I do think it’s really cool how the dark spirits catch him (and that’s all I’ll say).

This part still gives me major chills: you hear so many people calling out Wei Wuxian’s name, and then a “Wei Ying” breaks through. My breath always catches in my throat the first time I hear it. And then you hear it again, and the other voices have faded away before you hear it a third time. And that all feels nice until the screaming starts, which is hard to listen to, let alone hard to watch Wei Wuxian go through the mental turmoil.

Lan Wangji is back, bitches! He’s got a new title, a new headdress, and he’s hotter than ever. Jokes aside, though, this entrance is beyond epic. Other than that tiny glimpse of him in the last episode, it’s been ages since we’ve seen him, and it’s so satisfying that we get this great entrance, walking up this enormous staircase. Obviously by this point, I’m ecstatic to see him (it’s been way too long). Everything about this scene is great, from his entrance, to the way he uses his guqin as a spiritual tool, to the way he and Jiang Cheng are now a team. I don’t think there’s an awful lot of comradery there, but they have a common goal: find Wei Wuxian.

So we’re not really used to seeing a ton of emotion from Lan Wangji. Even when he’s annoyed, he doesn’t tend to show it. But, man, he is pissed here. Because of the magic of fiction, he’s probably heard the Wens’ conversation as he was walking up the stairs, so he heard them mocking Wei Wuxian (and the Yunmeng Jiang Sect), and he is not happy about it. He even uses the Chord Assassination Technique right off the bat against at least two of the Wen soldiers. Lan Wangji means business, and he’s not leaving until he gets what he wants.

The other great thing is that he doesn’t even need to come up all the way. He defeats them at a distance, while he’s still on the stairs. And the power and respect he commands is so great that they all know him by his face.

What Wen Chao does here is so relatable. His girlfriend is freaking out, having nightmares, convinced Wei Wuxian is going to turn into a ferocious ghost and haunt them until they lose their minds, and he, of course, rationalizes: they’ve sent so many people to the Burial Mounds and none of them have ever come back. In other words, “You’re being ridiculous.” But when he turns away from her, you can see the fear in his own eyes. When something spooky happens, my first step is always to rationalize—there’s a logical explanation for most things, right? And it always makes you feel better to rationalize it to someone else, but when you’re alone and thinking, your mind starts to wonder, your imagination starts to go wild. It’s easy to psyche yourself up in the dark and quiet of the night.

There’s this really gorgeous cello version of “Wuji” playing during this scene—it’s so beautiful, so moving, hitting me right in the feels. The look on Lan Wangji’s face when Jiang Cheng is telling him about how he and Wei Wuxian were supposed to meet in Yiling, how he thought Wei Wuxian had abandoned him to meet up with Lan Wangji in Lanling—he looks so defeated there. Defeated despite taking down the Qishan Indoctrination Bureau. Defeated because he hasn’t found who he’s been searching for. And then he holds Suibian so tenderly and lovingly—I’m emotional, okay?

It’s really cute and heartwarming to see Jin Zixuan starting to fall for Jiang Yanli. We’ve known for quite some time how Yanli feels for him, so it’s quite satisfying to see his walls come down as he starts to care more and more about her. He becomes protective of her. When she gasps at the hanging head at the gates of Qinghe, his instinct is to hold her—of course, he stops himself, but it’s very obvious that he wants to comfort her physically (and not in a dirty way, get your minds out of the gutter).

I love the dichotomy here: on one end, you have Jin Zixuan asking Lan Wangji where Wei Wuxian is, while you have Jiang Yanli echoing that on the other end with Jiang Cheng. Jiang Cheng can’t answer—he’s crying, trembling, emotionally responding to his sister without speaking. And Lan Wangji can’t speak either. His lips part, but no words come out. Again, you get this great sense of defeat from him—he’s completely at a loss, but he can’t or chooses not to show those emotions.

It’s also interesting how they kind of clipped the reunion between the Yunmeng Jiang siblings in favor of showing the conversation between Jin Zixuan and Lan Wangji. In my opinion, it’s to remind us of the reunion that isn’t happening right now—the one that should have been—the one between Lan Wangji and Wei Wuxian. And why isn’t it happening? The conversation reminds us that he’s still missing. I don’t doubt the importance of the Yunmeng Jiang siblings in this story—they are obviously instrumental to the plot and to Wei Wuxian—but it’s choices like this where the writers/scene directors remind us that the relationship to focus on is the one between Wei Wuxian and Lan Wangji. Lan Wangji, and not Jiang Cheng, holds onto Suibian, the only remaining item that is most spiritually connected to Wei Wuxian. Isn’t that interesting?

“A-Cheng, you’ve grown up. As your sister, there’s nothing I can do but worry about you.” Such a wise line—such a sad line. This really brings out how powerless she feels in the lives of her brothers. She’s a bystander, she has no influence. All she can do is watch and worry, and nothing either of them says or does will change that. It’s something we as parents and caretakers and guardians at some point have to admit: we can’t control our children’s lives, we can’t control those we take care of. Once they reach a point in their lives, it’s them who has to make their own decisions. They must thrive on their own, they must fail on their own. And all we can do is watch and worry and hope for the best. God, Yanli breaks my heart.

Me in bed when I watch a scary movie any time of the day.

She does crazy so well, though.

Other episodes: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 |

#cql #the untamed #wei wuxian #lan wangji #wangxian #jiang cheng #jiang yanli #jin zixuan #wen chao #wang lingjiao #mdzs #mo dao zu shi #cql rewatch #ep19

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cto10121 · 3 years

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The bad Shakespeare takes keep coming, I see. This one had the cleverness to couch itself as a personal narrative (makes it much more interesting, tbh). But as bad Shakespeare takes are my bread and butter, my boon and bane, mamma mia here we go again, with Merchant of Venice.

“But those who thought the play was irredeemably antisemitic were, the consensus went, vulgar and whiny—and, completely coincidentally, they were also Jewish, which somehow magically invalidated their opinions on this subject.”

I’m glad (is that even the right word?) this author found scholars that don’t think this play is anti-Semitic, but my experience with scholarship has been way more mixed than that. Suffice to say, this is literally all the play is known for these days, and views of the play as anti-Semitic are everywhere (Rosenbaum even had a hot take that since the Nazis liked it, it must be anti-Semitic). Didn’t know Harold Bloom thinks this play is anti-Semitic, though. That in itself is a bit of a red flag, as Bloom is a notoriously poor reader of Shakespeare.

“[I]n Merchant, Portia unhappily fulfills her father’s requirements of her suitors, while in Il Pecorone, the lady enjoys drugging her suitors and robbing them blind. By removing this detail, Shakespeare removed the suggestion that malicious schemers come from all walks of life.”

Or, by removing this detail, Shakespeare removed the clear and abhorrent sexism of his original source that turned a woman robbed of her autonomy by her father’s will into a criminal. It’s almost as if you’re damned if you do, damned if you don’t.

“Dr. Lopez, one of the most respected physicians of the 16th century, had indiscreetly revealed that he once treated the Earl of Essex for venereal disease. The earl took revenge by framing Dr. Lopez for treason and arranging for his torture; while on the rack, Dr. Lopez “confessed”—though “like a Jew,” as the court record states, he denied all charges at trial, while the attorney for the Crown referred to him matter-of-factly as “a perjuring murdering traitor and Jewish doctor.”

This is a very twisted account of the Lopez affair and Essex’s motives in going against him, at least to my understanding. For context, Lopez was accused of receiving loads of money from the King of Spain to poison Queen Elizabeth.

According to Stephen Greenblatt, in Will of the World: “Essex had tried some years before to recruit Lopez as a secret agent. Lopez’s refusal—he chose instead directly to inform the queen—may have been prudent, but it created in the powerful earl a very dangerous enemy. After his arrest, he was initially imprisoned at Essex House and interrogated by the earl himself. But Lopez had powerful allies in the rival faction of the queen’s senior adviser William Cecil, Lord Burghley, and his son, Robert Cecil, who also participated in the interrogation and reported to the queen that the charges against her physician were baseless.” Lopez apparently had been taken bribes from various sources, and confessed (freely? under torture?) “that he had indeed entered into a treasonous-sounding negotiation with the king of Spain, but he insisted that he had done so only in order to cozen the king out of his money.” Weird.

Greenblatt isn’t a historian, though, and Essex was indeed an asshole to Lopez, (and for what is worth, I feel Lopez was innocent; I just get those vibes) but so far I can find no other source that Essex actively framed Lopez. Most likely he did some sleuthing, dug up some questionable, compromising stuff, and tried to blow a hearth flame into a firestorm.

“After all, the historical record gives Queen Elizabeth a cookie for dawdling on signing Dr. Lopez’s death warrant; her doubts about his guilt even led her to mercifully allow his family to keep his property, not unlike the equally merciful Duke of Venice in Shakespeare’s play.”

Again, Lopez had powerful allies (doesn’t get much higher than Burghley), and again, re: Greenblatt: “According to court observers, Elizabeth gave Essex a tongue-lashing, ‘calling him rash and temerarious youth, to enter into a matter against the poor man, which he could not prove, and whose innocence she knew well enough.’” A cupcake, then?

“And it is of course entirely unclear whether this trial and public humiliation of an allegedly greed-driven Jew attempting to murder an upstanding Christian, rapturously reported in the press with myriad antisemitic embellishments, had anything at all to do with Shakespeare’s play about the trial and public humiliation of a greed-driven Jew attempting to murder an upstanding Christian—which Shakespeare composed shortly after Dr. Lopez decomposed. Most likely these things were completely unrelated.”

Nearly all the major Shakespeare biographies and articles I’ve read literally and explicitly talks about the possible influence of Lopez’s execution on Merchant of Venice and names it as an inspiration: Greenblatt, (he even headcanons that Shakespeare watched the execution!) Bate, Ackroyd. That’s how Horn managed to ping my BS radar something awful—because I had read about it, many times, even if it was mentioned in passing. It’s solid, legit Shakespearean academic fanon. The sarcasm is really unwarranted, and childish besides.

“It was damned hard to hear the nuance while parsing lines like “Certainly the Jew is the very devil incarnal,” or “My master’s a very Jew; give him a present, give him a halter,” or explaining what Shylock meant when he planned to “go in hate, to feed upon / The prodigal Christian.”

The first two are the fool’s, Lancelot’s, lines, I think. As for Shylock’s hatred toward Christians, while ugly, it’s entirely understandable given the Christian characters’ treatment of him pre-play and during it (Antonio spitting on Shylock’s gaberdine and then asking him to borrow money from him is called out by Shylock himself for its sheer hypocrisy). It also fits Shylock’s character as an unassimilated Jew, resenting Christian hypocrisy and racism.

“The actor began the brief soliloquy that every English-speaking Jew is apparently meant to take as a compliment: ‘I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions? . . . If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge?’

“Wait, that’s the part where he’s more human?”

[…]“Sure,” I told my son, game-facing him back in the rearview. “He’s reminding us how he’s like everyone else. He’s a normal person with normal feelings.”

My son laughed. “You seriously fell for that?”

[…] “What do you mean?”

“Shylock’s just saying he wants revenge! Like, ‘Oh, yeah? If I’m a regular human, then I get to be eee-vil like a regular human!’ This is the evil monologue thing that every supervillain does! ‘I’ve had a rough life, and if you were me you would do the same thing, so that’s why I’m going to KILL BATMAN, mu-hahaha!’ He’s just manipulating the other guy even more!”

And then the crowd applauded, Harold Bloom cried, and the mayor gave the author’s six-year-old son a gold medal for his Brave Hot Take. Honestly, this was the most unbelievable part of the essay I’ve read. Unless this kid has been reading academic essays on MoV that posit this exact same interpretation (“Shylock was just using humanistic rhetoric to justify his ~bloodthirsty revenge!”), this one’s for a fake Internet stories anthology. Shylock may be a dour, miserable pain in the ass, but he is no Barabas, an actual anti-Semitic caricature—he has a character, and a recognizably human one, and the play bears it out that he is right in his anger.

“I reviewed the other moments scholars cite to prove Shylock’s “humanity.” There were two lines of Shylock treasuring his dead wife’s ring, unlike the play’s Christian men who give their wives’ rings away. But unlike the other men, Shylock never gets his ring back—because his daughter steals it, and becomes a Christian, and inherits what remains of his estate at the play’s triumphant end.”

Er, this is a non sequitur—that last has nothing to do with the first. The point is, Shylock doesn’t give away his ring; the fact that his daughter stole it means nothing to his treasuring it. It may be proof of the play’s marginalization of Shylock (which accurately if sadly reflects real-life systematic marginalization), but not his humanity. Shakespeare just doesn’t do backstories, even for major characters, so it is significant that he gave Shylock a wife/beloved in the first place.

“Finally, scholars point to the many times Shylock explains why he is so revolting: Christians treat him poorly, so he returns the favor. But for this to satisfy, one must accept that Jews are revolting to begin with, and that their repulsiveness simply needs to be explained.”

This makes absolutely no sense at all. If one accepts Jews are inherently revolting, then no explanation need be given for when a Jewish character acts revolting! The racist accepts the revolting Jewish characterization without qualm. The fact that the play insists on his grievance is significant.

“We listened together as Shylock went to court to extract his pound of flesh; as the heroine, chirping about the quality of mercy, forbade him to spill the Christian’s blood as he so desperately desired; as the court confiscated his property, along with his soul through forced conversion; as the play’s most cherished characters used his own words to taunt and demean him, relishing their vanquishing of the bloodthirsty Jew.”

YMMV, but to me there are no cherished characters in this play. That’s the whole point! Everyone is so mired in this dreary capitalist materialism that denigrates genuine human connection into mere transaction. Everything to these characters is money, money, money (and class), or at least tainted by it. Shylock is simply the most overt (and honest) of the lot. Love relationships, religion are impoverished; Portia and Bassanio are scarcely more suited than Portia and her other suitors. Shylock and Antonio are Jews and Christians in-name-only: They are capitalists first and foremost. Portia is a smarter, more likable Karen. Lancelot isn’t funny. Jessica is okay, but her leaving her father is framed as a asshole moment at least in one instance. Portia is probably the most lovable, but she has her asshole moments too. There are no truly awful characters, but you don’t need to demonize and dehumanize your whole cast into two-dimensional racists just to make a point.

Merchant of Venice is not the best of plays. It is one of Shakespeare’s experiments, a proto-problem play before his Jacobean era, using dark comedy and a slight bent of farce to explore and elucidate social issues, racism and discrimination, chiefly. At least it tries, anyway. Taming of the Shrew is the first proto-problem play done completely farcical, which at least makes it compelling in a slapstick-satire way; Merchant is much more sociologically astute, but also more dull and coolly distant even from its own concerns. I don’t blame anyone, much less Jewish people, for not liking the play or thinking it a masterpiece. I myself don’t, though for reasons that have nothing to do with the usual ones. I like what Shakespeare was trying to do and I think he did some things very well. It has ambition and thought. But I feel like for most of it Shakespeare was on writing autopilot while mentally looking around for something a bit meatier to adapt and develop. It’s a jogging-in-one-place play; he has a couple of those.

In sum: Author argues for complicated play’s anti-Semitism, ends up just saying the racist slurs by the flawed/asshole Christian characters made her and her son uncomfortable (feat. A distorted and even misleading account of the Lopez affair). Plus some internalized anti-Semitism to sort through, methinks.

#the merchant of venice #shakespeare #cristina metas #shakespeare meta #kind of #cristina reviews #also kind of #merchant is not even one of my liked plays but these takes are just wearying

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red-talisman · 4 years

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okay i'm loving human guardian lion jiang cheng i am BEGGING for more tidbits about this

okay you know that tendency of fic writers to put themselves through the torture of writing A Story just to be able to write That One Scene in their heads

it started when i was driving last night around 2am listening to metal and jiang cheng is already my Problematic Fave, so The Daydream Scenario became some epic thing in which lotus pier is attacked for some handwavey reason post-canon and JC is able to pull some super BAMF showy magic bullshit - not because he’s now some OP gary stu but because during reconstruction, he and his disciples took the time to build up the defenses to a ridiculous degree. i also adore the fanon that the yunmeng disciples have a little more leeway with their sect leader, which means that in this Scenario, JC and his disciples have actively trained to respond to threats to their home as a cohesive collective that can act in unison.

so then i was thinking that the yunmeng trio is still the trio during that time, for a little while, and i can’t believe that WWX and yanli wouldn’t have had significant input, so the Scenario became an opportunity to also go into yunmeng trio feels:

jiang cheng is effective at pragmatic offense/defense

WWX would be the trickier, more unconventional guy who would find the weaknesses in more conventional strategies but be kept from getting too complicated and end up sabotaging his own traps by JC’s pragmatism

yanli would remember the human elements - what about food rationing? medical supplies? while the gentry are fighting, how are the non-gentry going to protect themselves? is the strategy you two just proposed actually reasonable to ask of living humans who still need to sleep sometimes?

this means that post-canon when everything has sucked for JC for over a decade and he still hasn’t untwisted himself on the inside, his siblings’ legacies are still built into the very bones of the lotus pier that jiang cheng walks every day of his life. (does that make things better for him or worse? oof.) YANLI IS PROTECTING HER FAMILY EVEN AFTER DEATH. (ಥ_ʖಥ)

and like the trio themselves, there’s a lot to balance out here:

how to improve defenses without losing lotus pier’s unique aesthetic, as much a part of his family’s legacy as the jiang sword forms and bells, and turning into another unclean realm-looking fortress?

how to avoid giving away too many signs of lotus pier’s capabilities so that enemies could figure out their weaknesses, but not be so subtle that enemies believe they’re easy targets?

how do you incorporate complicated arrays and talismans without interfering with more straightforward defensive/offensive options? (security which is too complicated will just sabotage itself, lol.)

how can you utilize the natural qi flows of the land itself to make your spiritual wards both more efficient and also that much stronger for having the lakes and plains themselves on your side?

i just can’t believe that someone with JC’s particular hangups around Family (TM) and some of his specific traumas/other issues wouldn’t make the most of having to rebuild by being like, “we going to do everything that is humanly possible to make sure this Never Happens Again >:|” and i think he’s absolutely the type who could pull off some BAMF shit purely because he has no sense of self-preservation in the name of Protecting His Specific People. (which i always found an interesting difference between him and WWX: CQL seems to characterize WWX as being loyal to an ideal and JC to loved ones, and neither one is better or worse but boy howdy is that a meaty philosophical difference to explore [and for JGY to exploit].)

so having WWX’s trickery and yanli’s talent for balance/seeing the larger picture are all built in as deeply as any of jiang cheng’s own ideas, and if he can’t have his family in person, then at least he can pretend - secretly, privately, never breathing a word to anyone else - that they’re still home and safe with him in other ways.

#i have more but this is already getting long orz #guardian lion jc #i briefly considered making that literal guardian lion jc rather than using it as a metaphor #but that would tell a different story i think #and frankly i don't know enough lore to feel confident in telling that sort of story #in a way that's appropriate and meaningful #although if someone else wants to do magical creature!jc then i am Here For It #jukebox fic

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arianne-daniels · 4 years

Text

Some Dear Evan Hansen Thoughts

Hi guys. So I figured I might as well talk about this show and the movie, since the movie is such a hot topic right now. This is definitely going to have some constructive criticism about the show, but my goal isn’t to just bash the show or anything. They’re just my thoughts. This is going to be kind of a long post. Honestly, I just wanted to enumerate my thoughts somewhere.

TL;DR: The musical is mildly problematic and the movie is going to drudge up some interesting issues.

So I completely missed the first craze of the show because it came out in the 2017 season, and the only show I cared about at the time was Anastasia. After I watched the Tony’s that year, I looked up Dear Evan Hansen, and found the plot synopsis to be pretty uninteresting and never bothered trying to watch it. At some point, I watched the performance of You Will Be Found on the Thanksgiving Day Parade, and thought the song was the finale of the show.

I finally got around to watching it because I found a bootleg of Jordan FIsher as Evan, and I love Jordan Fisher. So I watched it. For one thing, it took three sittings for me to watch because I kept turning it off when I felt like it was awkward.

I definitely see why it got as popular as it did, especially amongst the demographic it did (which seems to be mostly teens and twenty-somethings). All of the teen characters kind of...lack personality, and therefore it’s really easy to project yourself on to them. The music is catchy—Pasek and Paul have written a lot of super catchy, borderline pop music (see La La Land and The Greatest Showman)—which makes it easy to listen to the cast album. Dear Evan Hansen also seems to have a pretty big social media presence, which makes it seem more accessible than a lot of shows.

But the biggest issue I have with the show is that all of the characters are shitty people. At one point in the show, Jared tells even that Connor dying was the best thing that could’ve happened to Evan, and really that’s...so true?? But the way the show frames it is that Jared saying that is so off the mark. Evan lies constantly and compulsively, tells his mom that she’s not good enough despite the fact she really seems to be trying her hardest, and basically joins this grieving family by manipulating them. It’s kind of fucked up.

And, like I said, the teenaged characters are all kind of blank slates. Even Evan, the main character, doesn’t seem to have many traits besides having anxiety and depression, liking trees (and nature, I guess, by extension), and having a crush on Zoe Murphy. That’s...not a lot to go off of? Like I’m sorry, but if any character should be fleshed out, it should be the main character. What do we really know about Evan, from the show?

Then there are Alana and Jared, who are both basically stereotypes. Alana is the overly ambitious, involved in everything type that shows up in all media about high school. Jared is an asshole nerd. They’re both wildly insecure, but in a very shallow way. They also just completely disappear after Good For You and get absolutely no resolve in the show, which is kind of ridiculous. Like, they’ve been in a lot of the show. I get that the show is about Evan, but he fucked them both over and they should have shown up at least one more time.

Most of what we hear about Zoe Murphy is from I Should Tell Her (which is SO creepy, by the way), but they’re basically just about how she’s a teenage girl. We know she play guitar in jazz band and was abused by her brother. I guess you get a decent look into her mind in Requiem and Only Us, and really I would argue that you know the most about her of all the teen characters.

Connor has the least characterization, which makes sense because he dies like fifteen minutes into the show. His entire character breaks down to “problematic asshole stoner”. And then he shows up as a hallucination of Evan’s for a couple of scenes. Connor is basically just a plot device.

Cynthia and Larry don’t fare all that much better than the teenagers, because Cynthia is basically just a Rich, White Housewife, and Larry is an emotionally distant father. I mean, it works, I guess. And it’s immediately easy to see why they buy into Evan’s stories so quickly, so they’re used effectively, at least.

Heidi Hansen is the character I would say is the most fleshed out, and the only one I found myself empathizing with, even a little bit. Lady is clearly just trying her hardest. Evan kind of treats her like shit, and he says some pretty fucked up stuff to her.

The DEH fandom seems to have projected specific character traits on to a lot of the characters. Which, like, is fair. it happens in all fandoms, fanon ideas becoming so well-known people often begin treating them as canon. I’ve seen it so much in Harry Potter and Percy Jackson I don’t really think it’s weird anymore. But with DEH, like I said, the characters are all pretty blank.

I think it’s going to make the movie really...interesting. I’m very curious to see if any of these fanon things are going to make their way into the movie, given I don’t think the creators live in a bubble. They’re writing new songs (at least the one), which normally I would be skeptical of but there’s a very minimal amount of music in the show.

I also think that this movie actually mainstream is going to cause a lot of internet screaming, in the vein of what happened when 13 Reasons Why was at the height of its popularity. 13RW had a lot of debate about the portrayal of suicide. There’s been some minor discussion about how the aftermath of Connor’s suicide mildly glorifies suicide, but it doesn’t haunt Dear Evan Hansen in the same way it follows 13RW. I really think that the movie is going to spark that same discussion once again, but on a bigger scale.

I want to end this out by saying it’s a mistake to cast adults as teenagers (which I know is not a hot take), especially with this story. After I watched the Jordan Fisher bootleg, I went and skimmed through one of the OBC (because I do always like to see the original cast) and a boot of Andrew Barth Feldman (because I’m a fan of Mallory Bechtel, I realize that’s a weird reason), and the show really, really benefits from having an actual teenager as Evan Hansen. Watching a genuine teenager fuck with people’s lives by being a moron is a lot easier to stomach than watching Ben Platt do it, because Ben Platt looks like he’s thirty, and it feels so much more deliberate when it’s someone that old. Teenagers make mistakes, and while I know the story is telling us that Evan is 17, looking at a grown ass man completely breaks that illusion.

If you stayed this long, thanks for listening to my incoherent ramblings.

#broadway #deh #dear evan hansen #deh movie #arianne rambles #shouting into the void

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draphrawrites · 4 years

Note

1 2 3 12 (and why!!!) 15 18 23 25 for the fic writing ask post

djdlgkjsaakj ELEGIES OMG ILU SO MUCH XDDD

also tho: no mercy fo me, huh? pffff

1. favorite fic you wrote this year

Oh that’s tough. Geez. They’re all such different genres??? Action, crack, romance, fluff??? AHHHH okay it’s probably A Pirate’s Life For Me (is that a shameless plug? why yes it is, ty for noticing pfff)

2. least favorite fic you wrote this year

ALSO TOUGH BECAUSE I LIKE ALL THE THINGS I WRITE??? DLKGSDJ Okay, I’m totally gonna loophole my way out of this and say my job application was my least fave thing i wrote this year pfffff (even if it landed me the job lmfao)

3. favorite line/scene you wrote this year

I feel like I’m being K.O.’d by each of these questions lmaooo. Okay, okay, okay. UM. Let’s see there are so many omf my favorite overall scene is probably the Dabi vs. Endeavor scene from Lines Crossed. Put a lot of hard work into that one and I think it paid off 💜

12. favorite character to write about this year

alsdkgajkah another toughie. It’s either Hawks or Dabi or Bakugou.... but I’m going with Dabi because I’ve written him the most.

As to why, it’s because I love characters with multiple facets and layered backgrounds. If the Dabi = Touya Todoroki theory is true, and he’s anything like fanon Touya, he will be one of the only characters I know of that went from being a prospective hero with a hard childhood to an outright villain who has the chance to go back. The complexity of that situation, the mystery of what happened to him, the potential for redemption... god, that’s all such good fodder for my anti-hero/villain loving brain

15. something you learned this year

So the CTABB server went through an entire racingverse phase (some of us are still in it - high five moka), and I learned quite a bit about cars. Also learned what a towing scheme was, about 2 days before I had to use that knowledge, lmao. Thank u, racingverse dabihawks au fanfiction research - you saved me about $600.

18. current number of wips

hah, mine isn’t nearly as bad as star’s. I have 18 current WIPS (like, one’s I’ve worked on in the past year)

23. fics you wanted to write but didn’t

One i haven’t gotten around to, but may still do, is one where Dabi rescues/adopts Eri (he’s the one she runs into while hauling ass away from Overhaul, instead of Deku and Mirio. Dabi sees her cowering in fear while wrapped around his knees, and snaps.) I just haven’t had the time RIP

25. a fic you read this year you would recommend everyone read

HOW DO U CHOOSE OMG (gonna stick to bnha, because i’m frankly too scared to look at all the fics i have bookmarked and downloaded lmaO)

Ima recommend 5, because I’m contrary like that.

Decision Height by @blueskiddoo (dabihawks, WIP slowburn, great characterization, fantastic pacing, epic action, beautifully written - a genuinely superb fic written by a genuinely superb human being who’s books i will 100% purchase as soon as the come available for pre-order)

Butterfly Effect by @bloodycarnations (dabihawks, WIP, slowburn - also freaking perfect characterization, amazing plot, lots of exploration into characters motivations and histories - truly would love to have it printed and sitting on my bookshelf tb, but not as much as much as i’d love to hug the shit out of thyandra)

Field Test by @kendrick-harlow (league-centric, dabi-centric - listen if i could have a fic turned into a movie, i’d want this to be it. fantastically written and somewhere between horror, found family, and absolute genius tie-in’s of the current bnha plot. lord have mercy i love this and all of kendrick’s fics)

Villain’s First Christmas by throwyourchaosinneutralanddrive (league-centric - found family league, extremely accurate characterization, hilarious, and literally the author i would vote to take over horikoshi’s job if anything ever happened to him - the amount of chaotic energy in these fics is thru the roof tbh, and i love the author like she’s my own flesh and blood (because she is, but that’s neither here nor there))

Hawks Needs to Stop Scaring the Shit Out of Shinsou, the Compilation by RadioMoth (Shinsou and Hawks-centric, hilariously written, criminally underrated, and with a friendship I’ve never seen before. Def go check it out if you want to laugh and love on hawks and shinsou!)

(in all honesty tho, I’ve read SO MANY good fics this year, holy shit)

#lskdjadghaj THAT WAS SO MUCH FUN!!!!#akldsjaa elegies ur gonna spoil me lmfao 😂#asks #i #elegiesforshiva

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professorspork · 5 years

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Can you talk a little more about why you found Endgame devastating in a bad way and not a good way?

I sure can! I can talk a lot more, in fact! I’m going to put this under a cut because Ihave a feeling it’s going to get Quite Long (ETA: it is, this is 6k words I amso sorry) so if anyone just wants the tl;dr version, I recommend GaviaBaker-Whitelaw’s excellent article ‘How the straight agenda ruined Avengers:Endgame.’

If you want my own personal take, well. Enter at your ownrisk, here be monsters, etc:

First of all, the very short answer to your question: Itagged this photo as emblematic of all the ways Endgame was “devastating in thebad way and not in the good way” because, if I’m being really honest, Steve and Natbeing queerplatonic life partners (who maybe occasionally fuck but mostly don’t)was my absolute favorite thing about the MCU. (Yes, despite all the words thatfollow hereon about Bucky, I stand by Steve&Nat being my Absolute Favorite,because it was entirely about what was onscreen and nothing about the fanon thatfollowed.) And now it’s Gone and not only is it Gone it was Taken From Me, andI’m salty.

The much longer answer:

What’s maddening is that I honestly loved the vast, vastmajority of Endgame. I adored, like, 92% of it!! It’s just that the remaining8% is the part that’s a) most relevant to character arcs and b) permanent,which leaves me at a bit of an impasse. It’s hard to remember my delight overthe way Natasha laid down haphazardly over old take-out containers whilebrainstorming at her peak adorableness when she’s, y’know, dead. (Which isn’teven my biggest issue!)

I’m going to break it out by character, from most toleast irksome to me so we get the heaviest stuff out of the way and then by theend I’m just shouting on my lawn going “AND ANOTHER THING.” I’m also not goingto go into The Thor Thing, because I think everyone worth talking to is inagreement about that being fatphobic and offensive.

Okay, here we go:

STEVE

I fucking hate that Steve went back in time to marryPeggy. AND I LOVE PEGGY AND I LOVE STEVE/PEGGY SO I’M SO MAD THIS IS WHERE I’VEBEEN LEFT. I have tried to make my peace with it, I have failed, and I amhonestly not used to being this mad at a fictional character. I know it’suseless to hold it against him—something I’ve been thinking about a lot lately isthat argument some fans make about like “why are you slutshaming X characterfor wearing skimpy armor, she just feels most empowered riding into battle withnothing but a strip of leather over her tits” when like, the characterdid not make this choice, the writers made it be that way—but unlike, say,the characterization of Steve in Age of Ultron, which I can happily disregard becauseJoss hates Steve, Markus, McFeely, Russo & Russo have been the architectsof everything I love about Steve. It’s straight from the source! And soI… I’m taking it personally, though I know I shouldn’t. I feel like Steve turnedhis back on me and left me behind.

Well. Me and Bucky Barnes.

It’s probably no secret if you follow this blog that I’ma big Stucky girl. I have admitted it’s one of my top three ships of all time;my steve and bucky tag is 21 damn pages long. But I promise, I PROMISE, thisisn’t even about that. Regardless of whether or not you think these two are orever were in romantic love with each other, their best friendship is one of themost important and indelible parts of the MCU.

Steve’s emotional arc over the last several movies hasrevolved around his intense obsession with all things Bucky. He bailedon his concert tour, defied orders and became Cap-in-combat to save Bucky in1944. He tore down SHIELD, HYDRA and the whole world for Bucky when he foundout he was alive. He became a war criminal on the slightest chance he couldprove Bucky’s innocence! And then, when they were finally reunited, finally foronce on the same page at the same time, Bucky was taken in the Snap. And so,like. It seems a bit WEIRD to me that Steve’s heartbreak over the Snap isframed as a Peggy thing (see: him looking at the Peggy compass before their first act attack on Thanos; his talking exclusively about Peggyin the Snap support group he runs WITH GAY MEN) when Peggy died a natural deathafter a long life in Civil War and not, y’know, Bucky, his oldest, mostintimate relationship-haver, or even Sam, his best friend. It seems a bit ODDto me that we see dozens of cute, short reunions and meetings in the finalbattle with 2014 Thanos—known Extremely Important Relationships Tony/Dr. Strangeand Peter/Carol are given significant on screen exchanges—but we don’t seeSteve and Bucky reunite with one another. It feels a bit CONSPICUOUS to me thatSteve does not tell Bucky what he plans to do when he goes to take the stonesback, full on SUSPICIOUS to me that the two don’t say boo shit to each other—can’teven stand in the same group together when Steve comes back from histime vacation—and outright UNBELIEVABLE to me that Steve Rogers would choose tolive seventy years of his life without Bucky Barnes.

I just don’t buy it.

I don’t buy that after four movies of you telling me itisn’t the case, Steve Rogers’ happy ending doesn’t include Bucky. (Andwe’ll touch on the whole idea of what it means to have a “happy ending” in abit.)

It feels like a deliberate side-step. It feels like thecreative team tried and failed to come up with anything approaching a normal,just-two-bros reunion scene for them and with the weight of their past intimacyeverything they wrote came off as a marriage proposal so they scrapped itentirely. It’s insulting. Not on a “my ship didn’t go canon” level—I never in amillion years expected Steve and Bucky to ‘get together’ in any concrete sense,I wouldn’t even have known what to do with it if I got it, I never wanted that.All I wanted was for the text to honor the affection, the bond between thesetwo just as much as it did in any of the other movies. One of the best featuresof the MCU is its consistency when it comes to character detail andrelationship nuance. So how on earth (I know how, we all know how) did theydrop the ball on what is literally their flagship friendship?

But it’s not just that Steve goes back in time withoutBucky, or without saying a word to him about it. It’s that Steve goes back intime and then, apparently, does absolutely nothing for seventy years, includingsaving Bucky.

The time travel rules in Endgame are… unique. They areunprecedented. And it’s easy to tell that’s true, because not once have thedifferent members of the creative team been able to give a consistent answer onwhy or how it works in interviews after the fact. So like. I accept that mytake on this may not be the “canon” take, and until we get a post-Endgame moviethat addresses these things there IS no canon take. Regardless of what their “thisisn’t Back to the Future” rules means about whether or not changing the pastmeans changing the future, in the future all of these characters lived Buckywas on ice/doing murders until the events of Winter Soldier, also in which theworld learned SHIELD was HYDRA. The Russos think Steve created his own branchreality when he went back in time, and the question is then how he got back toour world to hand off the shield; Markus and McFeely don’t think that’s true;they think Steve lived concurrently to his own regular timeline and was always Peggy’s husband. YOU WOULD THINK THEY’D HAVE REACHED AGREEMENT ON THIS EITHER WAY BEFORE THIS POINT, BUT I DIGRESS. This meansthat either a) M&M are right and Steve went back in time and neither toldhis new wife Peggy “hey honey, you know that startup you’ve got going withHoward, maybe don’t invite Arnim Zola unless you want your entire legacy to beNazis,” nor did he save Bucky when he knew he was somewhere in Eastern Europebeing fucking tortured and brainwashed. He didn’t stop Howard and Maria fromgetting in the car. There’s a lot of joke tweets about how Captain America just“let 9/11 happen” and like—it’s a joke but it’s also NOT A JOKE--- orrrrrr b) theRussos are right and maybe Steve did all of those things in a branch reality,which they felt no need to mention when they were wrapping up the emotionalstoryline for their marquee character, which is lazy at best and kind ofunforgivable at worst. Even in the Best Version of Events, where not only arethe Russos are right and Steve went back in a splinter timeline, but in thatsplinter timeline Steve co-founded a Nazi-less SHIELD with Peggy and theyfought crime Hart to Hart style, saved Bucky, stopped the Vietnam War fromhappening and cured AIDS, it still means Peggy no longer did everything she didon her own, fighting and clawing for it like a honey badger. And should shehave had to? No, of course not. But is it her defining trait and greatestaccomplishment that she did? YES! This matters to me! Erasing it without givingher a say matters to me!

And the fact that all of this is in doubt is BONKERS. Iwould feel less weird about if they didn’t leave all of it unsaid! If they’dincluded a scene with Bucky before Steve went back where Bucky just went “Steve,listen. I know what you’re thinking, and you can’t save me, okay? It wouldbreak the time continuum or something. Now go be a reckless idiot like I knowyou’re gonna and say hi to Carter for me” it would at least feel like theycared the slightest bit. Hell, if they gave Peggy ANY LINES AT ALL it wouldfeel a heck of a lot more like the reuniting of two characters I love and lesslike a mortifying hetcon where Steve erases all of Peggy’s professionalaccomplishments and canon husband and other family just to have hisfairytale happy ending with a voiceless woman-shaped smilebot.

Do you have any idea how much I would have cried if we’dgotten a scene were Steve showed up at the Stork Club in time for his dance?Peggy doesn’t even need to have A LOT of lines (though she should!) A tearysmirk and a “you’re late” reprise would have gone so far! (Especially if they’dhad a final, heart-wrenching goodbye for closure and then he’d returned to thefuture, giving us the best of both worlds, but what do I know.) But no, EdwinJarvis gets a line in this movie and Peggy doesn’t. She has no say in the endof her story—it’s a decision that’s made at her. She’s a bit player inher own life. Steve isn’t reunited with Peggy, he gets a dance with the idea ofPeggy. But like. The real Peggy is brash and terrible at emotional honesty! Shewould be a nightmare to be married to! So is Steve! That’s why I love them,they’re awful! And it just feels like all of that was erased in a moment infavor of a vision of unsustainable hetero bliss.

(Honestly, the way I make peace with this is by thinkingthat after maybe six months with Peggy they were both like “oh godwhat were we thinking, this is never going to work” and broke up, and thereason Steve didn’t tell Sam his wife’s name is that it wasn’t Peggy andhe’s too embarrassed to say so.)

And like. I’m trying not to feel like an awfulbitch/bitter old crone about it, because the thing I keep circling back to inconversation with others is them saying “can’t you at least be happy for himthat he’s at peace? Don’t you think he deserves to rest? After everything he’s done,shouldn’t Steve get a chance to be happy?”

Listen. Do I think Steve deserves a chance athappiness? Yes. Do I think Steve Rogers actually has the capacity forsustainable, long term happiness? … Honestly, no. That’s one of the reasons Ilove him.

Steve is miserable. His life is hard, he’s got PTSD, hehas trouble adjusting even in the best of circumstances. But he’s a fighter.And the reason I admire(d) him so much is that no matter what life threw athim, he was relentless in his forward momentum. He had to go on, he had to keepstanding up for others. He didn’t know how not to. Does this mean he needs ashit ton of therapy? Yes, it does—and the therapy is better in the future, Imight add! But like. As much as the creative team keeps going on about howtheir overall arcs were “Tony needed to learn to be more selfless, like Steve,and Steve needed to learn to be more selfish, like Tony” I think there’s adifference between learning to grasp happiness with both hands in the unlikely,miraculous event it comes your way, because it’s brief and shining and worthcelebrating, even though it comes with heartbreak, and just… noping out of yourlife and ignoring your problems for seven decades while everyone else worriesabout it. I’ve never seen Steve sit still and keep himself out of trouble forseven minutes—now I’m supposed to believe he managed it for seventy years? Hewas Peggy’s weird secret attic husband no one knew about? I respected him,loved him, and identified with him—I felt represented by him—because not onlydid he have to fight for every scrap of happiness he’s ever had, he felt likethere was honor in that fight. That’s why Mjolnir declared him Worthy!! And forhim to then lay down his responsibility and NOT FIGHT for 70 years momentsafter being given that distinction… it stings.

I appreciate my happy endings when they’re hard-won. Thatoften means they’re bittersweet. And if Steve’s ending were framed that way—yes,he got back his Era and he got the girl, but he lost his best friend, his foundfamily, and any determinedly-etched-out balance—I might be more okay with it.But it’s presented as the uncomplicated ride off into the sunset he deserved,and… I don’t want my stories uncomplicated. Steve Rogers is not anuncomplicated man. I know a lot of this is YMMV and I’m maybe a bit more darkin my tastes than others, here—hell, I think it’s cheap that the Elrics got alltheir flesh back AND Mustang got back his sight in FMA:B, that feels like toohappy an ending for me—but telling me that what Steve’s really wanted allthis time was to have a house in the ‘burbs and chill doesn’t resonate. Steve’swhole thing since Day 1 was “how can I sit idly by while other men risk theirlives? I can’t stand that.”

It feels like a How I Met Your Mother ending. If Stevehad had the option to go back at the end of Avengers 1, I’d have bought itcompletely that he’d take it (both for character arc reasons and for “he didn’tknow Bucky was alive then” reasons). But he’s not that guy anymore. Yet itseems like they decided a long, long time ago that Steve was going to go backin time and get a do-over, and years of development, growth, moving on andbonding with other people be damned. Who cares if Steve got Bucky back, whocares if Steve got Sam back, who cares that he’d lived 13 years, his entireadult life, in the future? Nat’s dead, might as well go back to the other damewho liked him!

And. And here’s the thing. If everything else were equalbut Bucky and Peggy’s roles were reversed—if Peggy fell from the train, and itwas Bucky who founded SHIELD with Howard; if Steve met Bucky again as adementia-ridden old man and Peggy were the Winter Soldier, if it were PeggySteve spent all these movies desperately trying to save and nurture—I feel likeeveryone else would find it REALLY WEIRD if Steve went back in time to do itall over again with Bucky! That’s not a question of romance, or gender. Not forme, who loves all of these characters equally. It’s a question of the emotionalarchitecture the story is built upon.

Historically, every decision Steve’s ever made in theentire time we’ve known him has been about Bucky. And for this ending to work,it requires us to either ignore that, or think this single-minded focus wasnever about Bucky at all—that it was instead a sublimated love where Buckybecame a signifier for Peggy or the past Steve lost, instead of a person in hisown right, the person Steve’s always chosen and who’s always chosen him, sincethey were kids. Til the end of the line. Asking me to believe that is a)horrible, and cruel, and frankly homophobic and b) simply untenable—I don’t thinkthat the plots of First Avenger, Winter Soldier or Civil War stand up to thatreading.

And even in the kindest reading of all of this—that Stevedeserves to return to the time he was stolen from, because it’s his TrueTime and Peggy’s his True Love—then my god, doesn’t Bucky deserve that, too?Steve was an orphan with, after Bucky’s “death,” ONLY Peggy and I guess theHowlies to tie him to the world. Bucky has a family! He’s got sisters! Theythink he’s dead! If Steve deserves this, doesn’t Bucky, after everything he’sbeen through, deserve it too? If it applies to one of them, it applies to bothof them, doesn’t it? No matter which way you slice it? (For the record, if Stevehad taken Bucky back to the past with him I'd still be scratching my head aboutthe timeline bearing out—and I think it would make the Sam!Cap offer even morekind of paltry and afterthoughtish than it already is, Sam deserves FIREWORKSand A CROWD damn it, and it also deserves to be a decision not made AT him, seeabove—but at least I could be like “yeah, that's exactly the kind ofhilariously not-thought-out decision Steve would make, have fun kiddo.”)

But I guess Steve inviting Bucky on his Happy Ending Tourof the past would be too much like a fucking proposal so, uh, no, we don’t getthat.

NATASHA

Here is a top ten list, in no particular order, called “I’dbe fine with it, but.”

1. I’d be fine with it—Natasha is a hero, and she deservesa hero’s ending, she merits going out in a big swing to save the world—but she’sstill the Smurfette, man. It means something different to kill your only original female leadthis way than it does to kill a male character. It especially means that whenyou kill her in the exact same way you killed Gamora—THE OTHER SMURFETTE—onemovie previous. It feels cheap, and it feels callous. M&M&R&R havetalked a lot about the woman/women in the office who read a draft where Clintdied instead and said “DON’T YOU TAKE THIS AWAY FROM HER” but a) tbh I feellike maybe they were reading a different draft than was ultimately shot, thismovie evolved a lot over the years and b) when you’re the Token Girl, your storyis more than just yours. In a franchise of this scale, it’s just… it’s notequal yet. If the circumstances had been utterly different, if Nat haddied wielding the Infinity Gauntlet, at least it would be novel. And like—I amnot the kind of person who thinks standing against Bury Your Gays means no gayscan ever die or else, for example; sometimes a Good Death is warranted if it’swell-written enough—but again: it’s the “she feels empowered in that skimpysuit” thing. You didn’t HAVE to create a murder cliff that only exists forfemale characters to die for the men who love them. You made that choice. It’speak “why do we even have that lever?!”

2. I’d be fine with it—Natasha loves Clint, of course shewouldn’t let him die for her, not when he’s fighting to get back his family—butit would have made more sense for Clint to die as penance for all of the ninjamurders he did after losing his kids than for Nat to die because she can’t haveany. It feels like it privileges bio family over found family in a way that’skind of dismissive and gross, and it calls back to the mortifying line in Ageof Ultron were Nat referred to herself as a monster over her infertility. And theargument that Clint couldn’t die, there’s a Hawkeye Disney+ series falls flatwhen Nat has a MOVIE coming out and Vision also has a Disney+ series and yetis, as of this moment, still dead.

3. I’d be fine with it—Natasha loves Clint, of coursethey’d bicker over who would jump—but when the “dramatic” scene that precedes amajor character’s death resembles nothing so much as this comic, you’re doingit wrong. I shouldn’t be giggling over their antics right before someone fallsto their death.

4. I’d be fine with it—Nat did it for her family, whomshe loves—but her family didn’t even honor her back, and that’s bullshit. Tonygets a massive funeral and Nat gets nothing? I admit that what I trulywant for her—a long sequence of RENT-style “what Angel meant to me”testimonials—would have been a bit weird to include pacing-wise, even if I dothink if I asked Chris Evans and Jeremy Renner nicely over twitter they’dprobably improvise one for me anyway. But it didn’t have to be that. A singleshot in a montage would be enough. A shot of Clint, Laura, Fury, Steve, Sam, Okoye and Pepper doing a shot of vodka together and pouring one out for Nat would havebeen enough. Simple, elegant, gets the point across. It’s not hard!!!

5. I’d be fine with it—they needed to get the Soul Stone,for skimpy outfit reasons someone had to die, I get it—but then Steve has toput all the stones back to reverse the heist and stop the branch timelines fromcollapsing like The Ancient One warned about. How the fuck do you return theSoul Stone? And Steve could, wouldn’t that cosmically mean we get Nat back? Asoul for a soul, isn’t that the deal?

6. I’d be fine with it—I understand that playing the longgame and forcing yourself to fall in love with Red Skull so you cansacrifice him, though hilarious, is not actually a solution—but it just seemslike there are other ways to write around this moment. Nat and Clint have bothlost so much, sacrificed so much. That doesn’t count? This isn’t like Thanos,who’s never sacrificed a thing in his life. Nat’s given up so much for thecause; Clint lost his family. The Soul Stone couldn’t just sense that?Or—what if they’d jumped together? Full Rose and Jack, “you jump, I jump,right?” Refusing to be separated. What would the Soul Stone math be then? Ifeel like it would have been a cooler story to find out.

7. I’d be fine with it—ScarJo needed a way out of hercontract, after the Black Widow movie (which: how they’re going to make thatwork is a whole other rant I do not have time for here)—but killing Natasha inthe one irreversible way in a damn comic book franchise just feels soneedlessly final. If you’d said “after everything, after holding the Avengerstogether for five years with nothing but the force of her will and some peanutbutter and jelly sandwiches, she’s tired and disillusioned with it and wants toroam the world for a while without the team, maybe fight some normal crime fora bit” and had her phased out quietly I would have understood! It would havebeen fine! Preferable, even!

8. I’d be fine with it—I don’t think it’s total bullshit whenM&M&R&R say that this was the end of her arc, she’d found herfamily and become a true hero—but the implication that death is the only way toend an arc is lazy and, in this case, hurtful. It comes off as “we couldn’tthink of anything else to do with her, so we killed her.” You can’t do betterthan that? Tony and Steve were gone. Natasha ran the Avengers, andpulled Nick Fury duty on top of it, for five years and death is the onlyend of her arc? Again, I know ScarJo’s contract is up, but that answer is justoffensive. In a perfect world, given the circumstances you’ve described the endof Nat’s arc would be continuing to lead the fucking Avengers.

9. I’d be fine with it—maybe all those office ladies wereright, maybe it would have felt pandering and sexist and deflating if Clint hadstolen Nat’s moment and died for her—but it’s kind of conspicuous that thereare only two female leads in this movie, Natasha and Nebula, and when both trulyexhibit their agency in their climactic moments, they choose to die. And Nebulakilling her past self to save Gamora is one of my favorite moments of the film!But god, there’s more to female agency than suicide, right?

10. I’d be fine with it—the way Steve cries when he findsout is gratifying and in-character—but Tony’s question of “Did she have anyfamily?” is fucking horrifying. You know she doesn’t, Tony, Jesus Christ.It was a sloppy, lazy setup just so Steve could say “Yeah. Us.” Which wasfucking unnecessary because we know that, that’s why she died for you. (Thecomedy reading, which is that Tony was implying she, like Clint, had a secretFarm Family is hilarious but, y’know. Not the right time.)

And speaking of the sir himself…

TONY

This one is a big case of “it’s not what you say, it’show you say it.” I didn’t expect Tony to get out of Endgame alive. (In fact, Ihad braced myself for a total party kill for the original six, which, if it hadbeen a TPK, I would have felt way better about it tbh. If they’d gone down one byone Rogue One style, at least the playing field would be even; that wouldremove a lot of the sting.) Tony’s the bedrock, he’s where we started, and ofcourse this would be the end of his road. He was going to go out big, he wasgoing to save the world. I knew that was the deal.

But they also gave him a little girl.

To my eyes, you can give Tony the ending he deserves—the endingwhere he and Pepper get to settle down, where he gets to be the father he neverhad, the one where he’s finally stable, finally at peace—or you can giveTony the Ending He Deserves—the one where he, the flagship, the starting pistolof the MCU, gets to vanquish Thanos saying “I am Iron Man.” Epic.

You… you lose me when you do both.

Here’s where I get my hackles up:

Were there any other outcomes you considered for Tony?

MARKUS No. Because we had the opportunity to give him theperfect retirement life, within the movie.

McFEELY He got that already.

MARKUS That’s the life he’s been striving for. Are he andPepper going to get together? Yes. They got married, they had a kid, it wasgreat. It’s a good death. It doesn’t feel like a tragedy. It feels like aheroic, finished life.

It is a fucking tragedy! Pepper is left alone with a fiveyear old girl! Pepper does not get a perfect, finished life. It’s a gross,reductive, alienating view of fatherhood, which is all the more starkly (punintended) contrasted when you compare him to Scott, a good dad whoactually gives a shit that he missed out on three years of Cassie’s lifein prison and then ANOTHER FIVE in the Quantum Realm. Honestly, this is whathappens when you don’t let women write these movies—the characterization formen suffers, too, not just women. Because it wasn’t even a factor to them.Like. They literally cut a scene from the movie where a vision of Morgan fromthe future absolved him of guilt for leaving his family behind. That’s… reallyawful, fellas. Surely you can see how awful that is?

I want to feel good about Tony’s death. I want to feelinspired. Part of me does. But god, that little girl. God, Pepper.

But then, it’s pretty much par for the course. Because it’sworth it to talk about

WOMEN

This isn’t about how the one “Girl Power” shot wasshallow fanservice instead of substantive representation, how it makes no sensein the plot of the moment, or how it’s a totally empty gesture unless they planon giving us an A-Force movie (though all of those things are true).

It’s about how this movie has a gender problem in whichthe vast, vast majority of female characters got to be “badass” by bucklingunder the will of their male counterparts—and those who didn’t mostly justweren’t in it enough for that to be true.

Peggy doesn’t get any lines; she is presented not as thestrong, capable individual we know her to be but as a storybook reward forSteve’s good behavior after all these years. She is a prop, not a person.

Pepper is, for the thousandth time, defined as strong andcapable because she’s able to withstand all of the crap Tony puts on her. Ilove Tony/Pepper, I think they’re the beating heart of the MCU, their screwballenergy left a positive and indelible mark on the MCU that redefined how loveinterests work (well, barring Betty Ross, I’m so sorry Betty your movie isawful and you deserved so much better). But like. Tony gives her a company whenhe doesn’t want it anymore, he gives her a suit even though he knows she’s notinterested, he talks her into having a child together and then he leaves herbehind. Pepper is like an amazing, super intense version of one of those cookswho up-cycles leftovers into new, amazing, even-better-than-the-originaldishes. But she shouldn’t have to be, and she deserves better.

The same goes for Valkyrie, who is literally handedthe crown of Asgard for no other reason than because she’s there. It’s notthat she’s not capable, it’s not that she doesn’t deserve it, and it’s not thatshe won’t do an amazing job, but again: it’s a decision made at her. Why isthis still happening? (See also: Sam!Cap, and another way that Sam is stillgetting the Love Interest treatment after all of these years).

Carol was underused, and utilized entirely as a Deus ExMachina instead of as a person with feelings every time she did show up. Whileshe has the raw power to back up that plot usage, aside from her little smirkand “hey, Peter Parker,” we got almost no humanity from her. It’s not like theMCU is bad at establishing loads and loads of nuance in just a few lines—the massivejuggernaut that is Clint/Coulson shipping was launched when they exchanged twosentences to each other!—so it doesn’t feel like a lot to ask that Carol bein the scenes she’s in. You know?

For the most part, I really love how they handled Gamoraand Nebula, but the fact that 2014 them were Super Team Thanos flies directlyin the face of where both of them were at the start of GotG—and for Gamora tochange her mind after learning that in the future, she and Nebula are trulysisters when it’s Nebula who always wanted that for them is… a littlereductive. This was Their Movie—five more minutes to really tease out thenuance here would have really gone a long way.

Plus there was that whole scene where Frigga was like “actuallyit’s fine if I die; I’m just glad you’re okay honey. I feel so empowered inthis skimpy outfit. It has to be this way!” If Nat didn’t die the way she did, this scene would read differently! But she did! So it doesn’t!

Okay. Okay. I’m sure I’ve forgotten things that botheredme, but I have to stop somewhere so it might as well be here. In fact, here’s alist of things I really liked, to remind us all that I did like this movie:

America’s ass! “I could do this all day”/“I know!” ThePB&J cut diagonal! Cooper’s baseball mitt! Tony and Nebula playing PaperFootball! Nebula and Rhodey being best friends / “he’s an idiot!” Clint and Natforehead touch! Nat lounging on the takeout containers! When Hope calls Steve ‘Cap’and Scott gives her a little Look about it! Instant Kill Mode! Bruce and TheAncient One talk metaphysics—and the fact that Bruce is what is astrallyprojected out of Hulk! The redo of the elevator scene being subverted with “HailHydra!” Tony and Howard! Rocket’s much-needed frank pep talk to Thor! Ding dongditching 1970 Hank because he deserves that and so much worse! Tony revisitinghis Age of Ultron mentality at his lowest—frankly, it made me buy it in a wayall of AoU didn’t! Nebula murdering who she used to be so she can becomesomething new (let the past die, kill it if you have to amirite?)! Theindulgent credits sequence with the original 6 and their autographs! Quill’sface when he saw 2014 Gamora! TIME HEIST AS A CONCEPT LBR. Everyone’s funeralfashion choices, some of which are patently Bonkers! Smart Hulk having to riphis shirt off and pretend to enjoy smashing to blend in in 2012! The whole tacosight gag outside the compound! I love you 3000! Scott reuniting with Cassieand saying “you’re so big” instead of “you’re so tall!” Steve being Worthy!Thor doing a self-Fastball Special by hitting Mjolnir with Stormbreaker! YIBAMBE!

I don’t think I have ever cried as hard as I didwhen Sam said “on your left” and all of the Snapped heroes came back in Strange’sportals. Desperate, sobbing, joyful, elated, transported, awe-filled GASPINGkind of crying. I could hardly breathe. I really freaked out the guy next tome, I’ll tell you that.

I’m upset because these movies are good. This movie isgood. It made me feel… I don’t think I can describe the acute, painful ecstasyof that moment as long as I live, when everyone I loved, everyone gone,returned and returned and returned. I’m tearing up just describing it to younow.

I say these things because I care. I say these thingsbecause I don’t want to stop caring, and when characters I love are written inways I cannot understand, that I cannot abide, I am removed from the equation.And I am the damn target audience for this fucking movie. What I think matters.And it matters that I say it.

If you actually made it this far, I am very impressedwith your fortitude, and I thank you for coming to my TED Talk.

#hoo boy #i do not want this in any tracked tags #not that those even work anymore #but here's some filler #and one more #okay #avengers endgame #endgame #mcu #avengers endgame spoilers #endgame spoilers #Anonymous

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toomanypizzaboxes · 7 years

Text

Story Process, Start to Finish

Or, how to write multi-chap stories and balance thematic content.

So I recently received a PM on FFnet with these questions:

And basically, I was just wondering if you had any tips on how you do it? How do you get inside each character’s head? How do you manage to write a story that is both serious and light hearted at the same time?

And I was going to reply right away, except when I actually sat down and thought about it, I realized I’ve never put much thought into the hows of a project, just mainly focused on getting it done. I also realized that these questions have much longer answers than I was prepared for, as I’m terrible at summarizing. It’s one of my big weaknesses. So I thought, since I was going to be answering this anyway, why not make a post of it? Because of course what I need is more attention right? (lol, don’t answer that.) Okay, so let’s get started!

1) Start with a very vivid image of a complete scene.

This is the way I’ve started every single one of my fics. I usually get a lightning strike image in my head of a “fully-rendered” scene. This includes the the setting (colors, time of day, place, sounds, era), the characters involved, and even an aesthetic to an extent (cinematic, old-fashioned book, play). For example, Eyes Wide Open started with the final chapter, where Hinata and Sasuke confront each other while Hinata is wearing Itachi’s clothes. I pictured the tension that would exist between them, with Hinata being very passive usually and Sasuke being overwhelmed by how upset he was by his own petty jealousy. That scene was the springboard for everything else.

You may be thinking, “but that’s ridiculous and very lame advice, not everyone can do that/seems unhelpful!” but it’s not true. Everyone can; it’s just a matter of patience. If you wait long enough and daydream about subject matter that you want to write about, eventually your subconscious mind will do all the heavy lifting for you and puke out an owl pellet of fine content. That may be a little gross of a metaphor, but it’s all I got. Just keep mulling over the same variables you want to include and I promise the scene will come to you.

2) Think about what needs to happen for that scene to be accomplished.

So, now that you have the crux of your story, your visualized scene that will become the seed to the rest of the tale, it’s time to figure out what that seed needs in order to grow.

A lot of people who write romance fics start with the same motivation I do: you have your main ship and you want them to kiss/enter into a relationship. However, a lot of younger/less experienced writers stop there. A kiss is easy, right? All they have to do is be in the same room and make eye-contact, duh! What I’m getting at is that a lot of younger writers do just that. They place each party in a setting where they’re together and of course, since we love them and want them to love each other, they immediately fall in love inexplicably and kiss that very same night, story done!

There’s nothing wrong with that. If you want your ship to just kiss and be done with it, you can write that. However, not everyone wants to accept that it’s that easy, especially if one ships a crackship like sasuhina. It can be really difficult to keep people in-character and have them fall for each other instantly, and most people who’ve been reading/writing for the ship for a long time might not be interested in or satisfied with the usually-shallow setting that these love-at-first-sight romances offer. It’s just not fun. I, for one, want to suffer with my OTP as they grow and change in order for their love to take place!

So that’s what you have to focus on. Keeping with the Eyes Wide Open example…. There’s no logical reason for Sasuke and Hinata to be around each other. Sure, they were contemporaries in canon, but Sasuke barely paid attention to his own teammates, let alone people who held no bearing on his life in the slightest. So I changed the setting and the age group. Of course people in the same town who come from similar family backgrounds have a likelihood of sharing classes, so it’s not that difficult to imagine them meeting on the off-chance. Most of the big developments in Eyes Wide Open happened because of Sasuke’s and Hinata’s outside influences, who all knew each other and thus pushed them together.

What does your ship require? What needs to change for them to be open to love/a relationship? I like writing slow burns because most realistic romances are slow burns. The involved parties rarely realize the road they’re on until it’s too late and then messy feelings get involved and all the delicious events start occurring.

3) Saturate yourself with the canon materials, then study up on fandom materials.

“How do you get inside each character’s head?” It’s a really good question and I’m not too sure myself, but I’ll do my best to explain my method.

Most of my stories begin on a whim because I’ve been binge watching/reading/playing something non-stop. If it’s gone on long enough, I’ve usually picked my favorite characters and naturally started shipping them. (Ah, the life of a crack-shipper!)

When you want to write for a fandom, it’s wise to know the canon material as inside-out as possible. If it’s a movie, make sure you’ve watched it recently. If it’s a TV series, make sure you’ve seen all the episodes with important details. (I’ve skipped a lot of Naruto filler, for instance.) Surround yourself by canon knowledge and study it until you’ve got a grasp of the canon universe. Abilities, physics, politics, hierarchies, interaction, setting, etc. This is your foundation to branch out from. I once opened a Naruto fic where the author repeatedly referred to chakra as Charka, capitalized and all. It generally bodes poorly for the future content of the fic because if they didn’t even pay close attention to the canon really, how much effort are they going to put into writing for it? This is an important process for making your written piece feel close to the same level of charm/draw that the canon has.

Narrowing that down, if you want to write a character-driven piece, you need to know the characters. Treat them like they are real people that you want to be close friends with, then pay attention to everything about them. Fall in love with them. Study their motivations and personalities. What causes them to react in varying situations? What draws out certain emotions? It’s okay to use references. Make use of the well-curated wiki pages that many fandoms have. Get to know ages, heights, tastes in food. Manga are usually really rich in these smaller details, as it’s common for them to be sidebar filler.

Once I’m sure I’ve gotten a strong handle on the canon character, it’s time to dive into fanon. If I’m writing a fic, you can bet it’s because I’ve read up and down every website category for this pairing and haven’t found what I wanted. But the key is I’ve read so much fanon. Study how other authors write the characters. What aspects do they focus on? Do you like the way they portray x/y/z? A lot of people made Sasuke an overly-romantic, can-do-everything-perfectly type who referred to Hinata as “love” or “darling”. That didn’t really feel like Sasuke to me. In canon he’s a bitter snot who has a bit of an inferiority complex and he acts out by not using honorifics and being sort of casually disrespectful. He can also be incredibly lazy in his human interactions, so he wouldn’t be confrontational or talkative unless it got him something or he was provoked. A lot of people also made Hinata an overly-stuttering mess who’s just there to be pretty. Listen, it’s a real turn-off to be constantly bombarded by what Hinata is wearing to show off her “feminine curves” in “all the right places” and how slender or petite she is, how her long, milky legs are so enticing. You want your characters to be human and relatable. When Hinata is a runway model who can pull off some cool jutsu, I get bored. I’m not pretty and jutsu doesn’t exist in reality, so what else is there to connect with? What goes on in your character’s head? Their feelings, their dreams. What do their mannerisms do to illustrate those thoughts? Don’t focus on appearance unless necessary. It takes away from the emotional impact of your story.

How does fandom portray your chosen characters and what do you want to do differently? That’s your goal for characterization.

4) Summarize each event needed to reach the conclusion.

This one’s pretty self-explanatory. It’s a method I got from an old “how to write shoujo manga” book. Separate the various plot points into their own, standalone-events, then write them on their own note cards. Write scenes you want to include for the heck of it, too, go crazy! This is your story, have fun! When you’re done, arrange them into a timeline with a build up to a climax and then a wrap-up. Boom, your story is half-written already. This really helps avoid (most) writer’s block, as well.

5) Start writing.

Go forth and write! Trust your instincts. You’ve gotten the hard parts out of the way and your foundation is strong at this point. Take your time and if you get self-conscious or confused, go ahead and reach out! Get a beta-reader, or maybe a friend to bounce ideas off of. Make sure it’s someone you trust. If you like, you can write the whole thing in a first draft before posting so you have time to go over it for plot holes/errors/etc, or if you’re impatient like me and don’t care as long as your ship reaches a romantic conclusion in a satisfying way, go ahead and post as you write.

6) “How do you manage to write a story that is both serious and light hearted at the same time?”

My number one piece of advice for this question is this:

Ingest the kind of media you want to produce.

I’m a huge fan of romantic comedies, but specifically the older ones from the late eighties and the nineties. Even more specifically, Nora Ephron. Nora Ephron is fantastic at creating a story that is just as implausible/fantastical as every other romance, but her characters are well fleshed-out, relatable, and funny. Her settings are a wonderful balance between the tantalizing energy of fictionalized big cities and the quiet, intimate moments you get between friends and families within those cities. The structure she utilizes has a draw to it. It pulls you in and makes you feel like you’re experiencing it along with the characters. While many of her stories are really, truly comedies, there’s usually a sense of drama woven in with a skill I can only hope to achieve someday. I think the key for keeping a story light-hearted even while it deals with heavy subject matter is to keep the dramatic aspects lingering along the outskirts.

For example, in When Harry Met Sally, you follow along with Harry and Sally as they age over twelve years. Natural comedy is easy to write, because everyone has their own sense of humor that shines in the right circumstances. Harry and Sally clash over their opinions but in a way that makes it easy for them to get along, as well as providing witty, engaging dialogue throughout the film. Most of the content of the story evolves through their shared awkward encounters involving friends, romance, bad decisions, and other things that real people experience every day. However, the whole time there is an underlying message that is being slowly brought to the front: the stress over finding someone to love and belong with before one gets “too old” or time runs out. Small moments are placed amidst the various sequences, off-hand comments about aging, competing with more attractive people, disgust with the opposite sex but the desire to still find someone to love.

In reality, we deal with drama every day. A person living in poverty might be one paycheck away from homelessness, and while that detail weighs heavy on their mind, they won’t think about it constantly because that would be exhausting. Most of our time is spent living in the moment, thinking about the past and the present until we are forced to deal with drama. Utilize that in your writing.

In Eyes Wide Open, the bulk of the story is spent in everyday life of going to college classes, eating out at a cafe, spending time with friends or spending time at home. That’s the light-hearted part of the story. The rest is comprised of the small details hinting at drama like Itachi’s cough building into his collapse and consequential surgery, Sasuke’s space-outs as he struggles with his anxiety and PTSD, Hinata’s background growth as she develops into her own person separate from what her family wants or what she thinks Naruto wants.

Compartmentalize the different subjects you want to tackle in your piece, then organize them in ways that make sense story-wise and feel satisfying emotionally. It takes practice and I’m not saying I’m the best by any means. You can write one-shots to practice until you feel good enough to try a multi-chap fic.

I hope that I answered the questions sufficiently, and that this is helpful to anyone who reads. This is by no means a one-answer-fits-all process; it’s just things I’ve learned from my own experiences. If you have anymore questions or want to discuss something more in-depth, feel free to inbox me any time! I’m always available! Thanks for reading!

#whyte says stuff #writing tips #writing #writing help #fanfiction #fiction

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