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absolutebl · 4 months

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TOP 10 BL Trends of 2023

This is just me with my analysis hat on.

1. 2023 = the year EVERYONE went outside their lanes

Everything went topsy-turvy this year in BL.

For example, Korea gave us agonized yearning and outright queerness (The 8th Sense, The New Employee) while Japan served up soft office workers and tender family (Our Dining Table).

The BL world went askew for a while, especially in the spring of 2023.

Not that we still didn’t still get Korea’s soft angsty bubbles or Japan’s “what are you doing and why does it hurt?” kink-fests. But there were quite a few BLs that made us chronic watchers sit up in confusion and wonder if Korea was dabbling in Taiwan’s territory or Japan in Thailand’s. Then they fudged the kisses and we were like... okay, back in familiar territory.

In contrast, Thailand stayed course-correcting for the damage they’ve done in the past with tropes (2022) and self referential meta criticism (2021), but also almost aggressively returned to their BL roots after last year’s series of shockers. Certainly, they are reexamining those roots, transplanting some, aerating others. But they really went back to classic Thai university and high school BL and pulps in a big way in 2023.

Taiwan is always difficult to gage because they produce so few but they seem to have stuck with what they do best with no deviation while producing more this year than they have in ages. I’m happy for that, why change a good thing? But there is a tiny part of me that really wants them to hit it out of the part with a quality piece soon. For me, We Best Love still reigns supreme, but I would really like the HIStory franchise to give us that level but longer - like a happy version of Your Name Engraved Herein. I think Taiwan has the chops to give us something as good as The 8th Sense or Old Fashion Cupcake but in their style, and I would like to see them exercise their talent for good rather than just profit.

I know, what a very odd thing for me to say. But if any BL is going to break into the mainstream American market, I genuinely think it’s most likely come from Taiwan.

Vietnam and the Philippines are falling behind, in general. They just didn’t bring out very many shows in 2023, and what the brought out tended to fub the endings. This is forgivable in Japan (because of their style and quality) but not what watchers want in the lower production value propositions. In other words, if you do a pulp, you can’t mess up the ending (by romance standards). that doesn’t look to be changing anytime soon.

2. The Office Romance Dominated

After years of Thailand serving us an endless (and slightly bland) buffet of university (and a few high school) BLs, this year Korea was basically like...

Ofiice. We like the Office. It’s cheap to film we can use grown up actors, acting (mostly) their actual age.

And yeah... it totally worked.

To be fair, Japan has always given us office live action yaoi from the beginning (they had the source material) but this year everyone else, including Thailand, seriously started playing in this setting.

3. Boys Danced with Boys

The darling @heretherebedork was a big fan of this one, and I rather like it myself. Prior to this boys dancing together was very very rare in BL, but this year we got way more than our fair share. It was lovely.

Never Let me Go

My School President

Bed Friend

The Day I Loved You

Step by Step

Be Mine Superstar

Tie the Not

Dangerous Romance

I think there were a few more. These are the ones I remembered to write down.

4. Getting (even more) Meta With Tropes

BL has been getting more and more meta over the past few years but this year they really focused in on tropes specifically. Calling out their own biggest and most favorite tropes in a massive way, especially Thailand and especially GMMTV.

Like they tunneled in on damaging tropes with Bad Buddy and the like over the past 2 years, and now they are just having fun with us.

I mean they just started the dancing trope and already they are calling it out? That’s like rapid-fire regurgitated meta there, GMMTV.

5. Cameos are the norm now

Taiwan has always loved cameos but in the past the other countries have been show and steady with only one or two a year. (Unless Japan does a parody.)

This year Korea got in on the game.

Korea rarely starts trends but they do adopt smaller and lesser known existing ones and make them super popular.

This year they did that with cameo couple appearances, even borrowing a few of Thailand’s pairs (TutorYim and MaxNat traveled north). They did it so much I stopped tracking. Love Class 2, Why R U?, and Jun & Jun were the heaviest hitters.

Taiwan, of course, came back swinging. Kiseki was the gum-ball machine of pair cameos. (In Taiwan mafia = gay.)

6. We are entering the cross pollination age

The number of remakes picked up or started this year was startling, not just countries revisiting their own content (Thailand, Japan) but countries revisiting OTHER countries stuff.

Lemme explain...

Korea has started remaking Thai content (Why R U?) alongside cameo'ing Thai pairs.

Thailand is doing Korean IP (My Dear Gagster Oppa) and has 2 Chinese ones slated for next year.

GMMTV acquired a lot of Japanese IP (Cherry Magic, Ossen, and My Love Mix Up) - and then had problems distributing it.

This is probably the most surprising trend for me. Especially the Japanese stuff. I would have thought these properties well outside of Thailand's price range (even GMMTV's) not to mention Japan’s legendary IP issues (I swear I typed this pout before the pulled TayNew’s excellent Cherry Magic).

Also why not option some of the older popular manga instead? Bet that's much cheeper. (I did see a NEW Thai translation of Finder into Thai, which is 90s yaoi, so I have my fingers crossed on that front.)

I shouldn't be too surprised.

Thailand is running out of y-novel content. Their publication industry is just not robust enough (I was just talking to a friend about this at length recently). But I didn't think they had the funds to option, especially from Japan.

Perhaps the option deals are for peanuts?

7. Korea got cheeky

I’m not sure quite how else to put this.

After finally figuring out boys can kiss, Korea started to do not just higher heat but playful higher heat, with more aggressive word play and linguistic innuendo, like they are entering their racy rom-com teenage years (Why R U? Love Class 2 and Jun & Jun in particular.)

I guess: Welcome to your BL teens, Korea?

It’s cute of them. I am very much enjoying it.

And now that comedy is warming them up, we get to see them play with actual queer burgeoning physicality in shows like The 8th Sense.

It’s nice. I like seeing Korea stretch its wings. They still stick to their bubble, but that bubble seems to be expanding.

8. The Amnesia Trope is back

And I, for one, would prefer to forget about it.

9. BL got trendy

I’m not quite sure how to articulate this category but basically we started seeing a lot of “modern” romance trends out of the west (like a/b/o) show up in our BL. Not a ton and sometimes quite small, but there has a been a steady rise of things like: no seme/uke, femme gay, out gay, condom use, messy gay.

We also got an increasing range of sub genre frameworks (like mafia, office setting) that’s moved BL pretty firmly (even in Thailand) out of school and into the workplace, whether actual working is involved or not.

It’s not to the point where it feels like we get more non-school BL than school BL (if I include all countries in this assessment).

Japan, in classic Japanese fashion, quietly started moving in the opposite direction. It’s what they do.

10. The Vampires are coming

This is an announcement trend, which I don’t usually report on but it’s so CLEAR.

So last year we had a spate of announcements of possible Omegaverse (2 from China, 1 from Japan, 1 from Thailand - the only one that’s happened).

This year we got 5 Vampire (or vampire-esk) Thai BLs announced including one from GMMTV.

Whether all 5 will actually get made is unlikely, but having had (basically) none prior to this (Kissable Lips), I’m pretty confident that we will get at least 2 of them. And I wouldn’t be surprised if at least one other country made one as well. (Side eyes Taiwan with interest.)

Final thoughts

It feels like we are also seeing a decline in BL (both by quantity and quality) from Vietnam and the Philippines. As you all know, I don’t track or really watch either of these two very closely. But it feels like, now, no one else is either.

I think we have likely seen the BL heyday already in both places and their industries are now on the decline.

We might be witnessing a thinning in the players in the BL field.

FYI we had approximately

136 BLs in 2023

Previous Years

2022: 117

2021: 95

2020: 62

2019: 40

2018: 30

2017: 44 (China’s last gasp)

2016: 27

2015: 17 (50% micro)

2014: 17 (50% micro)

And that’s it! Let me know in the comments if you’ve spotted any additional trends you want to call out.

Last year, 2022′s trend report

2021′s Trend report

Last Year’s Stats & Predictions

(source)

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other-peoples-coats · 1 year

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ok so we all agree that jedi sports are just like, ludicrously insane, right?

like jedi baseball is really only technically sort of like baseball, if you squint very hard and are also very drunk. the ball is a stunner shot, the bat is your lightsaber, and it's less 'catching to throw out' and more 'deflecting it directly at the runner'.

Jedi soccer has a special pitch with re-inforced walls and ceiling because the last time a ball escaped the pitch it went through three buildings.

the less said about jedi track and field events, the better.

#star wars #look I am not a sports gay.#also my knowledge of baseball starts and ends with my wife's team #whose name we don't say. because it's terrible.#love all the baseball aus in this fandom do not understand a single word of them #what I'm geting at is: don't @me about the baseball I know nothing I just saw the swing lightsaber like baseball bat post #also re:soccer;#my highschool PE class once booted a soccer ball so hard it broke two (2) windows #dented one (1) metal light hood #and broke one (1) arm #that fucker flew like #so far.#coats chats #coats origionals #honestly at this rate I need like. a shitpost tag #meta...ish

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sassasafreeaction · 8 months

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While The Resurrectionist minisode gives us a lot of different things, one of the most important things that it gives us is the concept of plausible deniability and how important it is for Aziraphale and Crowley's relationship.

In the episode, Crowley drinks literal poison, and while he gets to be very silly, he also gets to be a more honest and genuine version of himself. He gets to do good, and when Aziraphale points this out, he immediately throws in the rebuttal - "Not kind! Off my head on laudanum."

Now, the next time he sees Aziraphale, he asks for holy water, so it's hard to say how much deniability the laudanum actually gave him. At the same time though, Crowley is still around and not eliminated.

The only real effect that a supernatural being seems to experience with poison is drunkness, which in a way I guess makes sense because alcohol is its own poison. However, it's also a poison that the two of them regularly partake in.

A lot of the more serious and genuine conversations that the two of them have happen while they're drinking, when they have that level of plausible deniability. It would be so easy for one of them to say something and take it back under the ruse of being drunk and not knowing what they're doing or saying, even though they both know that it takes an extraordinary amount of alcohol or a strong poison for them to actually be drunk.

The first example we see is in the bookshop after Crowley has delivered the Antichrist, and he's trying to convince Aziraphale to help him. When they had met up initially, Aziraphale had adamantly refused to help him, but once they're safe in the bookshop with several bottles of wine in their system, Aziraphale is honest for the first time about his feelings on the situation. "I don't like it anymore than you."

Sure, they sober up shortly after that, but it isn't until there is that liquid courage/plausible deniability in their system that he's even willing to dare to start to humor the thought.

(In Hard Times, you do have them sharing a drink together in Rome. It's the first time where they seem to genuinely indicate that they'd be interested in actively pursuing the other's company. There's less to pick a part because it's so short, but worth mentioning, especially because the entire time the two of them talk, they have a drink in their hand.)

The next time we see either of them drinking is right after Crowley has left the bookshop fire. A lot of people drink when they're sad, so that's not the most exciting, but he is drinking because he's sad about Aziraphale, his "best friend," and while Hell probably doesn't care because they have bigger things on their mind, it still gives that placebo level of protection.

Side note, there's a strong chance that if Crowley does remember the Fall that this is probably the most accurate description since he's the most open we've probably seen him in the show here- essentially talking crap at the Heavenly Watercooler with the boys and then ending up in a boiling pit of sulfur.

The Script Book has a line that I think is super worth mentioning as Crowley says, "Aziraphale? I'm trying to get drunk. Failing." It emphasizes how much of a cover drinking has become for them, and that the act of pretending is more important than genuinely being drunk. Also, Crowley doesn't try to hide from Aziraphale. He doesn't specifically say "I thought I lost you," but he looks absolutely wrecked. The way Aziraphale pauses in return makes me feel like he has to know, but also, they're idiots.

The two of them also share a drink before the Swap, and they get rather philosophical in regards to the Almighty. This is also the first and only time that Crowley uses the phrase 'We're on our side' and Aziraphale doesn't have a rebuttal.

At the end of Season 1, they're at the Ritz, drinking of course, and it's here where both of them tease at how they genuinely feel about the other. The drinking is on the light side though, so we don't get anything more concrete than 'To the World'. (Although the way that Aziraphale looks at him and says that phrase still makes me weak.)

Season 2 sees Crowley offering Aziraphale his first drink. The angel refuses but Bildad still gets his drink on. This is the first time that Crowley introduces the concept of not being on Hell's side.

(Also, he just watches Aziraphale pleasure himself enjoy some ox ribs which is freaking wild. I'm pretty sure everyone has analyzed the undertones of this scene to death, but there's drinking involved so it makes the cut.)

After speaking with Heaven and Hell, Crowley and Aziraphale get together at the pub to discuss their new plan. They both have a single drink, but you have the chest touch and Crowley talking about falling in love in the rain (ya know like he did).

In 1941, following the magic act, we have them drinking again. Crowley asks Aziraphale to retire the act, and then there is an important beat as they get ready to start a more serious conversation. As soon as Aziraphale decides to take them toward more serious territory, he tops off Crowley's glass. They again tease at the concept of 'our side' by discussing the morally grey.

Now, in S2E6, Crowley mentions to Muriel about taking Aziraphale for an extremely alcoholic breakfast at The Ritz, which to me suggests that even without Maggie and Nina talking with him, Crowley likely would have confessed.

However, in Episode 5, when Crowley is sitting at the restaurant, the first thing he does after getting Aziraphale's attention is ask if he wants a glass of wine. Aziraphale tells him "I'm at work and I have a meeting". I feel like this was almost the original confession from Crowley. Forgive me because I can't find the post, but I know someone has pointed out some of the other parts things that indicate this (Crowley's is the only table with a rose, him walking right into the 'smitten' phrasing because he thought that might make a good transition, etc. I'm really sorry I didn't find it right away when I scrolled and I gave up.) I think the wine speaks a lot to it though because it allows for the same song and dance of if this doesn't work out, I can always blame it on the alcohol.

Now you could say that the two of them just really enjoy alcohol and its a coincidence, but there are an angel and a demon who also happen to meet a pub. Gabriel gets himself and Beelzebub a beer, but the two of them never drink them.

Unlike Aziraphale and Crowley, they have the luxury of power to protect them. They don't need to have the plausible deniability because as far as they're concerned, they answer to no one.

Maggie, a human, also turns down alcohol while she's with Nina. Nina needs the liquid courage, but she doesn't. She has no interest in alcohol. However, Nina is in a sticky situation with her partner. Maggie carries a torch for Nina, but she's also brave enough to be the first one to offer a gift and indicate how she genuinely feels about her. They're both human, so they can be honest with one another.

I'm sure drinks will probably still be important in Season 3, but I wouldn't be surprised if they have a scene where either Aziraphale or Crowley actively turns down a drink because they no longer need to hide.

#i spent entirely too long on this #i forgot to eat dinner. I'm gonna do that now I guess.#I wanted to contribute to the meta i guess #this makes me feel like I'm in a college english class again and i fucking love it #I missed this shit so much #if anyone can think of scenes I'm missing please feel free to add them #good omens #good omens 2

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twig-tea · 7 months

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Love Class 2: A Love Letter

I caught up on the last episodes of Love Class 2 and I felt like I need to give the whole show (both seasons) a rewatch because s2 had so much going on, and my attention definitely suffered in the beginning of S2 from everything else airing at the same time and the proliferation of characters. But I finished the series feeling like something special had just happened, so I wanted to sit with that for a minute and see if I could articulate why. Especially after the disappointment that was the ending of the Minato's Laundromat sequel, I wanted to process my thoughts around what made this one good.

This is not very coherent and very long, mostly because I just wanted to get it down before I got absorbed by other shows again [Spoilers for both seasons follow].

To remind/recap about Love Class 1: The first season focused on Cha Ji Woo and Lee Ro A. Ro A is a returning student who was just released from military service; he lives with Kim Nam Joon who has a crush on him and another roommate. At first, Ji Woo has a crush on Bae Yoo Na, a girl in his class who is being stalked. Her uncle works at the college and so she knows the professor, who is being pursued by one of the other (female) students in the class, Kim Hye Won.

I had forgotten most of this tbh. On rewatch, I remember how much I liked that Yoo Na and Ro A fell for Ji Woo for the same reason, and Ji Woo fell for them for similar reasons too. There is a lot more forced proximity between the leads in S1, with both the class and then the broken arm, which helps because the entire season is so short. There's a resolution with the stalker plot, a nice moment where Ji Woo is honest about how his feelings, and in the penultimate episode, Ro A decides to protect Ji Woo from himself (and homophobia) by rejecting him and disappearing.

Season one ends with a standard separation (that is only kind of earned); an explicit message from the surf shop owner: "If you keep avoiding things out of fear, you'll never experience the good things in life"; and in the last minute we get basically a standard K-drama dead fish kiss (@gabrielokun has done some very kind cropping here so it looks a bit better).

Overall it was ok. Felt very standard at the time, the leads were cute and it was nice that the love rivals Yoo Na and Nam Joon were not treated as villains in the end. The het side plot with the professor felt tacked on. Ji Woo's changing emotions towards Ro A were signposted well but felt fast, and Ro A's fear of ruining Ji Woo's life by turning him gay felt a bit overdramatic and disappearing entirely (including dropping out of class and moving) was a lot. The end left no time at all for them as a couple, so it was very unclear to me whether they'd actually last.

After rewatching S1, I need to give S2 major props for doing the sequel thing right. The show picked up on a lot of the elements of the original while being a completely stand-alone story and not repeating anything in the OG.

Really quick summary of S2 mostly for the names: Lee Hyeon and Min Wu are friends in university together who have known each other since high school. Min Wu has been trying to ignore his crush on their mutual friend Ma Ru (who went straight into the working world and then quit so got kicked out by his parents). Meanwhile Lee Hyeon has been looking for his former tutor Kim An for 2 years; Kim An appears and Lee Hyeon pursues him by joining Love & Marriage class with the help of the TA Sung Min. Sung Min is being pursued by returning student Ju Hyuk after Ju Hyuk sees him in an embarrassing situation with his pants literally down. Shenanigans ensue [many more details recapped below].

Rewatching S1 helped me realize why I liked S2 so much. In season 2, it's like they heard all the complaints and addressed them:

The only heterosexual is there to support the gays; no love rivals here (also PS Sa Ra's character was delightful; I loved the way she knew exactly what to do on those stairs during the fake date!)

All of the couples are gay and get more time overall (the whole series is longer too; 10 instead of 6 eps and some of those eps were over 30 mins each)

All of the couples also have a history together before the show starts, so all have [a varying amount of] feelings before we even begin

And because of the difference in where these couples are starting, everything happens so fast and there is so much more character development

Rather than the love & marriage class being about getting to know someone, because of Lee Hyeon and Kim An's history, the assignments from the class end up being about getting to relearn someone who has changed and you don't know why; bridging barriers and re-establishing intimacy, which was a fun twist

While the first season did a bit of talking about building relationships and forming meaningful connections, it really didn't have time to do much with this and the premise of the "love class" felt barely used. In this season these themes get explored more, with everyone at one point or another needing advice or having to work on their relationship

Of all of the characters, only one didn't know he was gay/bi going into the start of S2

All of the couples express obvious sexual desire and have sex (some before they even date, it's a miracle)

All of the couples have multiple kisses!

Homophobia isn't removed from the world entirely, but it's not a major plot point in this season

None of the couples split up right before the end; the closest is the older couple in ep8 and they reconcile by ep9 [and sidenote: did the professor drop that whatever he lost on purpose so Sung Min would see him with his nephew?!]

They essentially dedicate two episodes to revelling in the happy ending and building out what these characters are like when they are in a relationship, and I love that; no penultimate episode drama

The couples get an entire episode to triple-date and they all just relax being able to be out and comfortable together, it's extremely cute and also heartwarming and a little sad that this is the only place they can feel away from the gay boy scrutiny [this is what I meant by homophobia not being removed entirely from the world, but it's presence is in its absence rather than it being a plot point, and this was refreshing]

The couple that is in the class is out to the class by choice at the end; no more being afraid of rumours the way the original couple were in s1

The stalker plot got darker (it's one thing to stalk someone but to impersonate them at a job that could get you in trouble? Diabolical) and had more clear motivations for his character; also no police were involved in the resolution this time which felt more realistic

Both seasons deal a lot with characters holding in secrets and not communicating; but in s1 the confession from Ji Woo led to Ro A lying to him directly. In contrast, in S2 direct communication is met either with being shut down or with communication back; the other characters sometimes say it's not the time, but never punish the other character for direct communication. And in some cases the direct communication finally helps move them forward/out of misunderstandings. And not directly communicating leads to mess.

In s1 the seniors were bullies and they didn't really face any consequences; in contrast in S2 the boss at the cafe was such a bully and he got harassed into taking a break, realizing he was being horrible, and becoming a better person (and getting a love interest lolol)

In addition to all the things they did differently, there were so many things that echoed or called back to s1! Parallels to the first season:

Sa Ra gets to repeat the moral from the first season: love requires bravery. All of our couples exhibit different levels and kinds of bravery at different times, but all of them at one point or another take that leap and decide to be brave.

The storytelling strategy of flashing back to show us something we hadn't previously seen to recontextualize what we have since been shown was used once in s1 and used in all three couples at the end of every episode of season 2, as well as sometimes mid-episode.

Someone startles/disrupts the Love & Marriage class to ask to be paired with someone of the same sex in both seasons

There is ominous door-knocking in ep2 that ends up being a fake-out but works extra well as creepy because of the knocking by the stalker in s1

There are also similar moments in s1&2 where the "friend" (who is more than a friend but was rejected but still lives/lived with the love interest) stalks and surprises a character to tell them 'truths' about their loved one

The show keeps the feel of s1 in terms of the mix between cute, funny, and sinister (for better or for worse, though I think S2 balances these better)

The relationships in S2 have a lot in common with S1: there are friends who have been friends since high school one of whom is pining and the other rejects him and they agreed to be friends only who live together; rather than a teacher and student there is a returning student and TA; there is a returning student in both seasons; there is one friend out of a trio who is more of a himbo and doesn't go to their school but is still around all the time

Both seasons had a character who seemed to be unaware he was gay/bi until he was put in a position to be forced to realize it, and credit to both seasons, any gay panic was mostly off screen/tied up in figuring out their feelings, and none took place after they told their gay crush

Both seasons touched on how rumours and social isolation can affect you (though the rumours in S2 were not about being gay)

I mentioned it above, but the way the couples relax when they're all in the open and on the trip together was a really touching callback to the first season dealing with the scrutiny of homophobia (whispering, rumours); and the in-class couple showing a photo of them kissing in class is such a huge contrast to s1's couple having a photo of them feeding one another taken and shared without their consent.

Also also in s1 there was a double date near the end of the show so that was also a cute parallel!

While the bullying seniors didn't face consequences in s1, they were interrupted by various people trying to protect their love interests throughout the show. That theme of protecting your love interest from bullying continued to greater effect in S2 and I thought that was really cute!

Cameos of s1 couple and the couple from Private Lessons appeared in s2; it was unclear to me whether the couple from s1 was reprising their roles (though I assume so) but the couple from Private Lessons definitely had the same character names!

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Putting aside comparisons now, the storytelling and characters in S2 are so much more interesting!

Ep1 starts with the mysterious fall from the roof [fake-out #1] and then the scene with Lee Hyeon and Min Wu [fake-out #2] in which they call Ma Ru and establish some of the friend group dynamics and then we get the hint that something else is going on with Lee Hyeon (Min Wu asks if he's given up on looking for someone); and then we get the moment that connects storyline 3 to storylines 1&2 between Kim An and Sung Min. So much tight storytelling in this first ep, I remember on first watch being surprised by how much attention this series was requiring considering s1! I scrolled the tag and saw most people found eps 1&2 confusing, and I can say I definitely found it much easier on rewatch and going in with different expectations.

Ep2 hints at the past we don't yet know between Ju Hyuk and Sung Min (only on rewatch did I realize Ju Hyuk asks Sung Min to eat with him like a normal person and the way he promised he would but Sung Min doesn't remember or realize what's happening, and turns him down kindly, which is why he resorts to being an ass.

Ep 3 we get the first hints Ma Ru knows something is up (being afraid to knock on MinWu's door), the first love & marriage assignments (observing your partner and writing them a letter of what you want to say to them) as well as the underwear gift from Ju Hyuk to Sung Min, and the note at Kim Ann's locker. This episode really starts to build on the theme of intimacy and what intimacy means, when is it appropriate, how do you establish it, and the conflict that arises when people are on different pages about your level of intimacy. Like most have noticed, this is where it really takes off and comes into its own as a good show.

The rest of the show really builds on and plays with these histories, intimacies, and conflicts. They have time to actually hurt one another (eg the slut shaming) and actually make up. Each one moves at a different pace. [Sidenote: have I said enough how happy I am that the older couple slept together before dating?! To be clear I am just as excited when an ace/demi/inexperienced character gets to be ace/demi/explore or come into their sexuality, but I only have so much patience for the blushing maiden trope in adult gay men who have clear sexual attraction and interest especially when they have previous experience, and anything outside of one-partner-in-their-entire-lives is still so rare in BL. And as an aside on this aside, I love how much Ju Hyuk's rizz works at first but then backfires on him later, forcing him to use actual communication after all!] Each couple has a reason for the hesitation or delay in becoming a couple (power dynamics and uncertainty about where you stand; friendship you don't want to lose; being burned before and feeling like you aren't allowed to have anything good in your life). Even more importantly, we get reasons for everything: why Min Wu is growing distant with Ma Ru; why Kim An is more terse and cautious with Lee Hyun; why Ju Hyuk is so weirdly rude to Sung Min. And, as I mentioned above, we actually get a motive for the villain of the story too, Kim An's childhood friend/brother/rejected love/stalker (whose name I keep forgetting even in rewatch lol sorry bro). He thought Kim An was only with him because he was desperate, and so when Kim An started making other connections, he thought he had to ruin Kim An's life. And he thought when he came back into Kim An's life, Kim An would still be desperate, and he'd be able to fit back in. He didn't understand that Kim An had still loved him even if he was no longer interested in a romantic or sexual relationship, and would have kept him in his life if he hadn't been betrayed; he didn't understand that Kim An would be able to rebuild his life without him; he didn't understand that Kim An would not forgive him even though he still cared about him. It really is tragic, and the tragedy is in a lot of ways understated.

Yes it was a bit messy with the three plots going on simultaneously but when binged, and definitely on rewatch, it was easier to follow and I enjoyed how the interaction between the characters moved each of the plots forward. I wonder how much the pacing bothered some viewers because it definitely is not paced like a usual kbl, but that's one of the things I liked about it lol and there were some parts that I enjoyed only on rewatch because I could focus on them.

All of this incoherence is to say: I really like the storytelling in S2 so much more than S1; I think it's one of the better sequel attempts I've seen, in that there are clear connections to the first season but everything is built on rather than recreated; and the stories were also just more interesting. Season 2 delivered on the premise of Season 1 without re-using the same structure, plot points, or story beats. Lots of tropes were repeated but they were always used in a new way and played out differently. The finale felt queer in a way I don't expect from Korean BL. We got some of the things I always say I want more of in any series: more time with folks as a couple working out their relationship post-get-together, clear communication, and queer community. Overall, this show affected me more than I expected. It wasn't perfect execution, but TL;DR, more of this please!

#love class the series #love class 2 #typed so i can stop thinking it #this tag has probably never been more true lol #everyone has moved on but i had to process my emotions with idk how many words this is but lots #thank you for coming to my ted talk #long post #bl meta #Youtube

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uniiiquehecrt · 8 months

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s/b: i don't like that thor features a love story

me: well let me tell you about how mcu!thor's core trait is his love and that includes love for his people, love for his homeland/home planet, love for his family and his brother in particular, love for the nine realms and earth in particular, and how that all boils down into love for jane— who's the most human of humans to him; who taught him how to be human too — so of course in the film where we're introduced to the mcu depiction of thor, his story is quintessentially a love story in both hope (jane) and tragedy (loki) and how those two things constantly conflict and contradict one another, and leave thor stranded in the middle because he loves both so dearly; patrick doyle crafted a beautiful OST featuring STRINGS and PIANO instead of just drums and horns because thor is strong and heroic, yes, he is, in fact, a hero but he's a beautiful hero because of his love because he is SOFT and it's reflected in the strings in both of his themes and—

#don't even get me started on how the avengers continues this particular theme so well #god the shot when loki has flung him from the ship and he moves to pick up the hammer and hesitates #y'all they intercut dialogue that someone speaks to banner overtop thor at that exact second #AND YOU KNOW WHAT IT SAID? “you fell from the sky”#he knew dang well he was worthy he /just/ used the hammer to get out of the hulk drop but he was thinking of loki #//who let go ... who was presumed dead for a year//#who .... //fell from the sky//#don't even get me EXTRA started on tdw and how it just keeps this train rolling lord the music of thor's 2 themes in that one too i just #lose my marbles every time gang i wish i had more technical terms and fancy composer lingo to explain this #alas all i have is a lifetime of choir classes and HS band + orchestra #which means that i know what i /feel/ but i can't explain it too good BUT HEAR ME OUT I'M TELLING YOU #his themes in TDW and 2011 both spell out /love/ what makes him a hero is his love !! he's love !!#&&. whispers #&&. meta #&&. | marvel. |#&&. thor.#so anyways guess who's listening to earth to asgard + sons of odin again and crying

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oofuri2003 · 2 years

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One thing about more recent chapters is that at least to me it starts to feel like abe is putting so much more work into his relationship w mihashi and their communication (this does not mean he always succeeds to be clear. Just that he's trying) than mihashi puts in and it's just like. He's trying So hard you have to hand it to him. Wheres my post about how oofuri is abt communicating at first because you have to and eventually because you really want to

#waaggghhh thinking about first names arc and the senda and 2nd sakitama games and the times he says like #I'm not screwing this up for our 3 yrs of hs baseball and when he says ill be there with you the whole way #and on the train w him n izumi he tries (and fails. but tries) to understand and comes into his class just to chat and #oofuri #i woke up at 7 am from a storm and started making this post. mental illness #hes trying okay!!!!!!! hes trying!!!!#i love mihashi n dont mean 2 imply he doesnt try w this post but you cant deny the disparity in newer chapters #when he explicitly says i dont hate you. I'm sorry. i cant control how i talk but i want to communicate with you.#he sees the way tajima can communicate w him and wants that so bad it makes him look stupid #this should be its own 2k word meta post maybe I'll lose it and do that

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ineffable-romantics · 9 months

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Some thoughts on why and how I believe Crowley and Aziraphale's relationship would incorporate sex/why I do not read them as wholly asexual:

This is something I've seen the most discourse about in this fandom, and I've had a few thoughts of my own that I really wanted to expand upon in a full meta/character analysis post. I do understand that this can be a contentious topic, so first, let me clarify a few things:

First of all, this is going to be long. Tbh it probably won't be that organized either. I ramble and I'm not very good at editing, so just... you know. Be warned. (*Hi, it's me from 2 days after writing this; I'm really not kidding, it's LONG)

These are all my own thoughts. They might not be hot takes, because recently I've seen more than a few people come to the same conclusions on a lot of these points as I have. But I've also had these notes in my drafts for about a week and a half now, and have been continuously adding to it as things have occurred to me. This post is essentially just somewhere for me to collect the separate but related meta I've been kicking around in my head.

I fully respect anyone who does see and prefer an asexual reading of this relationship. These are my own thoughts and interpretations as someone who is not asexual. I am in the LGBT+ community, so while I do know a few things about the asexuality spectrum, I am by no means an expert.

This is NOT something I expect, need, or even necessarily want the show (or, God forbid, Neil's tumblr ask box) to address. Tonally, it's just not that kind of show. Newt and Anathema's sex scene was very much played for laughs, and it worked for that reason. If the show found a way to address it in a way that was both appropriate for the tone of the show and ultimately satisfying, then great! But there is so much more to this relationship than sex, and I didn't need a kiss to confirm their love, so I certainly don't need a sex scene. As immortal beings (as I assume they'll stay) there is so much of the rest of their lives we'll never get to see. You can headcanon them as asexual and potentially be right. I can headcanon them as not and be equally potentially right. Again, these are just a collection of my own thoughts, because I think the question of sexuality (or lack thereof) is just as interesting a facet of these characters as any other.

Note: Tbh I've been second-guessing this whole post and debated deleting the whole thing several times for being silly or unnecessary, bc I don't want anyone to think that this is the only thing I care about when it comes to this story/characters. But if nothing else, it's inspired me to write in a way that nothing has in a very long time, so I've decided it's worth continuing, if for no other reason than that.

This is going to be a mixed bag of textual reading, subtextual reading, and a full-on reach or two. It's been a while since I've been in an English class, but if my teachers expected me to find a deeper meaning behind blue curtains, you can expect me to read too deeply into the symbolism of a loaded rifle or an ox rib. (This is probably not what my professors had in mind when grading my literary analysis papers but oh well) My point is, if it feels like a reach, I'm as aware of it as you are. I am in no way saying that all (or even any) of my points made were deliberate on the part of Neil or the actors or the writers or the directors. I am no longer the delulu Apple Tree Yard child of my youth, I promise.

If anything said here is in any way offensive or hurtful to anyone in the asexual community, please do not hesitate to message me or comment and let me know exactly what it was. I promise you it is not my intention to do so, and am happy to clarify or outright edit anything that reads that way.

With all that being said, let's talk about why I think Crowley and Aziraphale would absolutely fuck nasty incorporate sex into their relationship.

Note: I am out of practice with essay writing, so I think I'll just go down the bullet points of notes I have been making, and expand on each as best I can

Food

Where better to start than with Aziraphale's introduction to Pleasures Of The Flesh? (Just a heads up, this entire post may feel very Aziraphale-heavy, and with good reason).

This might be the least hot take here. We've all seen the Job minisode. We've all seen That Scene.

Whether this was intentional or not, the symbolism here is off the charts. Eve was tempted by an apple. So why not go a similar route and tempt Aziraphale with another fruit, or cheese, or bread, or literally anything else for his first experience with food? Instead, we go with a huge, glistening slab of fresh meat that he proceeds to absolutely go feral upon, moaning and gasping into his meal while Crowley watches with what definitely doesn't look to be disgust or even satisfaction with a good temptation. There's surprise at the ferocity of Aziraphale's appetite, certainly. But ultimately he looks to be intensely fascinated by it, while the thunder crashes, the music crescendos, and the earth literally shakes around them.

(It's also interesting to note how very little it takes for Crowley to tempt him with the ox rib. One murmured suggestion, a bit of unwavering eye contact, and vavoom Aziraphale immediately meets him in the middle.)

Cut to Aziraphale devouring the rest of the meat with Crowley splayed back on a makeshift bed, drinking wine and continuing to watch him indulge through half-lidded eyes. Outside a thunderstorm rages while they're learning secrets about each other in warm flickering firelight. It's cosy, it's intimate, and if they'd thrown in a bearskin throw blanket, it might as well be a post-coital scene straight out of Game of Thrones.

The next time (chronologically) we see them discuss food is when Aziraphale "tempts" Crowley with oysters in Rome. So Crowley first tempts Aziraphale with meat and then Aziraphale tempts Crowley with what is widely regarded to be an aphrodisiac. Interesting.

And then chronologically after that, the Arrangement begins to form, which has always reeked of a friends with benefits situation. Just to throw that in there.

It's What Humans Do

In the very first episode, we're shown Gabriel's obvious disgust and bewilderment towards Aziraphale eating sushi, calling it "gross matter" and being proud of the fact that he does not sully his body with it. Aziraphale initially tries to defend his own enjoyment in it, before passing it off as something that humans do, as something he simply has to do in order to blend in (which we know very well is not the case).

He does this again in season 2, passing off Nina and Maggie being in love as "something humans do". But it isn't, is it? Angels are beings of love, and can sense it, and understand very well what it is... up to a point. Even romantic love is obviously within their wheelhouse, given what we now know happened between Gabriel and Beelzebub (we'll come back to them).

What the "humans do" that angels wouldn't understand is messy, physical forms of love.

But here's the thing: Aziraphale and Crowley love doing what the humans do. They love drinking, they (or at least Aziraphale) love eating. They love music. Crowley loves driving and sleeping and watching rom-coms and sitcoms. Aziraphale loves reading and doing magic and earning little licenses and certificates for achievement in his various hobbies. They love to playact at being human so much that they've stopped playacting and started building a genuinely human lifestyle for themselves and with each other.

Once together in an unambiguously romantic sense, why do we think they wouldn't also want to explore one of the most prominent, intimate, powerful human expressions of love and desire with each other?

Angels, Demons, & Asexuality

Here's where I really want to clarify that in no way do I mean that sex is necessary for a healthy, fulfilling, and loving romantic relationship, or that the lack of desire for sex makes you any less human. Asexuality is a sexuality as valid and human as any. What I would say is that it is definitely in the human minority compared to allosexuality.

Angels and demons, on the other hand, are predominately asexual. Sexless/genderless unless Making An Effort. (Which, btw, is a concept introduced as early as the original book; why even bring it up as a possibility? Why not keep angels/demons being sexless/asexual as a hard and fast rule, if not to open up the potential for later use? Chekhov's Effort, if you will. And isn't that something that Aziraphale in particular is shown to do time and time again? He makes an effort in French and driving and magic, doesn't he?)

And this is why I don't believe Aziraphale and Crowley necessarily need to be asexual, narratively. There is already a huge amount of ace rep within the angels and demons (and no, not just the horrible ones. Muriel also doesn't "drink the tea" and has no reason or desire thus far to Make An Effort, and there are certainly other angels and demons who aren't horrible like the archangels seem to be who likely wouldn't Make An Effort either).

The central conflict for Aziraphale and Crowley is that they are on their own side, the ones who went native, the ones who are so different in so many ways from their respective hives. It would make sense for them to also break away from traditional angel/demon asexuality.

I say "traditional angel/demon asexuality", because I would also like to note that I would absolutely not rule out demisexuality for either of them. This post is being written to as a response to people who specifically believe that they (like the rest of the angels/demons seem to be) would be sex-averse in a relationship, and that it wouldn't be a factor in their relationship. I could easily read them as demisexual, but I do think there would be no real way of verifying this, because they've never been able to form as close an emotional relationship with anyone else but each other. Certainly not in heaven, and I can't imagine they would be able to form that kind of attachment with any of the humans, who they love and emulate but ultimately regard as the separate species they are. So yes, they could either be allosexual or demisexual, in my opinion.

Then again, now that I think about it, Making An Effort itself could be a great metaphor for demisexuality, since they would be entirely sexless/asexual until they have enough of an emotional connection with someone to consciously manifest otherwise. Since the other angels and demons don't generally form those types of emotional connections with anyone, there hasn't been a precedent for it.

Except...

Brielzebub

We do have a precedent for it now, don't we? Gabriel and Beelzebub fell in love. They are a direct foil for Crowley and Aziraphale's relationship, speedrunning right through their courtship and finding their happily ever after on the other side of things.

For being such a 1 to 1 comparison, it feels deliberate that they did not kiss. They held hands, they were gooey with each other, but they did not kiss. That feels like such a deliberate thing to omit when you know what's to come at the end of the episode between Crowley and Aziraphale.

And going back to the food = sex metaphor for a moment, let's notice how even as they fell in love over the years, even when pints and crisps were there on the table in front of them, they never felt the desire to reach out for them. They didn't need to. It's a date (love story) even if you aren't eating dinner (sleeping together).

Yes, I know Jim liked hot chocolate. No, I am not counting it because I don't consider Jim and Gabriel to be the same person with the same proclivities, and Jim was highly suggestible at the time anyway.

Gabriel and Brielzebub's big happily ever after moment (as of now) was one between two asexual supernatural beings. They did not need to kiss to drive the point home. They showed what Crowley and Aziraphale could have, if they would only acknowledge it.

Crowley & Aziraphale's Dissatisfaction

But they do have that already, don't they? If you really think about it, what do Gabriel and Beelzebub do with each other that Crowley and Aziraphale don't already? They hold hands, they spend time together, they create little rituals, they give gifts, they're visibly and verbally affectionate with each other, etc. They are more or less already in a romantic asexual marriage relationship with each other, aren't they?

And it doesn't seem to be enough for either of them.

At the beginning of the season, Crowley is immediately shown to be unsatisfied with the way things are. Obviously part of it comes from living in his car, but it seems to be more than that (especially since Aziraphale makes it clear that the bookshop is just as much Crowley's as his, implying that he could have been living there the whole time and is choosing not to, for some reason?). You could argue he's feeling unmoored without Hell telling him what to do, but isn't that what he wanted? Isn't that what he still wants, by the end of the season? All season long, he's never indicated the desire for a new job, or a new project. He stopped the apocalypse because he wanted the freedom to openly spend time with Aziraphale, to spend his time on Earth however he sees fit. Until Gabriel arrives, he has exactly that (minus a flat).

So where does the dissatisfaction come from? And if it represents anything to do with his relationship, what does he want out of it that he isn't getting already?

I think Crowley only really comes to the realisation of what he's missing when Nina names it for him, not only putting them in the category of romantic, but physical (outright asking if they are sleeping together). These two posts [1], [2] go into more detail about what I mean, but I think it really pushes him into acknowledging that their relationship is more human than either of them have stopped to consider, and what that might mean as far as everything a human relationship can entail.

After all, Nina and Maggie only advised that he should talk to Aziraphale, make clear his feelings. The decision to kiss him, to tip them over the edge from nonphysical to physical, that was all him. And no, kissing isn't sex, but I wonder how taboo even that might be in the kind of all-encompassing asexuality most angels seem to identify with. (If they're disgusted by food and drink, I can only imagine what they think of snogging, much less sex.)

Aziraphale doesn't have this moment of someone observing their relationship from the outside. He loves Crowley, and as of 1941 probably even knows he's in love with him in a way that Crowley doesn't understand yet. Which makes sense, since love is technically his job, he'd be more likely to recognise it for what it is.

However, Aziraphale's reference for romance and relationships is Jane Austen. It's chaste. It's dancing and dinner and doing sweet things for each other and roses and candles and handholding. He contextualises his love for Crowley in that soft fantasy sort of way, where it's there, it's obviously there, but it's neat and easy and unspoken. Not to quote Glee in this, the year of our lord 2023, but it's all very "the touch of the fingertips is as sexy as it gets".

Someone should tell that to Aziraphale's face, then.

I'm not going to pretend I know what Michael Sheen's script notes were, but there were definitely some Choices™ made. Because yes, there were plenty of moments in both seasons with Aziraphale looking at Crowley in a sweet, loving, smitten way. And then there were moments that were yearning.

But yearning for what, exactly? All of those sappy Jane Austen tropes already apply to the two of them. So why are there moments where Aziraphale is looking Crowley up and down like the last eclair in the window and licking his lips and visibly exhaling like he's trying to get in control of himself (see: Bastille scene + Crowley telling Muriel to ask him if they have any other questions about love)? Why is Aziraphale not only unconcerned when Crowley shoves him bodily up against a wall in s1, but staring at his lips and a beat too late in noticing Sister Mary's arrival? Why are some of his lines so suggestive? I'm sorry, but the car ride after the church explosion might as well have been the beginning of a Pizza Man porn with a really weird Blitz theme. If even my mother picked up on that vibe, I can't imagine it wasn't intentional on part of both the dialogue and the delivery.

(This section may feel like more of a reach/joke, but I'm really only 20% joking. These are writers and actors who are EXTREMELY good at their jobs; they know what they were doing here.)

More importantly, I don't think Aziraphale is even aware that there is more to what he wants. He lives in the Jane Austen fantasy and it never even occurs to him that he might be interested in anything further. It never even occurs to him that, as an angel, there is anything further to be interested in in the first place. Until Crowley forces it to occur to him. Just like I believe Nina forced Crowley to confront the idea that romantic love is what he's been feeling all along, I believe Crowley forced Aziraphale to confront the idea that physical intimacy is something he's been wanting, without even realising.

Aziraphale's Hedonism

Expanding on Aziraphale for a moment. We talked about his relationship with food, but we all know that Aziraphale is defined by his love of things that Feel Good.

It isn't just that he and Crowley love human things. Aziraphale loves the best of the best, or at least his version of it. He doesn't just love food, he loves going to fancy restaurants. He doesn't just love clothes, he loves soft, cosy, warm, plush clothes, or shiny, flashy, bougie fashion. He loves the warmth of tea and cocoa, loves getting drunk, and sitting in a comfy chair in the sunlight. He doesn't just experience, he indulges.

Given the emphasis put on things that Aziraphale loves just because they Feel Good, it feels narratively strange to assume that he wouldn't enjoy the feeling of being touched, or that he wouldn't be willing to try it, at least once, with someone he cared very deeply for. And just like the ox rib, I think that once he gets the first taste of things, he would absolutely tip over into complete and utter self-indulgence.

Dancing

I also think that dancing could be construed as a huge metaphor here. After all, we're told flat-out that angels don't Dance. Except one.

I would argue that Aziraphale, in fact, Made An Effort to learn how to Dance. He threw himself into the gavotte with delight (at a Victorian gay club; noted) and worked hard to be good at it. He's chomping at the bit to Dance with Crowley, working up the nerve to ask him with undeniably romantic intent and eagerness. So, angels don't Dance... unless they Make An Effort to do so.

We are told that demons, on the other hand, do Dance, but not well. Makes sense, since they're the ones who would want to encourage a deadly sin like lust, but have as little understanding of human love and physical intimacy as the angels. Crowley, however, is shown to be an excellent dancer at the ball, especially in his compatibility with Aziraphale.

(But Aziraphale WandaVisioned the ball so everyone knew how to dance! Yes, he did. However, the rest of the brainwashing doesn't seem to affect Crowley in any way, and they did actually live through the time period where this sort of dancing was a social norm; I'd be surprised if he never needed to learn. After all, the demons can't spell either, and Crowley is at least functionally literate, as far as we know.)

As of today, it's also been confirmed that when Aziraphale asked Crowley to dance, Crowley replied with "you don't dance." Not "WE don't dance". So going along with the metaphor, Crowley is just now discovering that Dancing is something Aziraphale is interested in at all, much less with him, and not denying that he himself is interested in Dancing. In his defense, I believe he was asleep for a few years while Aziraphale was learning the gavotte, so he wasn't exactly aware of Aziraphale's hot girl summer.

Love Languages

I want to expand on that; Crowley and Aziraphale's compatibility. Specifically in regards to their individual love languages.

We all know Crowley's love language is Acts of Service. I don't think there's any debate there. He loves it, Aziraphale loves it, they're both aware of it, we're all aware of it, God and Satan are aware of it, no surprise there.

You may disagree with me, but I believe Aziraphale's love language is Physical Touch, for a number of reasons. One of which being his aforementioned hedonism. Aziraphale likes things that Feel Good, remember? He likes soft clothes, and well-worn books. Neil himself has said that they like holding hands. And any time he is taken by surprise (Brielzebub getting together, the wave of love in Tadfield, etc.) what is the first thing he does? Reaches out for Crowley. He stops him with a hand to the chest in the pub. He leads him by the hand to the dance floor. He guides him by the waist in the graveyard. He reaches out during the entire Brielzebub scene, whether he can reach Crowley or not. Despite his own turmoil, he grasps at Crowley's back during the kiss.

The one time Crowley reaches out for him (not counting the kiss yet; we'll get there), he is aggressively pushed against a wall (by someone he loves and trusts) with a complete and utter lack of concern (and perhaps some interest, depending on how you read it).

And when he isn't reaching out for anyone, or there isn't anyone to reach out to? Well, he's wringing his own hands together, squeezing his own fingers, as if to find that physical comfort in himself.

So. With that theory in mind, we have Aziraphale (Physical Touch) + Crowley (Acts of Service). Throw in 6000+ years of deep love, cherished companionship, and forcibly repressed longing, and there is a very real potential of this combination resulting in fierce sexual compatibility. Where Aziraphale would want to touch and be touched, to indulge in physical pleasure with someone he adores, in the same the way he indulges in every other fine thing in his life. And where Crowley would want to indulge him in return, to give him everything he wants, and to take pleasure in Aziraphale's pleasure, in the same way he enjoys watching him take joy in food everything else.

So Aziraphale is an angel who is insecure about his own less-than-holy desires, who would want to treat Crowley like a luxury to be touched and cherished and adored. And Crowley is a demon who has, over the millennia, been unhappy about how they've been forced to deny even their friendship with each other, who would want Aziraphale to feel comfortable and safe and encouraged to indulge in earthly delights. That sounds like a stunning recipe for sexual compatibility to me.

"You said 'trust me'" / "And you did"

Just like the Job minisode, the Blitz is RIFE with symbolism (intentional or otherwise). This one will be quick, but I did want to touch on it because I thought it was interesting. Maybe I'm reaching at this point, but I'm assuming you read the tin.

First of all, Crowley not wanting to admit to never firing a gun before; comes off as someone who very much does not want to admit to their crush that they're a virgin ("You must have done this lots of times!" / "Umm.... yyyyyeah.")

(You could make the argument that Aziraphale having a firearms license and a Derringer in a hollowed-out book is symbolic of him not being a virgin while Crowley is. I disagree, for reasons I'll go into later, but it's a valid reading. However, I see it more like keeping a condom in your wallet; it's there in case you need it, but the opportunity has not yet risen no pun intended.)

More importantly, the theme of this entire minisode is trust. We already know they trust each other with their lives against the rest of Heaven, Hell, and the world. But specifically, this is about the importance of having complete trust in your partner in a charged, physically vulnerable, intimate moment, where the only danger is between the two of you.

Aziraphale needs to believe Crowley would never hurt him if he can help it. Crowley needs to trust Aziraphale's unwavering blind faith in him. Frankly, it all feels very symbolic of two people deeply in love losing their respective virginities with each other.

The trick is a success, and they share an intimate candlelit dinner in which they reaffirm their faith in each other. Aziraphale also begins to voice his agreement with Crowley, that maybe Heaven's rules shouldn't have to be as black and white as they are, and that there are benefits to... blurring the lines, shades of grey, wink wink (at which point even my mom was like, whoa guys, this is a family show).

Btw also: Can we all agree how much it looked like Crowley was getting ready to get a lapdance in that one scene? You know the one.

Also also: "Aim for my mouth"? Come on.

The Birds & The Bees

Now that I think of it, there's also something to be said for the fact that Crowley and Aziraphale are both obviously familiar with where babies come from (how they're made and how they're born) while the other angels aren't.

Something something Aziraphale and Crowley fundamentally understand sex and reproduction in a way the other angels (and probably demons) very much do not, nor have any desire to.

Probably not important. Just thought it was worth mentioning.

The Kiss™ & Religious Trauma

The Kiss. Where to even begin?

This has definitely been the hardest one to start, because there is so much going on here that I definitely won't be able to cover it all, and will certainly miss a few things here and there.

Aziraphale's reaction to the kiss afterwards is the most interesting to me. And I don't mean directly after, I don't mean the "I forgive you" part. I mean the way he touches his lips when Crowley is no longer in the room and he no longer needs to save face, when he is completely alone. Had it been directly after the kiss, it would have been rightfully read as horror, or disgust, a shield to discourage further action.

It's not. It isn't just a touch, it's a press. As desperate and angry and unexpected and imperfect as the kiss had been, Aziraphale is pressing it into himself, recreating the feeling as best he can. Beneath all the poor timing and shock and hurt from their fight and fallout, I think it's fair to say that it was something he enjoyed. Something he doesn't think he should enjoy, something that Feels Good that he only allows himself to indulge in when completely alone.

Remember, Aziraphale's idea of love is Jane Austen and gentleness and courtship and fantasy. If he'd ever even considered kissing an option, it might have been gentle pecks, cheek kisses, forehead kiss, hand kisses. Soft, safe, chaste affection.

Crowley's kiss turns all of that on its head. He introduces physical intimacy in a very real, very messy, very human way that I don't think Aziraphale ever even considered could apply to them. Considering what other angels are like and what they look down on, even Aziraphale's Jane Austen fantasies probably would have been considered taboo.

So for their first kiss to be rough and desperate and passionate in the way it was, of course he was confused and in shock. It was deeply physical, and as overwhelming and awful as it was in the moment, it Felt Good. Enough that he grasped at Crowley and kissed back, if only just for a moment, before stopping himself. Enough that he actively pressed it into his lips afterwards, in private, to remember.

I adore how Neil has decided to evolve these characters past the first book/season. More so in this season, Aziraphale and Crowley have both become such interesting allegories for queer people on either side of the spectrum of toxic religion. Aziraphale in particular obviously, because he is the side that so desperately wants to believe, to make a difference, and to unlearn all of the propaganda he's been fed over such a long time. Just like so much of organised religion, there is so much that he is told, time and time again, that he should not want, that he is silly or stupid or outright wrong for wanting. It reminds me so much of the severe Catholic guilt one might feel for wanting/engaging in sex for the first time, and the stigma of being queer layered on top of that.

What is so critical to Aziraphale's character is that he goes on wanting, and more than that, actively pursues. He was convinced to go up against Heaven and Hell and stop all of Armageddon because he wanted to go on listening to music and eating lunch and reading books and enjoying the simple company of the person he cares most deeply for, even if that person is supposed to be the enemy.

All this to say that if angels are as generally asexual/sex-averse as I believe them to be, narratively speaking, it would make sense for Aziraphale to be singular in that regard as well. Mirroring his first experience with food, it would make sense for Crowley to be the one to first introduce this new messy, physical, human dynamic between them, for Aziraphale to hesitate (obviously we are at the Hesitation phase at the moment), and then (eventually) for him to dive in wholeheartedly, to absolutely glut himself on this new thing that Feels Good. It would make sense for his character development to show him overcoming his metaphorical Catholic guilt and pursuing the sexual intimacy most (if not all) of the other angels would scorn.

(I can't help but remember that plot idea Neil described from the unwritten sequel, with Aziraphale in a hotel room trying to watch a full porno by way of the free 2-minute teaser clips so he wasn't technically sinning by paying for it. I so hope this is used in season 3, because gosh, I wonder why Aziraphale would suddenly be so interested in observing human physical intimacy after 6,000 years. Lonely and doing a little surreptitious research there, angel?)

Crowley, on the other hand, is the queer person who has broken free from his toxic religion. He prides himself on being his own person, on their his own side. He doesn't have the hang-ups Aziraphale does. He doesn't worry that he's going to be judged or cast aside for wanting things he's not supposed to. So it only makes sense for him to be the first one to suggest/initiate physical intimacy. It makes sense for him to be the one who "goes too fast" (another fantastic example of this dynamic beginning as early as s1; what is that conversation in the car meant to represent, if not Aziraphale being overwhelmed by the intensity of their relationship, and his fear of succumbing to it when he believes he shouldn't? It's also interesting that this is the first conversation to take place in Soho, just after watching Aziraphale realise he's caught feelings for a demon, with the red glow of lust serving as the backdrop).

Do I think the kiss in and of itself was sexual? No. I think it was a passionate and devastating last-ditch effort on Crowley's part to convey the way he feels for Aziraphale. Not just that he loves him, but that he loves him in the most human way possible. But I do think that the kiss represents how they can move forward from here, and what they might want to explore with each other once they feel free enough to do so.

In Conclusion

I am sure, deep in my bones (unless we are explicitly told otherwise), that this was both of their first kisses no, I'm not counting the gavotte, and that neither of them have ever thought to do anything else physical with the humans while they have been on Earth. Like I said before, they adore the human race and lifestyle in general, but ultimately view them as a separate species altogether, and they seem mostly happy to keep to themselves and each other, unless otherwise necessary. I just can't see either of them being drawn enough to a human to pursue anything close to sex. If Crowley in particular has had anything to do with sex in the context of temptations, I'm positive he would be inciting lust amongst the humans themselves, not involving himself directly. At least not that directly.

So, like every other human experience they've had on Earth, sex is something new that they could explore together, just the two of them, on their own side. A deeply intimate, tangible declaration of their love and everything they've gone through to earn it. A visceral finger to give both Heaven and Hell. A renewed appreciation for their corporations and for each other's. A enjoyable method for immortal beings to simply pass the time in each other's company. A new and exciting way to Feel Good, and all the variations that come with it.

You might agree with this post, or you might not. Whether this is something that is ever addressed or not, it doesn't matter to me. This is a brilliant love story either way, and I genuinely feel so privileged to witness it.

But I just can't find it in myself to imagine, given everything we know about these two characters, that sex isn't an experience they would both consume with wholehearted enthusiasm, curiosity, and profound, ineffable adoration.

___________________________________

Bonus feature: the very silly notes I made to myself that inspired this post

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minty364 · 2 months

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DPXDC Prompt #142 Part 2

His parents had spent years working on their portal, to the point where they were neglecting their own children. Danny didn’t know any better, neither did Jazz. To them it was just how their family ran and for the most part it worked for them. It allowed Danny to really study space and the Stars. His room was covered with different ship models on the shelves, glow in the dark stars on the ceiling and posters on the walls.

Jazz had similarly explored her own thoughts and topics as she studied Psychology. Her room was more feminine but still had a certain scientific decorum to it.

He never thought that he’d suddenly be ripped from all the things he loved. But here he was with the trench coat man, instead of taking some biology class or something.

“What happened with the portal?” Danny asked.

The man took a long sigh, “listen… quite a lot of shit went down after your accident.”

“That tells me nothing,” Danny glared at the man.

“I get your upset kid, but let me at least know your name. Mine's John Constantine,”

“…Danny,” Danny muttered after a moment. He wasn’t sure he trusted the man but he guessed he had no choice. He was also noticing he felt a bit off, it was the weirdest gut feeling and Danny was having trouble telling exactly what the feeling was. It was like the feeling was telling him to trust John, although at the same time John had this weird feeling about him that had Danny feeling weary. He decided to trust John just a little, hopefully it got him back home, after a moment Danny spoke again, “…Can you at least tell me if the portal worked?”

The room was silent for a moment and then John spoke “Alright, fine, I’ll tell you what happened but some background first, do you know who the ancients are?”

The name didn’t sound familiar, “Ancients? Like Ancient Aliens or something?”

“No, no…” John took a swig from a flask in his pocket and then started fiddled with an unlit cigarette he pulled from a different pocket. He then looked Danny up and down, “You don’t know the first thing about the infinite realms do you?”

“The what?” None of this was making any sense and the more Danny talked to this guy the more he was getting a feeling of dread in the pit of his stomach. Something about this conversation felt wrong, like Danny should know all of this already but he just didn’t.

“Right well… I guess the easiest way to explain this is the portal your parents made was to the infinite realms.” John said, putting the cigarette in his mouth.

“My parents called it the Ghost Zone.” Danny muttered.

John seemed to chuckle at that, “I mean it is mainly inhabited by ghosts, however they aren’t the only ones, far from it in fact. I’m sorry but… I couldn’t allow your parents unlimited access to the realms. I had to disable it and prevent it from being reactivated.”

Danny felt a little disheartened after hearing that, he guessed John was probably right though. He remembered hearing his parents talk about how they’d dissect every ghost they found to study them. The bully’s at his school often bullied Danny over it especially after his dad and mom would continually embarrass him on parent teacher nights and on field trips.

Danny let out a small sigh, “so when can I go home?”

John looked a little surprised, his eyebrow quirked up, “so you're unaware of your situation right now?”

“Situation?” Danny trailed off, he remembered getting shocked and then he remembered waking up here, “where are we?”

John let out another sigh, “shit, well from my research you're supposed to know everything about your powers when you wake up.”

This made no sense to Danny, powers? Danny didn’t have powers, he didn't have the meta-gene.

“Powers? I don’t have the meta-gene. I think you have the wrong person.” Danny stated as he folded his arms in front of himself.

“Then how are you floating?” John asked with a smirk.

Danny looked down and he indeed was floating just an inch off the bed, he wondered when that started but the feeling threw him off a little as he stumbled a little trying to keep himself upright. It didn’t work and he fell back down on the bed with a little thud. He turned to see John watching him with a small hint of amusement in his eyes.

“What am I?” Danny asked, his voice small and a little panicked.

“You, Danny Fenton, are an Ancient. I know the term makes it seem like you're old but the term is more because your people are ancient in age.” The explanation made no sense to Danny but he could somehow float now. He thought the term ‘Ancient’ was a little much for some floating powers.

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413countdown · 1 year

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4/13 Countdown

Celebrate Homestuck Day with us by participating in FIVE DAYS of FUN THEMES counting down to 4/13.

Everyone has their favorites. Share yours by creating art, edits, music, stories and more! Tag @413countdown and use #homestuck413, #413countdown. We’ll reblog/retweet it and share the love ♥♦♣♠

April 8th, 5 days to go! Theme: Favorite Power/Classpect Classpect yourself, write meta analysis on class dynamics, redesign your favorite god tier outfits or fraymotifs— get creative!

April 9th, 4 days to go! Theme: Favorite Non-Canon Characters Show off your fantrolls, OCs, or even your favorite Hiveswap/Friendsim characters that deserve some more love!

April 10th, 3 days to go! Theme: Favorite Relationship Pick a quadrant, any quadrant. Or maybe none at all? Siblings, friendships, found families, romance…there are so many meaningful relationships in Homestuck. Which one is your favorite?

April 11th, 2 days to go! Theme: Favorite Flash/Panel Redraw Recreate your favorite moment in your style!

April 12, 1 day to go! Theme: Favorite Characters Who is it? Is it Vriska? It’s probably Vriska. Unless it’s not. Why are we trying to guess? Just tell us!

April 13, HOMESTUCK DAY! Theme: Birthday Party/Free Day! Happy Homestuck Day! It’s party time! 🥳 Create whatever you like to show your love for Homestuck!

We look forward to counting down the days with everyone!

*Please include content warnings in your posts. There is a chance untagged or harmful content will not be reblogged/retweeted. Feel free to visit our FAQ or send any further questions to our Tumblr.

#homestuck #homestuck413 #413countdown #homestuck day #john egbert #june egbert #413 #2023 #mod post

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heretherebedork · 4 months

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To The Last Year...

Well, we went from Absolute Zero to Beyond The Stars this year but that's not to say we aren't in the House of Stars where I Feel You Linger In The Air. We all said Be My Favorite because I'm a Cutie Pie 2 You and want a Dangerous Romance and a chance to Hit Bite Love in our Individual Circumstances while being a Destiny Seeker and Crazy Handsome Rich (we wish). Some people took the chance to Bump Up Business or make a Bed Friend or be Naughty Babe or be Only Friends or even the chance to Sing My Crush and Stay By My Side or even just Stay Still while we took the year Step By Step. But now it's time to look to the Future and say Be Mine Superstar while letting go of our Hidden Agenda and looking for A Shoulder To Cry On and a Happy Merry Ending. We followed all the Laws of Attraction and rode on the Love Tractor and took Love Class (2) and discovered Love In Translation on the way. The Promise that we made over Our Dating Sim left us Star Struck for My Personal Weatherman on The Day I Love You. Everything set off The Eighth Sense while we ate Moonlight Chicken and saw Venus in the Sky when we looked up. We shared Our Dining Table and said Bake Me Please when we felt A Breeze of Love and called out Bon Appetit with the occasional Naked Dining. Some people tried All The Liquors to go with our stories while others just listened to Low Frequency and visited the Midnight Museum or went to Home School with My Dear Gangster Oppa. There was a Tokyo in April as there always is and someone told Our Story (very badly) but we embraced the Dinosaur Love and tied up our Chains of Heart for out One Room Angel. We drank The Luminous Solution and discovered The Middleman's Love. A lot of people said Oh No! Here Comes Trouble and were right but winter kind of forgot about Jack o' Frost this year. There were so many kinds of Love Mate and Fake Love and Friends Forever. But, in the end, I just want to say to everyone here who has ever enjoyed my meta or gifs or jokes... You Are Mine but also Why R U? and feel free to make Wedding Plans but I'll only show up for the food. You might want to Tie The Knot but I've still got Love Syndrome III and there is no cure, not even a Marry Go Round. Just don't say I Cannot Reach You, instead say If It's With You. So cheer Tim Tem Jai and reach out to grab A Boss and A Babe for the party and let's make A Story To Remember again this year! We'll Jun & Jun to our destination and leave behind the Past-senger. And remember you're Kiseki: Dear To Me on every level and this is My Beautiful Man: Eternal on here.

(It's not yet 7 Days Before Valentine but the Cherry Magic is real and we've all got a Cooking Crush or at least a Night Dream and probably even a Last Twilight and we all see The Sign and VIP Only section with our Cooking Crush because we do it For Him, he's the center of My Universe and the best Pit Babe who's ready to be a Playboyy because I Became the Lead In a BL Drama so I could impressed Mr. Sahara and Toki-Kun.)

Anyway, it's been an amazing year of QL with all of you and I love every single tag, cheer, reblog, like and comment and every last one of you. Here's to many more (QLs and years)! You're all amazing people and you made it to the end of 2023!

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bluedalahorse · 6 months

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Morning commute thoughts about Sara and Wilhelm

Well, okay. Maybe you can have a little meta, as a treat.

I pretty firmly believe that we’re supposed to see connections/parallels between how Sara treats Simon and how Wilhelm treats Simon, especially by the end of season 1 and then moving into season 2.

Consider how:

Sara and Wilhelm both betray Simon at the end of season 1. Wilhelm by denying his involvement in the video, Sara by letting August buy her silence.

Both Sara and Wilhelm think they can hold August accountable by acting alone. They do this without asking Simon what he thinks is best or enlisting the support of trustworthy adults. Sara attempts to emotionally support August enough that he holds himself accountable, while Wilhelm goes on a classic revenge spree. Neither approach is 100% effective because they’re working alone and because both of them are up against untrustworthy adults working behind the scenes (the royal court) who make situations worse.

Even when things are fraught for the reasons mentioned above, we still see evidence that they care for Simon and that their relationship with him is worth preserving. Wilhelm and Simon’s moment where they take a running shortcut at rowing practice is one of them. Sara hugging Simon after he sings his song is another. There’s more, too! I will let y’all find those things as I’m late for work.

Both of them have their poor decisions clouded by first love. Sara gives August more space than she probably should to change because they’re in love with one another (something that’s been brewing even before the video, so even if August never released the video, they still might have had some kind of relationship even though it may have looked very different.) She also assumes Simon’s scars from the video have faded somewhat so it’s okay to keep pursuing her relationship. (How many of us have assumed something affected someone less than we thought it did only to later find out we were wrong? Certainly I did, when I was a teenager.) Wilhelm, meanwhile, is in love with Simon, but at the beginning he is far from being a Model Boyfriend. He initially attempts to pressure Simon into a secret relationship and does stuff like read Simon’s texts. This is frightening enough when it comes from someone the same social class as you, but Wilhelm is a prince with a lot more access to wealth and people who can like… request your phone records and stuff. He never uses his power that way and I don’t think it occurred to him to, but I think we’re supposed to understand that this could have gone south if he didn’t have people like Boris helping him. (Meanwhile, Sara’s romance with August feels like a more dramatic betrayal in some ways than Wilhelm reading Simon’s texts and Wilhelm denying he was with Simon on live TV, but Wilhelm also has a lot more institutional power behind him while Sara is in a relationship when she lacks institutional power and her intimate partner has a lot to hold over her if their relationship sours.) The show is very clear that falling in love is a morally neutral thing—falling in love, whether it’s with a “generally good” or a “generally bad” person, is something you can’t control, but the choices you make as a result of being in love are what defines your moral stance. By the end of season 2, Wilhelm has grown and made the choice to express his love for Simon in more conscientious ways. He becomes aware of the role his status plays. Meanwhile, Sara has chosen to give up her first love—even with the possibility that she could face brutal retaliation from her partner—to try and achieve justice for Simon’s sake.

I feel like we’re 100% meant to see these parallels and feel equal amounts of sympathy for Wilhelm and Sara as they grow and work out who they are in the world and what they can do next. Which is why if I had to guess, Wilhelm and Sara having a bonding moment will play some role in Simon’s reconciliation with Sara. And even if it doesn’t, I guarantee you that the writers were thinking of them as having parallel arcs.

Anyway, I love both Wilhelm and Sara so much. They both have amazing growth! That’s why I want to see them interact and become friends.

#young royals #sara eriksson #wilhelm young royals #join me on the future wilhelm-sara friendship train it’s a fun place

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makeste · 1 year

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hey guys, so I’ve finished reading BnHA 342 which was a delight to read, but my reaction post is very, very long and will take some time to edit, so in the meantime I’ve decided to make a separate post just to talk about this one character interaction which I am absolutely obsessed with!

let’s see how long of an analysis I can make about this ONE, SINGLE JOKING REMARK THAT KACCHAN MADE COMPLETELY OFFHANDEDLY.

1. so first off, let’s just cut straight to the heart of the matter: this. is. friendship. no more denial. no more HAH, NO WAY, OF COURSE WE AREN’T FRIENDS NOW WALK BEHIND ME!!! the Kacchan who was too embarrassed and too chuuni to admit that he was friends with Shouto died at Jakku. and the Kacchan who’s been running the show ever since then is someone who openly worries about Shouto (asking about him immediately after waking up in the hospital), unabashedly provides him with emotional support (hand on the shoulder when class 1-A confronted Endeavor), and hangs out with him in his room because he doesn’t want Shouto to be going through all this shit alone.

2. speaking as someone whose own #1 love language is using humor to try and relax people and make them feel comfortable and safe and welcomed and at ease, the fact that Katsuki used a joke as his chosen method of support here brought me SO MUCH JOY I can barely even begin to express it. and it’s not even the first time he’s done this! never forget that one time after Kamino where class 1-A was all bummed after Aizawa told them off for coming to save him, and so he grabbed Kaminari and dragged him into the bushes and made him activate his derp mode in order to ease the tension! and also to distract them so he could quietly pay Kirishima back for the night vision goggles, because that is his OTHER love language (cold hard cash!! nah lol I’m referring to the act of physically, tangibly paying him back; showing his gratitude not just with words but with actions), but yeah.

my point is, for someone who always seems to be so angry and serious, Kacchan has a sharp sense of humor that he apparently just keeps tucked away under wraps, and dusts off only for rare special occasions like these, and I absolutely LOVE it and I need it to happen WAY MORE OFTEN. there is a very real possibility of me making a compilation post of every single time Kacchan has made a joke and/or actually laughed about something, just because I’m that desperate to know more about this expertly dry wit of his now.

3. getting back to his friendship with Shouto, this next talking point is the one that’s already been done to death (because you know I went and looked up all those 342 tumblr reactions and metas after I read this chapter because I needed to soak up that analysis asap), but nonetheless this post would not be complete without it! so this is very obviously a commentary on the fact that Shouto’s favorite food is cold soba! a fact which is known to every single citizen of the world! in fact this joke even takes that last part into account, since it relies on that fact being common knowledge in order to stick the landing! in a way it’s partially a friendly little dig at Shouto for making his favorite food such an important part of his personality! like, “hmm, so what would be the worst case scenario for Touya. well obviously it would be him liking something other than soba, since we all know that’s a deal-breaker.” basically this joke derives a good 60% of its humor from the fact that Shouto just loves soba THAT damn much. and Kacchan is obviously WELL aware of this fact because, as we all know, he and Shouto are actually best friends.

4. quick side note, this is also a blink-and-you’ll-miss-it callback to chapter 164, which featured this hilarious interchange between Shouto and his OTHER best friend.

thus adding the additional meta layer that Shouto actually does canonically consider people who like udon to be FUNDAMENTALLY INCOMPATIBLE WITH HIM AS PEOPLE lmao. and Katsuki knows this because he was listening in on that whole conversation and bitching about the two of them being total weirdos! but ALSO he was apparently filing notes away in the back of his big hero brain because he loves Todo actually, so yeah. love it when a scene in a newer chapter retroactively makes a scene from an old chapter even better.

5. lest you worry that Kacchan is back to his OLD VILLAINOUS BULLYING WAYS by poking fun at poor sweet innocent Shouto here, let’s now talk about the ways in which this joke is also a sick burn on Touya! because that of course is the other 40% of the joke! if Shouto’s favorite food is soba, then OBVIOUSLY Touya’s favorite food is going to be the complete opposite of that, because Touya is the worst! just the absolute worst. man fuck that guy!

so there are a couple of additional layers to this part. the first is that Katsuki is very much aware of the delicate balance that needs to be struck here. because he genuinely, unironically DOES know Shouto pretty damn well by now, and so he understands how conflicted Shouto is about his brother. and because he’s a good friend, he’s supportive of Shouto’s desire to somehow redeem Touya if at all possible. and so instead of going all in on how Touya is a founding member of the final villains club WHO BRAGGED ABOUT KILLING THIRTY PEOPLE and who also KIDNAPPED HIM THAT ONE TIME, the worst thing that Kacchan accuses him of here is... having a different favorite food than Shouto. this is basically the gentlest, mildest “fuck that guy” that anyone could have possibly given here.

and then the second bonus layer is that Katsuki is very clearly taking Shouto’s side here. that’s the only possible way for this joke to land. the humor works because Katsuki takes the mundane accusation of liking hot udon, and twists it into a sick fucking burn, because ONLY AN UNHINGED LUNATIC WOULD DARE TO LIKE SUCH A COMPLETELY OPPOSITE FOOD FROM COLD SOBA, THE BELOVED FAVORITE FOOD OF TODOROKI SHOUTO. in other words, if you don’t like Todoroki Shouto’s favorite food, then FUCK YOU! Team Soba all the way! so yeah, it has that connotation too, which is actually very sweet.

6. last but not least, I just want to take a moment to gush about how this was all just perfectly executed and timed. Shouto sets him up for it, and Kacchan pounces on the opportunity without hesitation and delivers the perfect response, which immediately relieves some of the quiet tension in the room, and honest to god actually makes Shouto laugh.

sort of! that was a chuckle at least! it counts!! anyways the point is, Katsuki read the room perfectly and understood that Shouto was trying to lighten the mood and didn’t want to have a heavy conversation about all of his feelings right now (which is something that Katsuki understands very well), so he followed Shouto’s lead and met him at that level, while still managing to communicate (1) “I know how conflicted you are about all of this”, (2) “I’ve got your back”, and most importantly, (3) “we are friends, and I care about you and support you in all things, you big soba loving freak.” it’s affectionate, it’s heartwarming, and it’s genuinely funny as hell.

anyway so yeah, that’s my RIDICULOUSLY, UNJUSTIFIABLY LONG post about what has instantly become one of my all time favorite little throwaway BnHA moments, right up there with the legendary “hey Kacchan!” scene. Kacchan being friends with people. Shouto getting some much-deserved love. Iida and Kirishima being there too, and presumably smiling and taking notes and maybe one day they can tell their children about this. that’s what it’s all about folks.

#bnha 342 #todoroki shouto #bakugou katsuki #bakugou meta #shouto meta #todobaku #todobaku meta #bnha meta #bnha #boku no hero academia #bnha spoilers #mha spoilers #bnha manga spoilers #makeste reads bnha #long post #PLEASE ENJOY THIS LONG META POST ABOUT A CHAPTER EVERYONE ELSE READ TEN WHOLE MONTHS AGO #1k+ words all about BAKUGOU'S DUMB UDON JOKE #heck yeah

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probablyhuntersmom · 11 months

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Hunter's Character Arc: A Hopeful Narrative

Wrote this for the 2-year anniversary of Separate Tides, especially since we now have the boi's full story arc too. This meta could come to life after I re-read the one I wrote about enmeshment (link).

You also get my geeking out about cinematography and visuals this round, instead of the mental health angle that I usually come in from. What I found is this: while some fans feel that the writing put him through too much, the frame composition of every Hunter scene - no matter how dark and horrifying the scene is - wants to paint him as an empowered survivor, and root for him, getting us viewers to be on his side in a way that is never really overt.

The way he is framed within the 'camera', evolves as his story arc evolves throughout the show: from being so high-ranking that only Belos appeared to be superior to him, to actively participating in society as an equal, to not only learn from others and be loved by others but also impart knowledge and love to the world.

Bringing his scenes to life wasn't just about Zeno Robinson's voice acting, along with how animators draw his expressions and poses; the camera also has to be placed in certain ways to add to the emotional weight of his scenes (even if in a subtle manner). These all add up in less obvious ways, to get specific emotional responses from us in the audience.

What I remember from the cinematography classes when I studied animation (honestly the only areas I didn't suck in were the preproduction and film analysis modules, everything else was bleh) are some general rules:

1. Shots with characters that are further away with a wider angle, are often to establish the setting (location and mood). Shots that are closer to the characters are more personal, of course.

2. Both low angle shots and high angle shots provide us with info about power/hierarchy, control and vulnerability in characters. Low angle shots may empower a hero, making them look more heroic if they're roughly facing the camera, but could make them appear vulnerable if their back is to the camera. High angle shots usually depower a character, making them feel small and feeble.

3. Shots with a height that is at eye level with the character(s), allow us to connect more directly with a character.

4. These rules can be creatively bent at times, in shows and movies. And you'd also have to factor in where and which characters are placed within the shots, e.g. their back is facing the camera, vs. us seeing them in full front-view. - An extra, not-so-important note: There's the rule of thirds, a rough guide for the screen's composition during important moments, to be more aesthetically pleasing to the human eye (which isn't an area of focus in this particular analysis).

There are so many screenshots I could've fit into this post! But there's the 30 pics limit and I've chosen the best ones I could think of.

Diving in...

It's stating the obvious, but the camera gets closer to Hunter as we get to know him more. When we start out, his presence feels distant, ominous and impersonal, like he's a smaller cog in a massive machine, just someone that Belos has sent out to do his bidding:

But the sense of his personhood, its importance, and his desire to fight for it, is felt more and more by us as time passes.

A really strong contrast would be this comparison:

Not quite knowing who this kid is (camera is far away and impersonal), vs. being terrified out of our wits as he appears helpless while possessed, because we're personally so invested in his wellbeing by that point. He has become a literal puppet, 100% physically coerced to do what Belos wants, in a more violent way than Belos previously coercing him to perform his Golden Guard duties using emotional manipulation.

After he was unmasked in Hunting Palismen, we connect with him and his vulnerabilities, since we can see through the armor (both literally and metaphorically) that he has to put up to survive as long as he did in the Emperor's Coven, prior to his decision to run away. We journey alongside him through the good and the bad.

Things become a bit less obvious when we get to low angles vs. high angle shots, plus the eye level shots.

Low Angle Shots:

Before being unmasked, he appears to be an intimidating antagonist who is not to be trifled with (though Luz manages to hold her own against him) and we feel that Luz is vulnerable to being possibly hurt by him:

but once he has met Luz and his mask comes off...

He is framed less and less as an antagonist, and lives out what he truly wants to live out, heroically braving many challenges and triggers to genuinely help others.

This even happens when things are really going south for him, when it appears that he has no way out:

To me, it feels like we are with him, at his level, as the storytelling aims to respect everything that he goes through. All thanks to the camera height, that can go as far as lowering itself all the way to the floor with him.

High Angle Shots:

An incredible difference would be between him watching Luz from the shadows below, even having power over Salty, telling the audience that he has control:

and fast forwarding to Luz offering him her hand during one of the pivotal moments in Hollow Mind:

I suppose this one shot is the one of very few that depower Hunter, and here, his old faith in Belos's reign is being dismantled. But whenever this is the case, it's from the vantage point of a kind-hearted character who will offer him help and never hurt him.

What stands out is, any high angle shots of Hunter do not ever show him being all alone with Belos. The closest to that would perhaps be these:

But I'd point out that in the Hollow Mind screenshot, Hunter and Luz in the present are watching from a distance: this moment is a step towards his empowerment because he reaches that awareness and clarity that Belos has been lying to him. In the For the Future shot, it's the impact of Belos's abuse - the trauma sustained - staring Hunter in the face, not Belos himself. And while Hunter is all alone in the shot, he isn't completely consumed by anguish, having a support network that's obviously offscreen but nonetheless there with him.

The only shots where he is dangerously alone with Belos would be from moments like this:

But he hadn't been unmasked yet, and we weren't even so sure back then about details such as his age, true motives and true intentions. And...any high angle that involves Belos never seems to be used to depower him.

The crew took consideration to respect the portrayal of this kid's experiences of trauma, and his development.

When Luz and Willow look down at him, he may be temporarily rendered powerless, but we can already trust that they won't treat him poorly:

Eye Level Shots:

These seem to be used for moments of uncertainty, keeping us on edge. We may wonder for a moment, where Hunter's loyalties lie, or wonder if he will survive a horrible situation:

But the eye level shot is also for us to connect as directly as we can with him.

This important frame from Hunting Palismen seems like a pretty unique Hunter shot in his entire arc. I haven't come across any other shot composition like this which involves him, though I could be wrong. He's standing between a taller scout (and the scout is actually lower in rank than him, yet Hunter can't produce the proof that he's their high-up superior) and Luz who is shorter than him. We may start to sense that he may be less powerful than we initially thought, and there are further confirmations of this in the subsequent scenes. This shot is not quite eye level, yet not a stark low angle shot.

With regards to the unhealthy vs. healthy mentorship he receives in the show, somehow we're told through the frame composition that wanting to be guided towards the right cause is very important for him, something he is emotionally invested in.

My ultimate takeaway from this is: the writers never want to convey that he is beyond hope and saving. There seem to be far more low angle and eye level shots of him when he is both masked and unmasked, yet different meanings are communicated: control while masked (furthering Belos's cause to wield power in the Isles) vs. empowerment when unmasked (Hunter's own personal agency).

There are a few lovely subversions of what we normally expect from low angle and high angle shots:

An empowering moment where Hunter is part of something that is healthy for him, instead of high angle shots that are normally depowering for whichever character is in focus.

This low angle shot achieves two things, I think: not only to highlight how terrifying Belos is, but also that Hunter isn't alone and has Flapjack and Gus to help him (especially since Gus could disarm him with powerful Illusion magic just before Belos charged at Hunter). No matter how you slice it, Hunter isn't dangerously isolated and isn't rendered helpless here, despite being very terrified. This nicely presents an equal chance on both sides of winning this fight (before The Collector is freed from their prison), and keeps us on edge.

And only today did I notice a pattern from significant frames in all the S3 specials:

Being on his knees. Look at dat body language!! But the camera never stares him down in a condescending, insensitive and detached fashion: it's once again a low-ish angle that meets him at eye level. Which goes to show how much connection matters to this kid, even in the form of us viewers connecting with him.

To wrap this up... When it comes to him feeling like he's part of something larger, we feel so different looking at these last two shots:

Belonging only to Belos, being owned, dangerously isolated but not completely silenced, reduced to someone whom Belos refers to as "this one", being a breakable "thing"...but later on: finding personal autonomy, his own voice, the things and people that he as an individual loves and wants to nurture and protect, not being above or below anyone in society.

To think that this gentle, empathetic kid's story started and ended at drastically different points.

#yet another spontaneous meta!! that's what this kid does to me #toh hunter #the owl house #toh analysis #golden guard #owl house cinematography #loz writes a meta

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katy-133 · 2 months

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Why Spy and Sniper are opposites (and why they understand each other)

(A Team Fortress 2 meta.)

I had this in my drafts half-written for a while and then felt motivated enough to finish it up after seeing @gobbogoo's excellent meta about the professionalism aspect of Sniper and Spy's relationship.

I love foil characters. In my mind, what can make a foil compelling is when the two characters are opposites in many ways, they are also, at their cores, the same in the ways that really matter. When you get right down to it.

Mechanics (Or Far vs Close)

Sniper and Spy were literally made for each other.

In-game, Sniper and Spy are designed to counter each other. The Sniper vs Spy Update introduced multiple weapons for both Sniper and Spy that were designed to undo specifically the Spy and Sniper classes. They were introduced day-by-day in a comical, "Your new toy may counter mine, but now my new toy counters that!" fashion. Sniper's Razorback shield prevents Spy backstabbing him. Spy's Ambassador allows Spy to kill Snipers wearing a Razorback, and so on.

When you play as Sniper or Spy, different gameplay styles emerge from their different strengths and weaknesses. Sniper works well at a distance, behind the rest of his team, because his primary weapons are long range. Spy works well close up because of his ability to instantly kill with backstabs. And Spy's disguises can be more convincing if he's where the enemy team is, so he works well when he's ahead of the rest of his team.

Dirty vs Clean

Sniper roughs it with his (Cosy Camper) backpack and his camper van. Spy wears Louis Vuitton suits (or rather, "Louis Crabbemarché"--TF2 universe's counterpart), as mentioned in The Naked and the Dead comic:

Sniper urinates in mason jars and throws them as a weapon (Jarate). Spy has a special knife (Your Eternal Reward) that kills so cleanly, it instantly removes the body. Spy calls Sniper "filthy" as an insult in-game. It's something to cast scorn over, to Spy.

Spy: "You disgust me, filthy jar man!"

Alone vs Together

Sniper loves his job as a sniper for RED (and BLU). His job makes him stronger when he's at a distance from his team. Therefore, while he's not totally isolated from people, he doesn't mind being alone. He works well like that when he's working.

Sniper: "I love this job. Sunshine's free, bullets are cheap, and everybody's got a head."

Spy's Rally, an alternate Meet the Spy audio recording (as I wrote before), illustrates how Spy values teamwork and believes that it goes against the natural order of life.

Spy: "Disorder, the natural state of nature, is cheap to create, costly to overcome. [...] Nature abhors a team, gentlemen. And together, we bold few, we unnatural brothers, are going to seize Mother Nature by the throat."

Sniper finds strength in being alone. Spy finds strength in being together.

Out of vs In the Spotlight

When there was a irl figurine of Sniper being sold, Valve's blog released a post written by Sniper ("Well, Now I'm a Statue", 11 December 2012). He explains that he hates that his happened, as it goes against his wantiness to stay out of the spotlight.

Sniper: "It probably wouldn't surprise you to learn that a professional assassin like myself tends to be… discrete about things. We keep to the shadows. We avoid the spotlight. We don't host bloody dinner parties, is my point, and we don't make big bloody statues in effigy to our bloody selves."

Despite being an operative who has the ability to literally turn invisible, Spy has a flair for theatrics. He likes spectacle. In Expiration Date, when Scout apologises to Spy, Spy wants him to repeat "You're better than me," line over the PA system so that all the other mercs hear it.

Inexperienced vs Experienced in Romance

Sniper is never shown to have experienced romance and it's possible he never did. Sniper, despite his character being inspired by Crocodile Dundee, an adventure romance comedy, doesn't have a love interest. Sniper's "kangaroo wife" line is a made-up insult by Soldier.

Soldier: "I will send my condolences to your kangaroo wife."

In Meet the Sniper, we see him call his parents when he gets access to a payphone. His parents whom he sends postcards to (we see this postcard in the Sniper vs. Spy update). And it's his parents that the Administrator threatens the safety of to keep Sniper in line. It's his parents that are Sniper's priority of keeping protected. Not a girlfriend.

As essayist Kayla explains in a video meta about the mercs' past relationships, Sniper grew up in Australia, where (in the TF2 universe) the country's culture and people value large muscles due to Australium metal exposure giving Australians super-strength, as explained in the Catch-Up comic:

Security locks are punch-based (as Saxton Hale demonstrates to Miss Pauling in The Contract comic). Kids are expected to get into fist fights with each other. Meaning that Sniper is "not attractive by conventional Australian standards" in the TF2 universe (again, observation by Kayla in the video meta).

Spy on the other hand, is characterised by his past relationship with Scout's mother and it's one of the few things we know about Spy's past. Spy has an in-game line about liking his romances "in groups of six." When Scout needs advice on asking Miss Pauling out on a date, he goes to Spy for help (keep in mind, Scout doesn't know Spy is his father at this point). He has a reputation among his team that he is experienced in romantic relationships.

Spy: "I like my teams like I like my romances: in groups of six."

Where Sniper and Spy are Similar

Being Discreet and Valuing Secrets

In the TF2 comic The Naked and the Dead, we find out that Sniper knows that Scout is Spy's son. By this point, Scout doesn't know (or is heavily in denial about it). We know Sniper knows because when Sniper and Spy come across Scout dying in a hallway, Sniper leaves Spy to have a private moment with Scout, when Spy tells Scout that he's his father (or rather, Tom Jones is his father, because Spy can't bring himself to tell the whole truth).

Sniper is discreet in leaving them alone, because he never explicitly says that he knows (or what he knows) in that scene. It's mainly left unspoken. He only says one word, and Spy knows what's he's going to say. And Sniper chooses to leave because he knows that this secret is important to Spy and Scout.

Spy ability to be discreet and valuing secrets inherently comes with his job. His disguises only work as much as his ability to act like the person he's pretending to be. Spy also values the secret of his identity so much that we don't ever see him without his mask. The SFM model of Spy mask less (where we see he has hair) is a fan-made model that the fandom has collectively accepted. It has not been shown in any official Valve works. In Meet the Spy, he's always wearing his mask in the various Top Secret photos. There's also a Miss Pauling contract line for Spy in-game where she tells him that he should wash his mask. He canonically doesn't take it off.

Miss Pauling: "Spy, just between you and me, you should really wash that ski mask. Like once. There's visible stink lines coming off that thing. Anyway, I need a favor."

Kinda ironic, since Spy values cleanliness.

Are Both Willing to Put Themselves in Danger to Save One Another

Despite their differences, when they're on the same team (or even when they're still on opposite teams but have come together against a greater enemy, like in Mann vs Machine), Sniper and Spy can work together to save each other.

In the comics (The Naked and the Dead), Spy gets shot in the leg and is about to be killed by Classic Sniper (from the first Team Fortress game) while trying to infiltrate a building to save his team, but is saved by Sniper.

To do this, Sniper had to run up several flights of stairs, break down a door, crash through a window, scale the side of a building, and then climb silently into the room Spy was in. While naked and bleeding. Sniper was willing to put himself at great personal risk to save Spy.

They Both Experienced Loneliness Just Before Joining RED/BLU

I imagine that, one day, Sniper and Spy will figure out that they are not so different. If they knew about each other's pasts, they would notice a certain similarity.

Sniper's backstory (his description on TF2's website) is that he was a "tracker of dangerous game" in Australia. He would have spent a long time on his own, in the wilderness, isolated from people. He lived on a farm with his parents, not in the cities. In the comics (Blood in the Water), Sniper explains that he grew up with kids who wanted to fist fight, while he would climb up trees out of their reach and throw stones at them. He didn't fit in.

He calls his parents in Meet the Sniper, but they don't like the line of work he's in. Which upsets him, because he wants their approval.

Spy's backstory is that he had a love, Scout's mother, and ran away from her. We don't know the details of why. But we do know that he and her are still on good terms. Spy and her are seen together in Valve's promo animation for the Second Annual Saxxy Awards:

Spy appears to still love her, as at the end of Meet the Spy, he takes one of the photos of them together. Notably, the most chaste photo of the pile--it's of the two of them holding hands, walking away together.

I think that's insight on what he would have wanted in another timeline. But he ran away on his own, leaving a woman he loved (and still loves) as well as his baby son. He left his family.

This is what their lives were like before the Gravel War.

It's also worth noting that they both joined RED/BLU. They all chose a line of work that many would not, and this gives us insight into their character. Whether it was for the money, or for the chance to fight, or to combat loneliness, both Sniper and Spy found themselves working for RED/BLU.

In Conclusion

Sniper and Spy are opposites in many ways, but when you get right down to it, their cores are the same.

#team fortress 2 #tf2 #storytelling #my text #character development

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seventeendeer · 11 months

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TF2 analysis - on cultural references, context as characterization, and how to analyze comedy

-taps mic- HELLO, TEAM FORTRESS 2 COMMUNITY !

A while back, I received an ask requesting analysis of one of my favorite video games of all time and special interest of 12+ years, and you know I just had to go and turn that into a several thousand word essay for the reading pleasure of the people.

Because that shit got way too long, I’ve decided to put it into a post of its own. Hopefully a big title and no previous context being necessary will give more people an incentive to read it. I spent a long time on it and I think it’s pretty cool, and I would love some nice attention for my effort. ;w;

The ask I received went a little something like this:

Below the cut, I will be replying to these questions individually. It touches on everything from Cold War propaganda to the media landscape at the game’s launch in 2007 to first-person shooters as a genre - all to gain a better understanding of author intent, expected audience reaction, characterization and themes.

Anon previously requested help writing more accurate fanfiction, and damn it, that is what they are going to get!! and MORE

Introductory disclaimer:

First of all, for clarity's sake: this analysis is going to specifically talk about TF2 as seen through a fandom lens. I'm going to be talking about the game as a piece of media, creator intention, and the fandom's reactions to the game and extended canon - that is, the slice of the TF2 fandom that is interested in the characters, in the world and in doing at least semi-faithful fanworks.

I will not be touching on TF2's wider playerbase or meme culture. I greatly enjoy both, but they are not relevant to the post I made that sparked this anon's questions (I will link this post in the replies, in case anyone is curious).

I also have to disclaim that any references I make to real world history in this post have to be taken with a hard grain of salt. I've done my best to fact-check everything, but I am not infallible! For a better understanding of the historical elements I talk about here, please do your own research, and approach my claims with a healthy amount of scepticism, same as you would any unsourced social media post. (Readers may notice examples I give below primarily feature Soldier, Spy and Scout. This is because I feel I have the most solid grasp on the historical events and media that informs their characters, compared to the other classes. All the classes contain these contexts and meta complexities, but in an effort to not talk out of my ass too much, I have decided to focus on the characters I feel the most confident dissecting.)

>1) What tropes was the game parodying/what cultural contexts would you say are essential to understand, in order to better understand the game?

The characters of TF2 were specifically designed as satiric takes on national stereotypes depicted in American propaganda media during the Cold War. Two easy-to-explain examples to illustrate:

- Soldier embodies the ideal of a "red-blooded American" who is strong, brave, hyper-masculine, hates foreign superpowers, loves the vague ideal of "freedom" and firmly believes America is the greatest nation in the world. He prides himself on having personally murdered nazis in the past, despite actually having accomplished no such thing (comparable to the US taking a disproportionate amount of credit for defeating Nazi Germany in World War 2; at the time, WW2 was a very recent cultural memory that made for good propaganda fodder). He fears, hates and dehumanizes communists (as Soviet Russia was the US's highly-villified opponent during the Cold War). The satiric angle: he is depicted as so brainwashed by propaganda that he has become immune to facts and logic. He is horribly sadistic, brutal, paranoid and xenophobic. The ideal he is based on is portrayed as shockingly and disproportionally violent and illogical to the point of being laughable.

- Spy is based on how the US viewed France during the Cold War: as a weak, cowardly, “unmanly” nation. At the time, France was depicted this way because they were perceived to have surrendered to Nazi Germany early on in World War 2 out of cowardice. Spy is one of the least macho of the mercs, he is ineffective when fighting enemies head on, and his main method of attack is reliant on trickery and “not fighting fair.” The satiric angle: Spy isn't actually much of a coward - he is more intelligent, more tactical and more resourceful than many of the others, and simply doesn’t feel the need to risk his neck when he could be working smarter, not harder. The other characters are portrayed as a bunch of meatheads for picking on him. The negative stereotype he is based on is portrayed as largely unearned and ridiculous. (Though note that Spy is also depicted as an upperclass prick to contrast with Engineer being working class; in that dynamic, Spy is depicted as a pompous asshole, while Engie is depicted in a more favorable light. The characters are multi-faceted and no class is universally “better” or “worse” than the others, but right now I'm specifically focusing on the "Cold War stereotype" aspect.)

Notice how, while these two characters have different nationalities in-universe, they are both based on stereotypes seen through an American lens. Notice the way the American character is based on a comedically deconstructed ideal, while the character from a nation the US did not view favorably at the time is depicted as falsely judged by an unfair and ridiculous metric.

The entire TF2 cast and universe revolves on this axis! It takes old American ideals and prejudices and uses them for comedy, adding exaggeration and caveats to make those ideals look absurd.

It’s a parody of media produced in the US during the Cold War, which contained massive amounts of propaganda. It satirizes the political ideals that were glorified in said propaganda media.

Very important extra cultural context: this satiric depiction of old war propaganda was specifically designed to be instantly recognizable to TF2's central demographic at the time of release in 2007.

Older Valve games like TF2 were very specifically made to appeal to pop culture-savvy, nerdy young adult gamers. This demographic was expected to see the characters and think "oh hey, it's like a funny version of X character type I've seen in movies!"

Because those kinds of movies were still everywhere at the time. The Cold War ended in 1991. TF2 was released only 16 years later. To put this into perspective: the Legally Blonde movie came out 22 years ago, in 2001. Think about how many Legally Blonde memes are still floating around the web today, how fondly remembered this one movie is and how often it’s still referenced in contemporary media. Now consider that media produced during the Cold War was fresher in the cultural memory at the time of TF2′s release than Legally Blonde is for us today.

TF2 was never meant to be seen in a vacuum. It was always meant to be in conversation with old media that it expected everyone playing to be extremely familiar with.

I'll say that again: the cast of TF2 are based on Cold War stereotypes - comedically exaggerated - so they would clearly read as parodies to people in 2007.

Those are 3 different overlapping lenses to consider when approaching the characters.

The characters are more than just funny cartoon men with guns and an unusual amount of differing accents. They are commentary on older media trends.

Now, someone might ask - why did the developers choose this specific aesthetic and tone for their online shooter video game?

The developers have stated multiple reasons, including wanting the characters to be immediately recognizable both physically (they generally look like the stereotypical depictions they're based on) and audibly (the differing accents and regional dialects make it easy to identify which class is yelling in your ear mid-combat during gameplay).

However, I also have another theory:

It's been confirmed TF2's comedic tone was designed to combat a lot of negative aspects of shooters in the genre at the time of its creation. I have seen developers discuss that they were going for a lighthearted atmosphere to discourage player hostility.

I, personally, also think it is extremely likely the developers opted for satirizing old war propaganda partially in order to combat the tendency of other shooters often being war propaganda. Valve has always been a politically left-leaning company, with a history of depicting military-like forces and unchecked capitalism in a negative light (see the Half-Life and Portal series, respectively).

By depicting the cast of TF2 as generally unhinged, illogical and clownish, they were able to communicate to players: "War is dumb, nationalism is dumb, whatever Call of Duty has been telling you is cool is actually illogical and copying it makes you look like like an idiot. That being said, we all sometimes wish we could beat the shit out of other people in the desert with a shovel, so let's get our aggressions out in a safe, non-serious environment with no consequences. Come play pretend you're a murderous sadist blowing up equally unhinged people with us, it's silly, but it's so fun."

I believe everything from the cartoonishly over-the-top, non-permanent deaths to the deserted, remote environments, to the lack of any truly innocent or defenseless characters was all a carefully crafted foundation made to encourage players to make the informed decision to leave their inhibitions and moral hangups at the door. They wanted players to have fun and go nuts engaging in military-like violence, without encouraging pro-military attitudes in their playerbase.

For an example of a game that royally screwed up doing the same thing, just look at Overwatch - it tried to preach a "wholesome" vibe that was completely mismatched with its gameplay. Overwatch tries to justify extreme violence as Okay When Good Guys Do It To Bad Guys, which ... yeah, again, that is straight up modern military propaganda, on purpose or not (and knowing the US military’s tendency to pour money into video games that glorify war, “on purpose” isn’t as much of a stretch as one might think). Paradoxically, TF2 comes out both looking and feeling better to play, because it handles aligning player emotions VS in-game actions much more elegantly. It accounts for common pitfalls in its genre. OW jumps into those pitfalls with both legs and instead ends up looking shallow and nauseatingly twee.

Of course, all of this is personal speculation. Whether or not this was the reading that Valve intended, I do believe it's a big reason why TF2 has remained so profoundly loveable over the years - it uses its writing and art direction to put the player in the perfect mindspace to Fuck Shit Up.

It's a fantastic example of how to carefully and artfully craft something extremely stupid for maximum intended effect. It uses the strengths of comedy as a genre to its absolute fullest.

Unfortunately, because of cultural shifts since the game's release, newer fans do end up missing out on a lot of what makes this game so expertly done. Many newer fans don't come into the game with the base cultural knowledge it expected of its original audience. To gain a better grasp on the characters and enjoy this piece of media as it was intended, I think it will be extremely helpful to familiarize yourself with the material it is referencing.

For an introduction to media produced and influenced by the Cold War, I would recommend the Wikipedia article Culture during the Cold War as a starting point.

(I have skimmed, but not read, the full article; I encourage readers to be especially source-critical when engaging with pages like this that detail themes of history and propaganda - it's a starting point, not a finish line!)

>2) What themes/layers do you feel the fandom has lost sight of, over time? (or never really managed to acknowledge to begin with?)

Some of this is covered in the previous section, but I'll use this question as an opportunity to talk about another thing I feel is overlooked by fans (and, frankly, the writers of the newer comics too), especially when creating fanworks:

The fact that the characters are extremely dependent on their setup and narrative context to be likeable.

Something I think fandom culture struggles with in general is interpreting and handling fictional characters not as real, independent people who exist in a vacuum, but as the sum total of countless moving parts inside a narrative all working together to create the impression of a real person.

In a comedy, characters are especially dependent on presentation to feel like themselves. It is not enough to loyally recreate an arbitrary list of personality traits in order to create accurate fanworks - recreating the sorts of situations they get into, the kinds of people they interact with, and cherry-picking the information they have access to is neccessary for bringing out what makes the characters so charming!

This is especially important when interpreting and handling a cast made up exclusively of characters who are mean people with bad intentions, bad opinions and a complete lack of adequate self-reflection across the board.

Canon makes them all come off amazingly likeable, but this is because the writers were manipulating tone, relationship dynamics, setting, and much more to show off the characters at their most distinct, least detestable and absolute funniest.

Overlooking this aspect of writing comedy characters often leads to a very common pitfall in many, many fandoms out there - following the logic of a character's canon personality to a place they don't like, and getting rid of those personality traits to combat their own discomfort.

Making characters too kind, too understanding, too progressive, etc., is an endless source of micharacterization in fandoms in general, but especially in fandoms of media where the characters are a bunch of dicks in canon.

To be clear, I fully understand where this is coming from. Fans get attached to characters like these because they're funny (and intended to be loved!) - realizing that a character you really like would logically react in an unlikeable way if you put them into certain situations feels bad. No one wants to turn a character they love into something they find they don't love anymore.

But this is where carefully engineering your setup and narrative comes into play.

Example:

A lot of TF2 fans are queer. Queers flock to TF2 because let’s face it, the campy vibes and silly fun masculinity and weird women are like catnip to us.

But a lot of queer fans go into the fandom aspect of the game and find that ... wait, shit, these characters are not exactly pillars of progressiveness. Reconciling some of the extremist political views of the characters with queer narratives, with queer values, seems a daunting task to some. Because what’s a queer fan to do? Portray a character they love in a way that makes them unloveable? Painstakingly depict shitty, uncomfortable characterization in the name of “realism” that ultimately detracts from their own and other people’s enjoyment of the story? That’s not fun. Fandom is supposed to be fun. So, what, do they just portray the characters as miraculously having perfectly amicable social politics by the standards of the larger queer community in 2023?

Some do, of course, for their own comfort, and it’s understandable, but it’s not good storytelling. It’s an excessively shallow way of interacting with media - the fanfiction equivalent of confidently sitting down to write an in-depth, flowery review of a horror movie you watched with your hands over your eyes during all the scary parts. You cannot create fanworks that are even remotely faithful to the spirit of the canon while deliberately ignoring the core themes and author intention of the canon you’re working with. These things are, unfortunately, mutually exclusive. TF2 characters are meant to be wrong about most things politically. Hopefully my reply to the first question in this post adequately illustrates why that’s so important.

But the good news is that bastardizing canon in order to avoid making characters unlikeable also isn’t necessary.

There’s a reason Soldier, in canon mocks his enemies for everything from failing at masculinity to being disabled, yet doesn’t have a single homophobic line:

The people writing his lines figured it would detract from the character. It would hurt real people’s feelings and make the character less fun to play as, so they didn’t include it. No excuses, no explanation; it is simply omitted for the sake of likeability.

(For contrast, notice that the writers did not extend the same kindness to certain other minorities, like fat people - playing as Heavy fucking sucks when you’re fat, because every other class hurls fatphobic abuse at him. This is a fuck-up on the writers’ side; they failed to identify this type of humor as meaningfully detracting from the experience for a significant amount of players, and so ignorantly decided to include it.)

This is what I mean by “setup and narrative context.” I also like to call this “maneuvering”, because it involves selectively portraying a character in contexts and situations where they shine and instill the intended audience reaction, while steering them away from situations where they would logically act in ways that counteract how the audience is intended to feel about them.

Fanworks can absolutely do the same thing! Fanworks can even take the technique further, because they’re not bound by limited time and focus, the way the original work is!

Sticking with the above example of wondering What The Hell To Do when portraying a character who, due to the ideal he’s satirizing, should by all rights be on the wrong side of history in relation to queer rights, let me make a bold statement:

Soldier TF2 is not homophobic. He's a nationalist, a right-winger, a sexist, a xenophobe - but he's not homophobic.

Why? Because he just so happens to never encounter any gay people in canon. They happen to never cross his mind. He's thinking about other shit. If there's a Pride riot in Teufort, he just so happens to be looking the other way.

Soldier TF2 is not homophobic, because he can't think for himself. He's an idea, a fraction of a bigger narrative that he does not exist outside of.

And if he needs to encounter gay people in a fanfiction, don’t just passively follow the logic of his character to that uncomfortable place none of us enjoy going to - use that maneuvering! Make him misinformed, make him misunderstand, give him incomplete information - the character is not only a face with personality traits attached, his soul is also in the context of the story!

Make him homophobic, but he's pretty sure only Europeans can be gay (just look at them!), and it's already so damn sad that they weren't born in beautiful, paradisical AMERICA, so he pities them instead of hating them. Make him think he's successfully being homophobic, but he has misunderstood what a gay person is and thinks it's a particularly venomous type of snake (men who kiss other men are fine, why would he care about that when there are HORRIBLE HOMOSEXUALS slithering around in the desert that he needs to go blow up right now before they bring this glorious nation to ruin). Make him homophobic, but literally "phobic" - he's shaking and crying hiding inside a cupboard, and his newly-outed gay friends have to lure him out with canned meat and a trail of small American flags, treating him like a feral cat that needs a little time and space to get used to people.

That's funny. It's likeable, it's charming. He isn't portrayed as a good person, or woke in a way that clashes with the themes of his character, but with a little maneuvering, he is faithful to what makes him such a legendary character in canon - being a silly caricature that brings us joy.

If Soldier himself needs to be gay? There are ways to make it happen. Same approach. Get creative. Make it silly. Go for thematically appropriate comedic explanations, not cop-outs or realism*.

That is what I think the TF2 fandom is lacking - understanding of how to manipulate context to make a character feel like their own unique, lovable selves.

Characters are not just visuals and personality traits. They are also what happens to them, what they conveniently find out, what they happen to miss.

This is the same for every story, but it is especially important to understand in a comedy. Doubly so in a whimsical, hyper-violent, morbid comedy like TF2.

It's one of the most important layers to be able to recognize, and an even more important one to be willing to try to recreate.

*Unless you feel like doing a deliberate deconstruction, in which case, go ham, sometimes actively engaging with canon means doing some real weird stuff to it to make a certain point on a meta level. This is obviously different from the issues I described above.

>3) "even the newer official comics don't even seem to really "get" the original game" … I've had a nagging sense for years now that the TF2 comics don't really match the game, tonally -- which has admittedly soured my enjoyment of them -- but I've never been able to put two and two together and fully determine why that is. What would you say they've failed to "get" about the work they're based off of?

While I very much love the newer comics on their own merits, I do think they are wildly removed from the game, and lack a lot of depth by comparison.

I believe the greatest failing of the comics, especially the long-form comic, is that the writers do not seem to be aware of either of the subjects I covered above.

They do not handle the satirical aspect well. The newer comic writers don't even really seem to be aware that there is a satirical aspect - they treat the world as just a silly version of mid-1900′s media, with a narrow focus on silver age comics (which were primarily superhero comics, not an easy genre to match with TF2′s more grounded setting - see the comic’s limp attempt at doing a Superman parody with Sniper) + a dash of the Man’s Life magazines (would have been a good match, if not for the fact that it’s primarily used as aesthetics, with no attention given to themes the way the game does with its own media references). They attempt to write parody only, and even the parody aspect is a hollow effort. Crucially, the writers don't seem to have much of an opinion of the old media properties they're parodying, and without opinions to guide a parody, it becomes shallow and lifeless. "Mid-1900′s media was a bit silly, right?" isn't enough of a hot take to justify its existence. It needs an axis on which to spin to feel complete.

Reiterating the point I made in my answer to question 1: the game's satirical aspect circled the point that was "American media made during the Cold War pushed a narrative that was illogical and ridiculously misaligned with reality."

Its absurd humor is grounded in reality and follows a thematic red thread that the comic does not. As a result, the comic (again, primarily later entries) loses a lot of the sting and edge of the game.

Even though the comic attempts to be more serious and "dark" at certain points, the much more silly and easy-going game (and Meet the Team videos, not to mention) comes out looking more mature, interesting and layered, even though many of the layers remain subtextual. The game is fully married to comedy and has no intention of "getting real", but it is loyal to the spirit of satire. It has opinions. It has bite.

In the game and early supplementary material, there is a dread and horror in the subtext that the comics tried to bring to light later on, but the comic writers didn't know what the scary thing behind the curtain was.

The scary thing was - is - the Cold War.

The scary thing is the dread injected into the genre it's satirizing by people who wanted American readers and movie-goers to be afraid. Scaring people into compliance, into finding a sense of safety and comfort in their national identity, was the entire purpose of many, many pieces of media released at the time.

The comic writers didn't notice the subtext and figured they had to make up their own reasons for why the world of TF2 is so utterly fucked.

They didn't understand the cultural context, and they missed the mark entirely.

This also hindered the comic writers' ability to reproduce the game's humor and characterization. Without understanding where exactly the game's humor was coming from or why the characters were so likeable despite being horrible people, they lacked direction. They made the characters at the same time too impassionate, too stupid, too uncaring, and too nice. All together, the characters became less interesting, less likeable.

Example:

- In the game, Spy was not intended to be Scout's father. Spy having a relationship with Scout's mother emphasized Spy's craftiness and intelligence (undermining the enemy team not only through brute force, but through infiltrating their personal lives), and showed off the strengths of his aforementioned "softness" and sentimentality (he's the only mercenary shown to have consistent luck with women). It also emphasized the flaws in Scout's worldview, and his status as the team underdog, and showed a clear contrast to Scout's non-existent love life. Spy came out of the situation funny and likeable because he 1. was portrayed as cool and capable in a way the other mercs aren't, and 2. his softer side is simultaneously humorously endearing, consistent with the rest of his characterization, and highly informed by the satirical aspect of his character in a way that clicks perfectly thematically. Scout comes out of the situation likeable because his ego is balanced out by his bad luck - you can simultaneously see that he's trying too hard and why he's trying too hard. Spy and Scout's dynamic in-game is also fun and interesting, because you have a tough, hyper-violent, wannabe-macho young man who is desperate to gain the respect of both his team and his enemies getting freaking owned by a guy who is nowhere near the impressive-tough-guy ideal Scout strives to embody. The game's satirical points inform the characters and their actions, which gives the comedy depth and nuance, which in turn makes all characters involved fun to watch and easy to get invested in. It is the establishing of and subsequent pointing-and-laughing-at an ideal that produces engaging, character-driven comedy in this situation.

- By contrast, the comics decided that Spy was Scout's father. Spy's motives for getting involved with Scout's mother is no longer about gaining intel on his enemies. In this version of events, his motives are reduced to merely wanting to reconnect with an old flame. This completely undermines the dynamic described above, for multiple reasons: the situation no longer shows Spy as having a particular skillset that sets him apart from the other mercs, he is no longer portrayed as emotionally "softer" than the others (in fact, having left a poor woman to raise and feed 8 kids on her own while he was off enjoying his upperclass life makes him look incredibly cold in a way that is distinctly unfunny; I don’t think the writers thought this part through), Scout's comedic poor luck is no longer on display, and the "macho character is humiliated by the type of guy he respects the least" satirical aspect no longer works. There is an attempt to replace it with a mutual "ugh, I'm related to this guy?" running gag, but it's a very pale substitute for the layered, strongly characterized, thematically appropriate dynamic present in the original game. Spy comes out of it looking like more of a cowardly, cold-hearted fuck-up than a hilariously brilliant tactician with a heart. Scout comes off way too pitiable, because he is not responsible for his own misery here, and the person horribly bullying him and picking apart his self-esteem on the battlefield is his absent father who abandoned him as a child. He's not an objectively badass character who nonetheless fucks himself over in humorous ways trying to chase an ideal that objectively sucks - he's just a regular shitty guy who ended up in bad circumstances because of things outside of his control.

The comic writers didn't understand what Spy and Scout respectively represented in the game, and because of this, they didn't realize they were taking the characters off the rails and making them much less interesting as a result. They didn't realize they were killing off an endless source of comedy that supported the game's satirical angle in a fun, unique, dynamic way.

It resulted in a flat, flavorless subplot. It had some superficial attempts at "heartwarming" moments ...

... but here's my take: if the writers wanted to include more warmth and sincerity in the comics, wouldn't it have been way more heartwarming if Spy started treating Scout as his son even though he wasn't?

Would it not have been way more endearing to see him look out for his girlfriend's child, not because he has any personal ties to him himself, but because he knew if anything happened to Scout, his mother would be devastated?

Why not build from there? Why not make it an active choice? Why not preserve the existing dynamic and themes, and just follow that narrative thread to its logical conclusion?

Spy has an established sentimental side. Scout is desperate for approval. The reluctant surrogate father/son development practically writes itself. It would have been such a good way to explore TF2's themes more explicitly, too!

But again, the comic writers did not seem to realize the game even had themes.

I do like the newer comics. I do think they're really fun, and I did even enjoy the "Spy is Scout's father" subplot in its own way. But this complete inability to identify the game's themes, and thus the source of all its comedy, and thus the red thread defining characterization - it resulted in supplemental material that was lackluster, directionless and unable to scratch the same itch the game does.

They're good comics, but they're hardly TF2 comics.

>4a) … Sheerly out of curiosity, how do you feel Expiration Date holds up, in comparison?

Similar to the way I dislike Spy being revealed to be Scout’s biological father for coming off as a stilted, superficial attempt at being “heartwarming,” I also immensely dislike later supplementary material trying to promote Ms. Pauling to Scout’s recurring love interest for the exact same reason. Expiration Date pushes this subplot way past its breaking point and shows off extremely well why the “jerk characters are secretly a bunch of softies” treatment is so deeply, deeply out of place in TF2.

Back in the early comics, Scout hitting on Miss Pauling was played as a joke at his expense. He was an idiotic, sexist guy incapable of talking to a pretty woman without trying to fuck - she was a highly skilled and deviously manipulative minor character who mostly existed to show off how dangerously competent the Administrator and her people were. Scout acting like an utter dumbass too entrenched in his own limited worldview to notice what was happening right in front of him was important characterization for him, Miss Pauling’s quiet, calculating efficiency was important characterization for her boss, and their clashing personalities set the tone for the dynamic between the entire team of mercenaries and the conspiracy going on right under their noses.

Expiration Date chose to eliminate these layers and invent a completely new conflict for these two specific characters to go play with in a corner, which had nothing to do with their original characterization or the larger plot. Scout is now portrayed as being genuinely in love with Pauling, even noticing small details about her mannerisms and knowing about some of her interests, even though the entire point of their original interactions were that Scout was so busy trying to live his tough-guy-with-a-pretty-girl-on-his-arm fantasy he did not bother to listen to or learn anything about the women unfortunate enough to cross his path, allowing Pauling to carry out her job without causing suspicion.

Instead, Scout’s sexist approach to interacting with women is played for sympathy (”he’s actually a romantic underdog because the lady he likes accurately clocked him as an idiot!”) and inadvertently validated (”once she gave him a chance, she found out he’s actually a pretty okay guy!”).

In the process, Miss Pauling loses far too much of her usual competence, being visibly freaked out over having to perform a job she’s been shown to handle with grace in the past, and being taken aback by what should by all rights be routine weirdness in this world, all so she can have an eye-roll-worthy forced positive reaction to the entire experience at the end of the short, in a weak attempt to justify why she comes to like Scout more despite all the trouble he’s caused for her and wants to spend more time with him in the future.

The romance subplot is only made possible because the characters are heavily edited compared to their past portrayals, is only able to develop in the direction it does by aligning itself with the values of a character who existed to be a laughable, obviously-mistaken caricature, and is only able to distill a happy ending to the whole mess by stripping the other character of personal standards and agency.

Scout and Pauling are frankly two halves of a whole shitshow in Expiration Date, because the writers either didn’t notice or didn’t care about what older works were gunning for - all they saw was that Boy Liked Girl, Girl Did Not Like Boy, and that just wouldn’t stand! After all, everyone likes romance, right?

Scout, as he is portrayed in the game and in the early supplementary material, is one of my absolute favorites of the mercs. I find him incredibly funny, and the way his hyperactive, fun-loving, jokey traits overlap with his intense bloodlust (literally - he’s the class with the most weapons available that cause bleed damage!) and barely-suppressed rage makes him fun and fascinating. The little man has so much unchecked ADHD and cultural trauma he just has to go and kill people about it, which is just so intensely relatable in the “forbidden mood” way TF2 handles so well.

Unfortunately, I get the impression he has in later years fallen victim to the curse of being a skinny young white guy character, making him a target for writers who think every series needs a relatable everyman protagonist for either themselves or the audience to project onto (and who think skinny young white guys are the most relatable people around, for reasons you can probably imagine I’m not personally very fond of).

TF2 absolutely does not need a character like that, and butchering Scout’s established personality in the name of “relatable” and “wholesome” is first of all Some Bullshit, and second of all a lost cause. The character simply has too much baggage as an over-the-top caricature to be comfortably rewired into an author- or audience-surrogate. He’s always going to come out looking like an asshole - whether this aspect of his character turns out likeable or unlikeable is entirely controlled by whether the story itself acknowledges it.

I did find Scout and Spy's dynamic to be quite well done, though, especially if you ignore the "Spy is Scout's father" reveal from the later comics.

The idea that Spy didn't have to go and do all that, but has grown a soft spot for Scout purely because his girlfriend clearly loves her incredibly annoying boy and her happiness is his happiness, is perfectly in-character. Scout has also long been established to desperately crave approval from his teammates, and on paper, the idea of putting him in a situation where he had to let go of some of his macho man dignity, imitate Spy more closely and ultimately win a tiny bit of that approval he's been looking for is interesting and plays well with the game's existing themes.

It's just a shame Scout's motivations ended up being conjured out of thin air, in direct conflict with past characterization, for the purpose of enabling a schmaltzy, tonally dissonant romantic subplot.

tl;dr, I'm conflicted on the subject of Expiration Date. It's funny, it's cute when it's not trying too hard, and seeing the mercs dick around off the clock getting into stupid shenanigans together is something I've always wanted to see in a longer animated format. It’s largely a good time and a fun watch, despite its questionable gender politics and trope-y execution.

However, like the newer comics, it suffers immensely from writers who are simply unable to identify the themes, characterization and comedy style of older material, and thus, in my opinion, falls way, way short of its potential.

>4b) I'd be very curious to hear your thoughts on Emesis Blue, should you end up watching it.

I'll be sure to share my opinions if I ever get around to watching it!! I'm super curious about it. As I mentioned in another post, what little I've heard of it seems much more on-point thematically, and even with the characters being so far removed from their official characterization, I really get the impression this is a deliberate, informed choice, in stark contrast to the newer official supplementary material. I’ll be sure to drop some words on it if I ever get around to watching the full thing!

Anyway, that about wraps up my thoughts! If you’ve read this far, thank you for sticking with it, and please do consider reblogging - I’ve spent an insane amount of time writing and re-writing and fact-checking this, and I would love for it to reach just half of all the people who were curious about my initial posts on the subject. :’)

Follow-up questions are very welcome, though to be clear: I’m not really interested in “debating” the subjects I’ve talked about here. I know I posit a lot of hard opinions in this post and not everyone is going to agree with me and that’s fine - if you feel differently, I invite you to simply ignore me and write your own take on your own blog. No hard feelings, I just don’t enjoy those kinds of discussions. (Corrections on any factual mistakes I’ve made are of course encouraged).

#team fortress 2 #tf2 #tf2 analysis #tf2 meta #tf2 comics #soldier tf2 #spy tf2 #analyzing comedy #analyzing satire #deerchatter

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