#not just for female princesses either. i mean this as the archetype of The Princess

[embraceyourdestiny]

the lonely princess

#slay the princess #princess trope #all princesses in waiting are the same princess at heart just waiting for their night #poetry #poetic writing #formatting poetry #experimental writing #fairytales #the princess and her prince #those voices are all the lives of different stories with different princesses finding their prince #rosamund du prix #rapunzel #sleeping beauty #any princess you can think of that is she #not just for female princesses either. i mean this as the archetype of The Princess #archetypes #embraceyourwriting #meta #meta writing

[period-dramallama]

A long (partly humorous) review of: Elizabeth and the Prince of Spain

Part 1: where this book sits

TLDR: i recommend this book. Of the 19 Tudor novels I have read, this takes the No.1 slot quite easily, by at least 15%. Spoilers below cut, but honestly the book is not diminished in quality by knowing exactly what happens.

Requested by @maximumphilosopheranchor

So the 1950s was something of a mini golden age in classic historical fiction. We had Memoirs of Hadrian (1951) The Man on A Donkey (1952) Elizabeth and the Prince of Spain (1953) Katherine (1954) and The King Must Die (1958). Though that's not to say all the histfic was good- there was boring Wikipedia summary-esque cringe histfic around too. The difference between cringe histfic then and cringe histfic now is that the latter uses too-modern language whereas the former clumsily attempted tudor language and ended up with tilly valleys and 'tis and 'twas and beshrew me verily.

I need to be careful reviewing this book because I can't deny it has a lot of my favourite tropes/archetypes/plot devices/what have you: the unscrupulous hero, the pragmatic heroine, enemies to lovers (ish), lovers (ish) to enemies, daddy issues, all sorts. I will do my best to be objective but at the end of the day reviews will always be coloured by enjoyment even when the book in question is knowingly and blatantly trashy.

Irwin had already written two books about Elizabeth: Young Bess (1944) and Elizabeth Captive Princess (1949). I can't say I recommend either book. Young Bess writes Elizabeth well but is hindered by a long long subplot involving Thomas and Edward Seymour and Anne Stanhope. Thomas, Edward and Anne are all unlikeable characters but not in a fun way, all three are just contemptible. Anne is also unusually 2 dimensional for a female character written by Irwin. Which means you really don't care what happens to them and you don't care when they destroy themselves because fuck 'em. Elizabeth Captive Princess is solid and unobjectionable but just.. not memorable. I cannot remember one thing about it. Like I gave Young Bess 7.5 and Captive Princess 7, but this book is the only tudor novel to rank 9.5. That's the jump in quality.

It's good, I think, that both books exist, because by the time Irwin came to write this book, she knew her Elizabeth inside out, so she could really hit the ground running in terms of characterisation.

I do wonder if Irwin planned to write this book when she wrote Young Bess. There's a line in Young Bess where Kat Ashley says Elizabeth will only love men who remind her of Thomas Seymour. But Seymour and Philip are polar opposites in pretty much every way. Brunette/blond, tall/short, Arrogant/insecure, reckless/cautious, short-termist/calculating, extroverted/introverted. So Philip doesn't exactly remind her of Seymour. There's nothing in Young Bess to suggest that the author thinks Ashley is mistaken, and the later books don't retcon Young Bess. Elizabeth doesn't fall in love with Philip, but she does consider him compatible and she thinks if she married him, she'd fall in love. If Ashley were supposed to be correct, Elizabeth surely wouldn't consider Philip compatible (even if she didn't know why).

It's not the only continuity error: in Young bess, Henry VIII knows of Mrs Cranmer's existence but not in this book where Cranmer conceals his wife's existence from the king by hiding her in a box.

^so we open with a scene a little like this, with Philip's tutor having a bit too much fun watching Charles V's Fleet get trashed by the weather. Given that the real Philip complained of his bad luck, it feels fitting that his first scene is him learning life isn't fair. (Also foreshadowing a certain event getting trashed by a certain country's weather in 1588).

From the first scene Irwin quickly establishes herself as a writer: her skill at imagery and metaphor, her ability to set a scene with minimal description (something I appreciate in a writer, although others like long long descriptions).

I appreciate that Irwin doesn't pretend that Philip was tall. She knows he doesn't need to be tall to be appealing or intimidating. He's a short hottie. A shorttie if you will.

There's a moment when all of Charles' clocks chime at once except one- the smallest which chimes in late, irritating Charles. I like to think this is foreshadowing: the smallest clock representing England, doing its own thing and upsetting Hapsburg plans in the process.

Charles isn't in the book very much at all, but that doesn't stop Irwin from giving him a well defined personality. His dynamic with Philip is entertaining and reveals a lot about both of them.

Charles is very disappointed by Philip's letter of condolence.

I can only assume Philip’s letter looked something like this:

You could argue that this book has a male femme fatale in the form of Philip, given that he's advised to basically 'give Mary good sex and she's putty in your hand'.

There are some areas in this book where you can tell historiography moved on: Juana being crazy, Elizabeth not liking women, the rather silly myths about Henry VII getting his crown in a thorn bush and Cranmer hiding his wife in a box. There are also historical errors that are rather baffling because I have no idea where they came from (not helped by Irwin's attitude to bibliographies basically being 'who can be arsed to write one'). Like Jane Dormer is described as a widow and Philip has five children by Isabel de Osorio even though there's no evidence for either being the case, and nothing to gain from making up such things.

Chapter one ends in a way that sets the tone for the rest of the book, with Charles basically being like 'oh shit, I forgot to warn him about Elizabeth being dangerous.' Well done Charles.

Overall I will say that this is a tricky premise to pull off as a novel and frankly Irwin is the only novelist I trust with it. Any other author- Fremantle, Gregory, Mantel, Plaidy, Prescott- would botch it. There would be moral judgement, there would be slut shaming. But not our girl Irwin. Our girl Irwin has our girl Elizabeth's back.

This is particularly striking as Irwin is/ was older than all of these writers, being 7 years older than Prescott. (You may recall that I suspected Prescott of slut shaming in The Man on a Donkey). I think this speaks to Irwin's intelligence and perception as a writer, that she avoids such obvious pitfalls.

#historical fiction #part 2 coming up #splitting into parts more for ease of reading #and the fact im typing this on my phone

[astriiformes]

i hope this doesn't come across as keyleth hate because it's really really not, but. i know you really like percy and keyleth from cr. percy i understand, but what is it that draws you to keyleth in particular?

Oh don't worry, it doesn't come off negatively! I get being curious about why people like the characters they do.

Honestly my love for Keyleth is twofold. I have a couple character types I like, and terrible tragic trauma boys are one of them (hence Percy, as you have deduced, haha), but another archetype I regularly have big feelings about are awkward/anxious idealists who are genuinely trying their best, even if it doesn't always go quite right. So that is absolutely one reason I am such a big fan of Keyleth. She tries so hard, and it doesn't always work, but she still believes very genuinely in the world having a lot of good people in it and trying to be one of them, and I relate really deeply to that sentiment.

But the other reason I love her so much is because I love Percy! I'm gathering you've maybe been watching the animated show, where it isn't quite as obvious (although there was some very good content with them both in Ep4 this week, which I was delighted by), but Percy and Keyleth are, canonically, each others’ best friends, which I love for so many reasons. I love to see a strong, extremely close friendship between a male and female character that is regularly shown to be just as important to each of them as their relationships with their respective romantic partners, I love the extremely "opposites attract" thing they have going on, both because "knockoff Disney princess and her best friend, the gothic horror revenge tragedy protagonist" is so incredibly funny AND because their players committed to exploring that so deeply -- the two of them have some really, really interesting conversations about philosophy over the course of the campaign that clearly show Keyleth's optimism and Percy's pessimism, where they even get genuinely upset over their differences, but they always circle back around to how much they care about each other in the end (and they care about each other a LOT), I love that even though the two characters are so different they are still regularly shown to have interests in common -- and even bond over ones they don't share (Keyleth regularly helps Percy in his tinkering lab, even though she's not an inventor herself) -- get up to shenanigans with a hilarious amount of Drift Compatibility, and be super physically affectionate with each other. (The latter is Taliesin and Marisha as much as it is Percy and Keyleth, but the two of them were always so clingy/cuddly/huggy sitting next to each other at the gaming table that I have absolutely extrapolated it onto their characters. I like to think Keyleth was the one who dragged Percy into liking hugs more).

Anyways, between them they really speak to what are probably my two favorite archetypes, and the fact that they also happen to be best friends who love each other very much seriously solidified my love for both of them -- and also means the two of them have one of my favorite friendships in all of fiction. I'm really excited to see if the animated show dips into that more (I imagine it will, it's clearly something Taliesin and Marisha liked about their characters, too), but either way it's something I see as very inextricably intertwined with my love for both of them.

#critical role tag #r: weeds or wildflowers

[zhoras-bitch]

Who are you thinking the new RP route is gonna be? 👀👀 I'm hoping it's either Quince, Gideon, Hazel or Pax ☺️ - 🎵 anon

So looking through the list of Reigning Passions side characters, I think we can narrow down the possibilities to:

characters who appeared in the upcoming routes survey after Sevastian and Amara S1 were released: Tristan, Thea, Gideon, Hazel

characters who are featured in multiple routes and are well-liked enough to possibly warrant their own route: Ruelle, Quince, Pax, Nisse

Short answer: I am like 99% sure that the new route is Ruelle, and I like her alright, but if I were to choose a new RP LI based on my preferences, I'd choose Quince and Nisse.

Long answer going through all of the characters under the cut:

First, I think we can cross out Thea and Tristan. I have not seen one person who likes Tristan, I don't know how he made it into the survey in the first place. Thea is a more interesting choice, her status as a High Priestess could make for a unique story compared to other routes, and she is stunning lookswise. Personally, if her route was announced, I'd be intrigued. However, she has not made an appearance since Sevastian and Amara (except a cameo in Xenia's route, which was so brief I am not even sure I'm not making it up). And even when she was still a prominent character, I don't think I've seen a lot of people who were interested in her route.

Gideon is a good option. He's the cold, stand-offish older guy who is kind of rough around the edges and has a mysterious dark past. It's a popular archetype which Lovestruck has already done a few times (think Niel, Abel, Atlas; Bram and Nathan to an extent). In terms of potential plot, he is definitely one of the most interesting choices. He is (spoiler) an immortal alchemist, so already there is so much lore and backstory to be explored. His route could steer away from the court business and instead focus on arcane mysteries and Gideon's past, making it distinctly different compared to everything RP has done so far. Personally, these kind of mean emotionally distant men are my least favourite kind of LIs, but I'd read Gideons route for the lore.

Hazel is nice, I think the fandom deserves more masc/gnc female LIs, and it's about time Lovestuck made a route for a binary trans person. The problem is in the potential storyline. From what we've seen, Hazel doesn't have a mysterious backstory. She lives in Altadellys, which we've already explored a lot, and she seems perfectly happy with her place in life, so I don't know what her character journey could be like. There's no interpersonal conflict between her and MC, they are childhood friends and they seem to have a perfectly nice relationship. So all we're left with is MC being the heir, which has been explored so many times already. Because of this, I'm not that interested in her route.

You can tell by the amount of comments about her that Ruelle is the fan favourite. I guess people just really want a goth gf. The problem with her route is that a lot of ways it could potentially go have been done already: we have a bodyguard LI (Amara), a spy LI (Xenia) and a tsundere princess LI (Piama). I think there's still room for creativity though. Ruelle prefers to stay away from schmoozing with the court and playing the political game, and if I were to write her route, I'd lean into that. I'd find a way to make MC partner up with her on a mission, like hunting for info, stealing something or investigating. We could explore a different, 'underground' side of Altadellys. I also feel like MC's skills would be more applicable in Ruelle's line of work, so she would be more confident, creating a different, more balanced power dynamic between her and Ruelle.

Quince is a favourite of mine, I clearly have a type and his character hits all the right spots for me. He has a similar problem to Hazel though where we don't really have any plot hooks in his past. On the other hand, because we don't know much about him, it is easy to make up whatever backstory we want for him. We can't really do anything about his connection with the court though, so we are stuck with the royal affairs again. I think we could spice things up a bit though if we turn the usual scenario of MC coming into Altadellys and learning how things work there on its head. What if instead, Quince would be the one who has to learn from MC? Quince is kind to a fault where he can be oblivious to the injustices going on around him, so what if we have MC play the part of a disillusioned cynic who open his eyes to what is happening outside of Altadellys? The I could fix her/I could make him worse kind of dynamic, if you will. I would keep MC's heritage a secret from both of them as long as possible and make them try to fix things in the kingdom on their own.

Pax is intriguing. We barely know anything about him, but he gives me the gentle giant kind of vibes, which, judging by Leon, a lot of people really like. He is hinted to be some sort of an undead, which is... interesting. I guess his route would lean heavily into some weird magical stuff, but other than that, I have zero idea what it could be about. It would definitely be something very unique.

Finally, Nisse. I feel like everyone is sleeping on her because there's a great story set up right there. Have MC join the rebellion. That way we can have a route which will eventually make use of MC's heritage without the need to be bound to the court or Altadellys. Most of the story could be set in the Wilds, which is something no route has done before. And however the reveal about MC being the heir plays out, it's bound to be interesting. Personally, I really like the idea of Nisse as an LI, she's cocky, confident, but sociable, and I don't think Lovestruck has done an LI quite like her yet.

#answered #🎵 anon #lovestruck #lovestruck voltage #reigning passions #rp

[song-of-oots]

Fuchsia Groan: my (un)exceptional fave

A while ago a friend of mine was asking for people to name their favourite examples of strong female characters, and my mind immediately leapt to Gormenghast’s Fuchsia Groan because it always does whenever the words “favourite” and “female character” come up in the same sentence. In fact scratch that, if I had to pick only one character to be my official favourite (female or otherwise) it would probably be Fuchsia. There are not sufficient words in the English language to accurately describe how much I love this character.

The issue was that I’m not sure Fuchsia Groan can accurately be described as “strong”, and until my friend asked the question, it hadn’t even occurred to me to analyse her in those terms… 

Actually this isn’t completely true; Mervyn Peake does describe Fuchsia as strong in terms of her physical strength on multiple occasions. But in terms of her mental strength things are less clear cut. She’s certainly not a total pushover, and anyone would probably find it tough-going to cope with the neglect, tragedy and misuse she suffers through. In fact, this is something Mervyn Peake mentions himself – whilst also pointing out that Fuchsia is not the most resilient of people:

“There were many causes [to her depression], any one of which might have been alone sufficient to undermine the will of tougher natures than Fuchsia’s.”

Anyway, this has gotten me thinking about Fuchsia’s other traits and my reasons for loving her, going through a typical sort of list of reasons people often give for holding up a character as someone to admire:

So, is Fuchsia particularly talented?

No.

Is she clever, witty?

She’s definitely not completely stupid, and her insights occasionally take other characters by surprise, but she’s not really that smart either.

Does she have any significant achievements? Overcome great adversity?

Not really, no.

Is she kind?

Yes. Fuchsia is a very loving person and sometimes displays an incredible sensitivity and compassion for others. But… she can also be self-absorbed, highly strung, and does occasionally lash out at other people (especially in her younger years).

So why do I love Fuchsia so much?

Well, I’ll start be reiterating that I don’t really have the vocabulary to adequately put it into words, but I will try to get the gist across. So:

“What Fuchsia wanted from a picture was something unexpected. It was as though she enjoyed the artist telling her something quite fresh and new. Something she had never thought of before.”

This statement summarises not only Fuchsia but also the way I feel about her (and for that matter the Gormenghast novels in general). Fuchsia is something I’ve never really seen before. On the surface, she fits the model of the somewhat spoiled but neglected princess, and yet at the same time she cannot be so neatly pigeon-holed. It’s not just that her situation and the themes of the story make things more complex (though that is a factor); Fuchsia herself is so unique and vividly detailed that she manages to be more than her archetype. She feels like a real person and, like all real people, she is not so easy to label.

Fuchsia is also delightfully strange in a way that feels very authentic to her and the setting in general (which is particularly refreshing because it can all too often feel as though female characters are only allowed to be strange in a kooky, sexy way - yet Fuchsia defies this trend).

She’s a Lady, but she’s not ladylike. She’s messy. She slouches, mooches, stomps and stands in awkward positions. Her drawing technique is “vicious” and “uncompromising”. She chews grass. She removes her shoes “without untying the laces by treading on the heels and then working her foot loose”. She’s multi-faceted and psychologically complex. Intense and self-absorbed, sometimes irrational and ruled by her emotions more than is wise, but also capable of insight and good sense that takes others by surprise. She is extremely loving and affectionate, and yet so tragically lonely. Simultaneously very feminine and also not. Her character development from immature teenager to adult woman is both subtle and believable. She has integrity and decency – she doesn’t need to be super clever or articulate to know how to care for others or stand up for herself.

Fuchsia is honest. She knows her own flaws, but you never catch her trying to put on airs or make herself out to be anything other than what she is. She always expresses her feelings honestly.

She’s not sexualised at all. I don’t mean by this that she has no sexuality – though that’s something Peake only vaguely touches on – but I don’t really feel like I’m looking at a character who was written to pander to the male gaze (though her creator is male, I get the vibe he views her more as a beloved daughter than a sexual object).

Finally, I find her highly relatable. I am different to Fuchsia in many ways, but we do have several things in common that I have never seen so vividly expressed in any other character. This was incredibly important to me when I was a teenager struggling through the worst period of depression I ever experienced – because she was someone who I could relate to and love in a way I was incapable of loving myself. Her ability to be herself meant a lot to me as someone struggling with my own identity and sense of inadequacy. It didn’t cure my depression, but it helped me survive it.

What am I trying to say with all this?

I love Fuchsia on multiple levels. I love her as a person and also as a character and a remarkable piece of writing. I mention some of the mundane details Peake uses to flesh out her character firstly because I enjoy them, but also because it’s part of the point. Her story amazes me because it treats a female character and her psychological and emotional life with an intense amount of interest regardless of any special talents or achievements she happens to exhibit. She doesn’t fit the model of a modern heroine but neither does she need to – she’s still worth spending time with and caring about.*  To me the most important things about Fuchsia are how different and interesting and relatable she is – and how real she feels.

* To be honest, this is part of the point of the Gormenghast novels in general. The story is meant to illustrate the damage that society – and in particular rigid social structures and customs – can do to individuals with its callous indifference to genuine human need. Fuchsia is one of many examples of this throughout the novels. These characters don’t need to be exceptionally heroic in order to matter – they just need to exist as believable people. And despite how strange they all are, they often do manage to be fundamentally relatable.

Why am I talking about female characters in particular here?

The focus on “strong” female characters and the critique against that is pretty widely acknowledged. Growing up, I definitely noticed the lack of female characters in popular media and the ensuing pressure this then places on the ones that do exist to be positive representations of womankind – someone girls can look up to. It’s very understandable that we want to see more examples of admirable female protagonists, given that women were traditionally left to play support roles and tired stereotypes. The problem is that the appetite for more proactive female heroines can sometimes lead to characters who are role models first and realistic human beings second (characters who I mentally refer to as Tick-All-The-Boxes Heroines). It’s not a problem with “strong” proactive heroines per se, but rather lack of variation and genuine psychological depth (not to mention a sometimes too-narrow concept of what it even means to be strong).

Male characters tend not to have this particular problem because they are much better represented across the whole range of roles within a story. You get your fair share of boring worn out archetypes. You get characters who are meant to represent a positive version of heroic masculinity (and now that I come to think of it, having a very narrow and unvarying presentation of what positive masculinity looks like is its own separate problem, but outside the scope of this particular ramble). We don’t usually spend time obsessing over whether a piece of fiction has enough examples of “strong” male characters though, because we’re generally so used to seeing it that we automatically move on into analysing the work and the characters on other terms. And because there are often more male characters than female, they don’t all bear the burden of having to be a positive representative of all men everywhere. They exist to fulfill their roles, and often exhibit more variety, nuance and psychological depth. They are also often allowed to be weird, flawed and unattractive in ways that women usually aren’t (which is a damn shame because I’ve spent my whole life feeling like a weird outsider and yet this perspective is so often told primarily through a male lens).

Tl:dr; Fuchsia Groan is a character who feels like an answer to so many of those frustrations that I felt growing up without even truly understanding why. A large part of why I love her is simply because of how much I relate to her on a personal level. I admire her emotional honesty and her loving nature… But there’s also a part of me that was just so relieved to find a female character who exists outside of the usual formulae we seem to cram women into. She is unique, weird and wonderful (but non-sexualised). Psychologically nuanced and vividly written. She isn’t exceptionally heroic or talented or a high achiever – but she does feel like a real person.

Female characters don’t need to tick all the right boxes in order to be interesting or worth our time any more than the male ones do.

#fuchsia groan #gormenghast #mervyn peake #female characters #mental health #depression #long

[time-to-write-and-suffer]

Hi! Since you've written a book, which is a great achievement! Congrats! And I really enjoy your writing style from the little snippets I've seen and from mechanic Princess when it was on wattpad (I have a soft spot for kit, she's such a queen.) I was wondering what has your process has been like in plotting and outlining your books? I tend to really struggle with plotting and outlining since I'm more of a pantser, so sometimes my wips have the tendency to loose focus. Also in terms of characters, I absolutely adore the way you write your characters and the fact that you write such human characters and female MCs that don't follow the Mary Sue/Not like other girls trope. I also love that Val is a pretty boy who is a bit of a loser and not a muscular henchman who gets all the ladies and who's only personality is toxic masculinity on steroids like a lot male love interests I've seen in media/literature nowadays, so thank you for that. Also Lin slays, that drawing of them you did a while back had me simping, your art is too good! Anyways, getting back to the main point I was wondering what your process in creating your characters, do you come up with their appearance or personality first and if so what determines that and why? Do you use a character template of sorts or do you kind of drop them in a situation and discover more about them as you go along? Sorry for this humongous ask. I'm just a very rambly person. Anyways hope you have a great day and hope you're doing ok. ❤️

Hi there! Thank you for the kind words and for this lovely ask! No need to apologize at all! <3

I'll do my best to answer your questions and I'm sorry in advance because frankly I don't know what I'm doing, so my answers might not be very enlightening :')

Plotting/Outlining

When I was a wee babe, I used to come up with a lot of ideas and start writing them instantly, which inevitably meant that my enthusiasm fizzled out after a chapter or two (or 100k words, but hey) and then the idea died a slow death. If you have a similar issue, then you might not be a pantser at all, and outlining might be a thing to look into! I did that, and well, I always end up shifting stuff around and abandoning or rewriting the outline anyway. But that's the point of an outline. I think many writers think they're pantsers and avoid outlines because they feel they're restrictive? But outlines aren't set in stone, they're just as, if not more malleable than the actual story. They're there to help you keep track of where you're going and how you're gonna get there, they're a map more than a schematic. I'm of the opinion that the only thing you really need when you start writing is the ending, the destination. Like, how does the story end? What are the main plot points you want to hit and how does it all conclude? It doesn't have to be exact or perfectly plotted, that takes time and edits and rewrites. But if you find that you end up abandoning ideas because you don't know where you're going, it's probably because you need more structure than you currently have and your brain needs a concrete goal to work towards to keep itself stimulated.

(Also it should be noted that pantser and planner are relative terms and don't really ... mean anything. Like you don't have to self-identify as either and strictly do what's associated with the designation. Every writer is a bit of both, based on what works for them.)

Characters

Characters are easy to make and hard to make interesting and I'm always of the opinion that less is more. I want to make characters who are compelling, not necessarily unique. There's a reason character archetypes exist, because they're interesting even if they're generic. I also make OCs that just appeal to me personally.

My design process is uuh bullshit. And I don't recommend it. I'm a very visual writer and I picture the scenes and characters in my head as I write and think about them, which means that I usually have to know what a character looks like before I can start writing them. Like, I can sometimes agonize over a character's hair color for days and that's the only thing that stops me from writing. It's ridiculous and I hate it but it's how my brain works. This is usually only for main characters, though. Others I can usually shift around pretty easily, which is a relief.

Sometimes characters pop into my head pretty much fully formed and I have to tweak them and sand them down, but other than that they're ready to go from the start. It honestly depends on the WIP and/or the inspiration source.

I don't use any templates, but I do use Pinterest sometimes for visual inspo, though it seldom works lmao. And yeah, most of my character developing process happens in my head, I just take the OC concepts and put them in Situations and see how they react and bounce off each other. That usually is what determines their characterizations in the book itself, but sometimes they surprise me when I write as well.

As for what comes first, the face or the personality -- it's a bit of both? Or rather, both at the same time. I'm an artist (sounds so pretentious when I say it like that) and a character's appearance informs their personality as I design them. What they wear, how they carry themselves, these things all affect who they are and why they are that way. It also depends on the story as well, like symbolism and such (Hades and Persephone in my retelling, for example, are deliberately designed to look similar visually, while Val and Sidra are meant to contrast). I dunno how other authors do it, and I dunno if being a visual artist alters my process, but yeah! It's basically both at the same time! Plus, their clothing and appearance says a lot about the world they're in, too! So it all connects in a way.

Hope I managed to answer your questions! Please do not snap me out of existence if I didn't!

#blog stuff #personal

[gascon-en-exil]

Dark Deity Pre-Release Character Opinions

This isn't actually a tier list, but someone helpfully created a template for this game and it's as good a way as any to do a little visual showcase for this cast. Characters are listed by their class sets, which are fixed but offer a nice variety in terms of promotion options. My opinions on each are as follows, from left to right in each row. Most characters have introductory profiles written up on the DD subreddit, if you'd like to check them out yourself.

Warriors

Alexa

You know those buff female blacksmiths in Echoes and Three Houses that some people wish were playable characters? That's pretty much Alexa. Can't say I'm too hyped about her myself, but warrior + tomboyish female character will do that for me...or not do it, I suppose.

Benji

Seems to have been written to become a meme, and I still can't decide whether that's clever or stupid. Kind of like Raphael only with a bigger emphasis on training than on eating, and with brotherly devotion replaced with brotherly angst that might theoretically go somewhere if the character isn't reduced to being a goofy joke all the time.

Fenton

Doesn't have a character profile, so as far as I know he's just a generic dwarf because DD swaps out its inspiration's loli dragons and other vaguely fetishistic shapeshifters for the two most cliché non-human races in Western fantasy. I wonder whether his VA will voice him with a Scottish accent, to go all in on the (ironic?) laziness. There are a handful of elves in the playable cast, but Fenton is the only dwarf so for better or worse he's representing.

Helena

She's the embodiment of the FE exotic swordswoman archetype, but curiously DD seems to have turned that broad ethnic brush inward. Helena's last name is apparently a Japanese verb, her art shows her with a spear (as in the association of the naginata with women), and she studied and trained in a monastery that seems to blend elements of Buddhism and Shintoism. Not sure how all that fits into the larger setting yet, but at this point she's still got more background development than Petra.

Irving

Our Hero, the one front and center on the cover art. He sounds a bit on the blander side as far as lords or lord equivalents go, with his most promising hook for me being his established friendship with Garrick (see the ranger section). At best I can hope for a bit of a romantic friendship dynamic, although they sound a bit rougher overall as they're military academy schoolmates I wonder why DD went with that instead of lordlings of different territories.

Rogues

Brooke

Looks like Camilla; has a backstory like Niles. Cleavage aside though the sexual element of both is toned down here, and there might be some sapphic bodyguard shenanigans to be had as her current employers are a pair of highborn sisters further down this list.

Cia

For some reason she reminds me of Tressa from Octopath Traveler, only bustier and a bartender rather than a merchant. She's still just a small town girl with big city dreams, and this being a tactical war game following those dreams will inevitably involve stabbing people.

Corvan

Hard to judge him at the moment, as his profile was only the second written and so isn't terribly detailed. He's a moon elf with scholarly interests, apparently. Still, as of right now he's the only rogue who doesn't slot loosely into either a ninja/assassin or pirate aesthetic, so that's kind of neat. Also, he's one of several characters to have FEH-esque beach fanart made of them already, so clearly someone's into elf twinks.

Ford

A former officer at the military academy Irving attends and a smuggler who dotes on his niece, Ford has major dad energy. Per developer reveals he's also bi, and as I mentioned before I'm totally fine with that. More bear sex, please - but what guy in this cast would hop in the sack with Ford? Only time will tell. His personal skill makes him extra dodgy, which combined with the mug of booze in his art makes me think of WoW brewmasters who dodge-tank through the power of being wasted.

Wren

Like Brooke, he's an assassin from a foreign nation - in his case the same one as Helena so presumably he's a not!Japanese ninja. I'm not really feeling him at the moment. What is it about Hao'Fen (the city/territory he and Helena come from) and massive families? That comes up in both their backstories.

Rangers

Caius

I feel like this is the third or fourth character to grow up in some slum or other; at least they've all been in different towns so far. The relative rarity of noble characters is certainly different from FE, but it reduces the political stakes which leaves me wondering a bit about the story. Anyway, Caius is a small town desert hunter who learned how to make arrows out of animal bones. How aerodynamic is bone, I wonder?

Garrick

Irving's BFF and seemingly the Hector to Irving's Eliwood, only with more flirting (his intro doesn't specify that Garrick is flirting with women, but I'm not going so far as to say that indicates anything). He's the academy headmaster's son, with a strained relationship with his father for some of that hotheaded lead tension. Notably, his VA is the one I'm most familiar with in this cast, as he's the voice of Revali from Breath of the Wild as well as love interests in two different erotic gay dating sims I've played. In other words, I know what this guy sounds like making awkwardly simulated sex noises...and I have no idea what to do with that information.

Maeve

She's a half-elf with a very storied background, so much so that it's all rather hard to follow her exploits when little of what's being described has been fully revealed yet. I'm expecting her to be a mid/lategame recruit, unless she's dropped in early on to reveal that (sun) elves exist or something.

Rose

Imagine if Bernadetta were a commoner, although we can only hope they'll be less screaming. Alternatively, Neimi without an obvious boyfriend. She won the beach contest so now she has official swimsuit art, which I guess makes her a top-tier waifu in the eyes of players who care about such things.

Sophia

A ranger in the "has animal companions" sense, although whether that will come into play mechanically aside from her personal skill - Butter the ferret can attack with her! - remains to be seen. Her preference for the company of animals is explained by a lack of social graces, so prepare for klutz-related humor. Of note to those interested in F/F is that her introduction specifically brings up her connection with Sloane (see the mage section) and how close the two of them are.

Clerics

Faust

Doesn't have a profile yet, so not much to go off other than his decidedly unhinged look. The cleric class set does feature some darker-flavored options, so presumably he's more naturally aligned with those. His VA was announced to be the YouTuber behind So This is Basically Fire Emblem and other similar videos, so I'm picturing a kooky and somewhat demented Henry type.

Lincoln

Also lacks a profile at time of writing...clerics get so little love. The Discord has identified him a bland blond paladin sort, but as we know from the likes of Perceval and especially Dimitri that doesn't necessarily mean he'll be boring (or not gay).

Maren

The soft-spoken healer type, and also a childhood friend of Garrick although her intro sibling-zones him but then this game is inspired by FE so who knows if that'll stick. She may have some interesting thoughts on the theology of the setting, as there seem to be several faiths and she's said to have a complicated relationship with her own. I will be utterly shocked if she's not either Irving or Garrick's eventual love interest.

Samara

One of two princesses of the country of Aramor, which appears to be loosely inspired by the Middle East. Heaven help us if the Khalidstans ever get wind of this game. Unfortunately aside from her bond with her older sister (in the mage section) and the knowledge that Brooke has been hired as their bodyguard there's not much to Samara at the moment. Hopefully the clerics all do some comparative theology in their bond conversations, and this isn't like Sacred Stones where none of the clergy characters from different countries ever compare notes. The succession crisis involving Samara and her sister vs. their less-loved cousin the king's son might be a major plot hook? It's still too early to tell.

Vesta

Much like Maeve her backstory has entirely too much going on to really follow at the moment. Basically she's a human who grew up in a sun elf city because Reasons (seriously, I don't know what they are) and was called to a clerical vocation and also something about taking a journey. Has an unfortunate case of silly boob armor, which unlike a certain other character probably won't be rectified this close to release.

Mages

Alden

Maren's precocious younger brother, also basically Ricken up to and including the comically oversized hat. As a unit he follows the tradition of Donnel, Mozu, and Cyril of having a personal skill that buffs his stat gains, so it's safe to say he's a growth unit. At least he'll probably join early.

Liberty

Comes with dead brother angst and a connection to the "aspects" system that will hopefully make more sense once I've played the game and know how it functions both mechanically and from a storytelling perspective. Otherwise she looks to be a busty older - as in, not a teenage - mage in the vein of Calill.

Monroe

Got the first ever character profile, so it's really short. He's the son of a duke and sounds like a bit of a snob, albeit one that can make explosions happen to back up his haughtiness. He's got some scarring around his eye that surely must come with a story. Someone also made featured fanart of him in Heroes summer banner style, so I guess he's got somebody horny already.

Sara

Samara's half-sister, with comparable fantasy Middle Eastern flavoring. Has an interest in discovering magical artifacts and being a just ruler in the event she winds up on the throne (so, almost definitely), and she and Samara travel around with the assassin Brooke as their bodyguard. There's maybe some lesbian possibilities there? Either way, Sara has enough development where I could see her as a major supporting character.

Sloane

Comes with a genuinely fascinating backstory involving manipulative double-crossing parents, an education in the cruelties and deceptions of social life (reflected in her personal skill), and disinheritance - and yet it's all likely to be overshadowed because she may go down as DD's equivalent to Fates's face-touching. Her initial art is even more revealing than Camilla's, and while the developers later gave her a more modest redesign after negative feedback I get the feeling that this controversy may live on. Her introduction mentions her hunting for both heirs and heiresses and she's now been linked to Sophia, so safe to say she's another confirmed bi character.

Adepts

While the other class sets are standard fantasy fare adepts require a bit more explanation. They have innate magical abilities and appear to be feared and distrusted most places in the setting. Functionally they remind me of adepts from the Golden Sun series, if anyone is familiar with those games. The classes in the adept group tend more toward physical/magical hybridization than those of other sets, so that will probably be their mechanical niche. Oh, and their default weapon type is lances, which is a plus in my book.

Aurima

Along with Caius and the royal sisters, he's another one from the desert nation of Aramor. An arena fighter who got touched by a god in what I assume was a non-sexual way and came out of it with a new appearance and adept powers. Also, he's confirmed to be over 40 - how often do you see that in games like this?

Bianca

Looks like a more carefree Mathilda from Echoes. She's a ranking officer in the Delian army which sounds like it'd sit uneasily with her adept powers. Her profile describes Lincoln as her close friend, which is still about the most we know about him at this point.

Elias

This guy's writing plays more into the fairly standard coding that comes with adept powers, as we know they manifested shortly before he was going to confess his feelings to a male paramour and afterwards he was forced to flee his homeland and wander the world. He also spent time among dwarves, so insert short bear jokes here? In the present he's attached to Cia in what seems to be a platonic way; maybe she's a fruit fly, or maybe she just likes having a friend who can light drunken assholes on fire? Elias is definitely into guys, but I would still be a little surprised if he turned out to be totally gay as that's such a rarity in these sorts of things.

Iris

Oof, another lengthy and rough backstory. Iris had better parents than Sloane, but she also had to deal with permanent facial scarring (hence the mask) after a bandit kidnapping and the stigma of manifesting as an adept pretty much eliminating the prospects of her making a good political marriage. Also, she and Elias both come from Neullais, which is prominently featured on the continental map on the DD subreddit but doesn't seem to come up all too often in backstories. I think it's a not!France? Hard to tell.

Thae'lanel

A World of Warcraft blood elf, flowing anime hair and apostrophe'd name and all. I like WoW so that's not terribly grating, but as he has no profile yet there's little else I can say. Thae'lanel is mentioned in Maeve's introduction as a member of a sun elf group called the Exiled, which I'm guessing is tied to his adept status in some way. He and Maeve form yet another adventurer/bodyguard duo.

#Dark Deity #Fire Emblem #Well it's sort of FE

[aion-rsa]

Where Are All of the Mothers in Fantasy Fiction?

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This is a guest post from Gabriela Houston, the London-based Polish author of Second Bell, a Slavic fantasy debut described as a cross between His Dark Materials and The Bear and the Nightingale. You can find out more about the book here.

Historically speaking, the fantasy genre has a thorny relationship with motherhood. Technically, it’s acknowledged that the protagonists must have sprung from somewhere. But it is often solely their paternity that is seen as important—while the mothers, if mentioned at all, are usually either dead of irrelevant: unmentioned or languishing in a convent somewhere.  If the mothers (or stepmothers: a different type of a mother-figure) persist in being alive into their children’s adulthood they are most often presented as an obstacle to their child’s self-actualisation/quest, or, as is most common with the stepmother archetype, present an actual threat to the protagonist. 

Since mainstream fantasy as a genre was Eurocentric, this is a trend that is very much connected to the patriarchal structures persisting throughout Europe for most of recorded history.  King Arthur, whose legend was first written down in the 12th Century by Geoffrey of Monmouth, had a mother, of course, but her only real importance was in how her beauty drew the eye of Uther Pendragon, who raped her, conceiving Arthur. Since Uther ended up marrying Arthur’s mother, Igraine, story-wise all was considered to be well, and, her role in birthing the future king done, Igraine became an irrelevance, just as any feelings and thoughts she might have had on her second husband. All we know is she was beautiful, chaste and gave birth to the real protagonist of the story. 

The courtly love conventions forming the basis of many medieval European legends have seeped into the genre of fantasy, especially high fantasy, and have shaped the way in which female protagonists are related to. In most “traditional” fantasy, motherhood was seen as nearly opposite to personhood. A female character’s value centred squarely on her attractiveness to the male protagonist, meaning that the moment she aged/became a mother, she ceased to hold that particular form of attention that comes from extreme youth and innocence. Motherhood is seen as the end of a female character’s journey. The experiences, shifting relationships and emotions linked to motherhood are not seen as interesting enough to garner any space at all. 

In The Lord of The Rings, we are faced with a whole cast of missing mothers. Moreover their absence is not noted as particularly important or carrying any emotional load. Aragorn, son of Arathorn, clearly had a mother, but when his father died he was shipped off to live with the elves. We neither know, nor are expected to care about what his mother thought on the subject. Then, of course, he falls for the elven maiden Arwen, whose mother, we’re told (as an aside) had the good sense to disappear from the scene by sailing beyond the sea before the plot of LOTR begins. Frodo Baggins’ mother helpfully died before he was born and Bilbo Baggins has the rare privilege of having a named mother, Belladonna Took, who, however, is quite dead by the time The Hobbit begins, and is referenced only as a link between Bilbo and the adventurous Took clan. She was a Took and she birthed him. Thus her role ended.

The halls of speculative fiction are carpeted with the corpses of the mothers who died of  broken hearts and colds in order to not complicate their progeny’s journey. In fantasy TV and Film the trend, quite naturally, continued. In the original Star Wars trilogy, Princess Leia and Luke’s mother, Padme Amidala lived a full life of adventure but then died of a broken heart shortly after her children were born, as of course she should have done. Can you imagine, had she survived, the plot-spoiling link to their past she would have become? In Buffy The Vampire Slayer, Joyce Summer’s death, whilst arguably the critical highpoint of the series, was seen as necessary.  She had to die, or else Buffy might have never become who she was always meant to be. As a mother she was an obstacle, one the scriptwriters helpfully removed.

Occasionally, the death of the character’s mother brings about the advent of the perennial archetype of the evil step-mother. A twisted parody of what a mother should be, just as the dead mother was convenient to the character’s journey, the insertion of the stepmother exists solely to scupper all of the character’s efforts. The examples of the conniving stepmother trope abound in traditional folktales (like in Cinderella, or its Slavic equivalent, Vasilisa, where the young protagonist is sent off by her stepmother to ask a favour of the infamous witch, Baba Yaga), mythologies (think the ultimate evil stepmother, Hera, who habitually persecuted the innocent results of her husband Zeus’ many indiscretions), and, not surprisingly, in fantasy genre as well. 

In A Song of Ice and Fire by George RR Martin (which actually does portray an unusual range of mothers with agency), Catelyn Stark, an otherwise fiercely loyal mother, is a cold and distant stepmother to Jon Snow. In the first novel in Katherine Arden’s fantastic Winternight trilogy,  the main protagonist grows up in the shadow of her vapid, fearful and cruel stepmother. Part of the reason, I’d argue, why older women are so often portrayed as annoying and conniving, is because, as far as the traditional narratives are concerned, the whole of their role and purpose is fulfilled the moment their physical (youthful) attractiveness wanes. Those without the wisdom to exit the stage by dying become at worst a cumbersome plot bunny and at best an obstacle.

The issue of a lack of older women in fantasy is such an expansive subject that it demands the respect of a separate thought piece, really. And, as regards the stepmothers, I’m not saying, of course, that they should always be portrayed as kind and loving. But precisely because their archetype is rooted so strongly in our collective consciousness, it’s particularly important to acknowledge their humanity. And as far as the humanity of the older female (in the traditional fantasy fiction this seems to describe any woman over twenty) character goes, the good news is the tide is turning.

Part of the reason for that is that more women than ever are given the platform to write their stories. Perhaps somewhere along the way the publishing industry as a whole realised that as women account for the majority of fiction readers (according to one cross-Atlantic research they make up to 80% of fiction market), then perhaps portraying women as actual people, whose agency doesn’t evaporate once they get pregnant, might simply be good marketing.

In the recent years I’ve been ecstatic to see nuance brought into the motherhood trope within the genre. Where the mother of the character is dead, she is so for a damn good reason, with the echoes of her absence reverberating through the story in the most compelling ways, like in Tracy Deonn’s Legendborn. Mothers fight beside their children, and grandchildren (Like the pink-haired protagonist of The Phlebotomist by Chris Panatier), and battle hardship and heartache, like in Madeline Miller’s Circe.

As a mother it was important to me to focus on the humanity of motherhood in my debut, The Second Bell. The mothers I wrote are not perfect, and they are not always right. And even when they are, they might not know it for certain. And that is the point. Mothers deserve their place in fiction not because they’re perfect, but because they are human. Their decisions are just as complex as their younger counterparts and are complicated further by their new and life-changing bond with their child.

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Writing mothers is writing humans. No more, no less. They matter and they are worthy of notice.

Second Bell will be released on Tuesday, March 9th. You can find out more about Gabriela Houston here.

The post Where Are All of the Mothers in Fantasy Fiction? appeared first on Den of Geek.

from Den of Geek https://ift.tt/30r63n4

#aion-rsa #Den of Geek

[newhologram]

Now that I'm once again committing to being openly #trans, stepping out of the rain and under the umbrella that used to keep me dry, I wrote something up for family, friends, and followers who may have questions:

Dear family, friends, and Holograms: Thank you for your kind messages. Even though most of you already knew this about me for so long, it feels so good to be more public, to be a voice just by being me, and to have your support. It's amazing to me to see that many of you have stepped into the role of an ally and are willing to learn more.

I'm writing this up to maybe offer some clarifications on things relating to trans identity in general but mostly my personal experience with gender. It's my hope that this will give you a template to work from. I don't want anyone to be so worried about offending me that they don't know how to talk to/about me. I want this to be comfortable for all of us. This is only my experience of gender at this time, so please remember that if you meet another trans/nb person, they will likely have a completely different experience than me.

Let's start with queer, which is an umbrella term for anyone who is not cisgender and/or heterosexual. It can be a useful label for someone who is not interested in having to spell out both their sexual/romantic orientation and their gender identity every time (it can get complicated even for us). Some of us might not fit neatly into the letters of LGBTQIA (notice it contains Q still) so this is the reason some people are comfortable with the label. Sometimes we do fit into the acronym, but queer is inclusive and we like it. It's also what's often used in academia. Queer history, queer literature, queer art, etc. Freddie Mercury is often referred to as a queer icon for example. Now, it can be a regional thing, as in some parts of America, queer is not considered a reclaimed slur (since it means "weird") like it is for say, a lot of Californians. While some of us feel empowered to own being "different" or "weird" while fighting for representation and rights, others may object to being called "not normal". Ultimately it's always up to the individual to decide what they are comfortable calling themselves, not what other people should be allowed to call themselves. I was always the weird kid and I have so much trauma around that and as an adult I'm like... yeah, you know what, I'm queer and proud. Now onto gender which is the focus of this post: transgender is an umbrella term. Trans as a prefix means "across" or "beyond", so transgender people have experiences and identities across or beyond gender. Non-binary is a gender identity under the trans umbrella. It refers to identities that are not strictly within the binary of man or woman. Non-binary itself is another umbrella term for many different genders such as agender (without gender), pangender (all genders), genderfluid (gender that shifts and changes), and many more. Gender is complex and varied across cultures and societies, so that's why there are so many different ways to describe it. Some may feel that not just one word works for their experience, so they may choose multiple labels or maybe even none at all. AFAB (assigned female at birth) and AMAB (assigned male at birth) is a way to describe what our assigned sex is without using "biological" or "born a (sex/gender)" as this is often used to invalidate trans experience --however, a lot of trans people who have transitioned may find it helpful to describe their experience as "born (and raised as) a girl" (again, up to the individual). We are all assigned sexes at birth but this obviously has no bearing on our gender identity or expression.

When I was a teen, "transsexual" was commonly used to describe a transgender person who transitioned, but this has fallen mostly out of use by now--But remember that being trans is not just about medically transitioning to another sex. There are many trans/nb people who do not transition, or who may make changes here and there to make their bodies more comfortable and fit their identity without necessarily transitioning. Whether or not this is a transition is going to be up to the individual. The social transition of coming out as trans/nb can be just as drastic as anything medical. (For those wondering why it even matters when celebrities come out as trans/nb if they aren't going to "change their bodies"--Visibility and authenticity. Just like I'm doing.)

Now on to me: I cannot accurately or concisely describe my lived experience of gender since it's informed every other experience of my life, but I will try. I'm NB and I definitely don't feel like a woman, but this doesn't necessarily mean I feel like a man either. "Boy" and "girl" do feel more relatable and accessible for some reason. I feel simultaneously and alternatingly like either, both, neither, all, any, and also just me.

Like I said, I can't really describe it. But for whatever reason, "boy", especially "feminine boy" has always felt more like my default energy. Don't ask me why, it is what it is. When I put on makeup, I never feel like a girl doing it even if I'm consciously exploring an archetype like "flapper girl" for example. It has always felt like princess drag to me. People were clocking me on this even when I tried to be a normal "girl". I often wonder if this is why I always felt so ugly before and now when I fully embody my gender as it is, I suddenly feel beautiful and comfortable. I feel closest to feminine or fluid archetypes, it's just how I express myself. This would not change if I were AMAB, I'd be just as feminine. I'd still be the same me.

Pronouns, for me: I can't say that my feelings on this will stay the same forever, but for now, I'm okay with any and all pronouns. I have some longtime followers who refer to me as he/him and that's amazing and so affirming!! *chef's kiss* But it's totally okay to use she/her with me too. Because I am aligned with feminine archetypes, I can't resist using she/her for myself often especially if I'm all dressed up in kawaii drag. They/them is also acceptable. This also goes for it being okay to refer to me as either a girl or a boy (or gendered family relation terms. But like, I'm Mommy to my cats, not Daddy xD)--Even though I'm not strictly one or the other, I feel all genders. While I agree with the common AFAB feeling of it being frustrating that she/her/girl/woman is always going to be considered my default by most people, and that this is/was a source of a lot of my gender dysphoria, I promise you won't offend me by referring to me as such. Often when speaking out my experience of being perceived as a woman, I might refer to myself as such because I'm talking about the way I am interacted with. (ie, it's okay to DM me like "HEY GIRL:･ﾟ✧ but the only way you’ll actually offend me is to insist I am “just a girl”/invalidate my lived experience/try to dictate my identity and labels)

It's still hard for me to share this very vulnerable part of my identity, even after having talked about it for 10 years online and with friends already. I'm probably going to keep having waves of anxiety over this as I shift into living daily life from the truest expression of myself. It really is enough for now to have you recognizing and acknowledging this very special big part of who I am and how I live. To be able to say it now everywhere and not just on my blog feels like a new universe being born. In closing, here are examples if that was too much information to ingest and understand all at once and you're not sure what words to use when referring to me: "This is my [family member], she's queer." "This is my friend New's page, he's non-binary." "This is my coworker's art, she's genderfluid." "This is a blogger I follow, they're pangender." "New is a trans model, this is his latest work." These labels and pronouns are all fine! :> I love you all. Thank you for letting me shine.

#teku #personal #gendery wendery #long post #this is written mostly for my family members who want to be allies #just thought it would help them a lot #and save me time explaining to everyone xD

[offtopicoverload]

Howdy there!! Who are the li’s you fancy the most from LITG??

hi! thanks for the ask!

i honestly dunno who’s my top answer, cuz they’re all interesting in their own way

I’m only going to talk about female LIs cuz the only male routes I’ve finished are Bobby and Jake, and I tapped through most of Jake and only ended with Bobby on my first run cuz I never unlocked Marisol, so I’m not the best source lol

Talia:

She’s just so chill but has no problem standing up for MC, she has her back no matter what

Which, like, what a queen

She’s the original and only one of 4 LIs, which maybe it’s just me, but for a game based on an incredibly heteronormative reality show, allowing representation for queer audiences from launch is such a big deal and so cool to me, so Talia’s kind of special in my mind

She was also my first LI so nostalgia points

And she’s such an easy LI, not much drama on her route outside of Lucy, just her having MC’s back as the boys make themselves look like idiots

And she has so much potential, like I know some people think her only personality trait is fancying MC, which I mean, is a little fair, but there’s so many opportunities for her in fics and headcanons to develop the good amount of information we got on her in 13 days

I absolutely love how self-aware and confident she is

She just went for what she wanted, struggled a bit with commitment at first, because who wouldn’t, but after that it was smooth sailing

Like obviously what she said in the Beach Hut at the beginning of the season wasn’t great for MC, but she knew exactly what she wanted out of her time on the show

She was confident in herself and her sexuality so much so that she was just down to have a fling with a girl and not worry about how it would effect the show

And then she *coupled up* with that same girl, not even giving a shit about the rules or anything

A queen

Allegra:

I know she’s not an official LI, but her arc is what got me into writing so she gets a million points for that

I love what could have been done with her progression if she was given an actual route, I’m a sucker for some good enemies to lovers, but alas, she’s canonically a bad bitch with a lot of internalised homophobia yet enough confidence to ask MC out

I still love her

Marisol:

I know so many people hate her, and I get it, but I do really like her growth

Maybe it’s cuz I’m pretty analytical too, but her analyses never bothered me or anything, and now that I’ve played her route so many times, it’s pretty obvious that that’s a defense mechanism, and I understand that

She very much so has a “figure their weaknesses out before they have a chance to figure mine out” attitude, and I’m 99% positive it’s because of the ex that Elisa reminded her of

So not only has she been burned in the past, I’m willing to bet it was by the only woman she’s been in a serious relationship with

I really have no problem with her commitment issues, it’s understandable, and I can really empathise with her fear of coming out, it’s absolutely terrifying even if you’ve accepted it and bought a flag, saying the words can be really difficult

My biggest issue is her entitlement and immaturity, I guess?

Like her using Graham to make MC jealous just feels like an excuse to crack on with him and still have MC available for when she’s ready

I understand her being scared to couple up, but playing games to distract herself just made things with MC worse

And unless youre on her route, and sometimes even when you are, it’s clear to me that she expects things and has no problem saying what they are, but going after them is a problem?

Like her going after Lurik even though they don’t have a connection, or Gary even when he’s with Hannah

But then it never works and she gets sad and I melt because I’m weak

ALSO, can I just say how awful it is that Lucas and Henrik don’t pick her unless they have to???

Like cmon she deserves MC after that

And when they finally couple up? And she’s all soft? The GROWTH ohmygod

Anyway I love who Marisol became, maybe not everything she started out as, but definitely the person she ended the season as, more confident and self assured and willing to be vulnerable

It’s precious

Elisa:

I still haven’t done an Elisa route

I tried to a couple months ago, but dumping Marisol felt so cruel, what the hell was Fusebox thinking with that?? 

I do really like that they learned from their mistake though, even if they went in the opposite direction

From what I’ve seen of Elisa, she can be pretty sweet, I’ve seen her described as a Lucas-Bobby hybrid, and while that’s not the most interesting personality to me, I will say that she’s a really cool character that FB messed up on

Why did they make her a straight up villain???

And why ONLY her???

None of the other female LIs have been villains or had such a complete 180

Like her going from shouting at Chelsea, who is literally meant to be MC’s ride or die and the person outside of your LI that youre supposed to want to defend and avenge, to “i cant even sleep because im pining so hard”

I know the treatment of black women has been discussed before, specifically in regards to Hope and Erikah, and it is by no means my place to speak on it, but I definitely think something’s going on with Elisa

Anywayyyy, I love her archetype

The celebrity and influencer has so much potential, to the point that I wrote a one shot without even knowing her lmao 

And she’s so confident in a way that’s so different from Marisol

She doesn’t even care if MC’s happily coupled up, she WILL get in her pants and I respect that

In conclusion, Fusebox did her dirty and I’m probably going to try and retcon some canon for her in the future

Lottie:

Ohmygod

Lottie

A goth babe

Lottie

Yeah, anyway, so I love her

Her growth is just unbeatable in my opinion

Yeah, she still has her flaws by the end of the season, but she went from ready to rip everyone’s throat out to biting her tongue around Hannah

And her and MC???

And the development between them??? 

Ugh

No matter what way you swing it, you’ve either got best friends to lovers or enemies to lovers and I adore both

And her aesthetic is one of my favourites, I’m alt myself and having a character like that is just so cool

My Runaways MC is a ball of sunshine with some hidden darkness specifically because Lottie’s such a dark cloud but can start shining with the right person, and that’s my absolute favourite trope

But man were the wedding episodes a cop out

Why couldn’t they give her the Noah treatment? Or the single treatment? Where they just get together after the show? Same with Hannah, why are they giving such an intense confession after who knows how long of literally nothing, like no communication even????

Don’t get me wrong, I kinda simultaneously love it for the angst and yearning, but it just… makes no sense?

So yeah, amazing bat lady that I seriously vibe with and wish my MC could have wifed up

Hannah:

I know this is a little controversial buuuut

I fucking love Hannah

But only OGHannah, Returning Hannah was butchered and I will never let that go

And it was such a toxic message too, that she needed to change herself and her appearance just to get a guy to like her?

Fuck that, Original Hannah was amazing and perfect exactly as she was

I love her trope, too, the naivety and how obvious and clear it was that she’s still learning about the world and relationships, to the point that it’s going to get her in trouble

And her obsession with fairy tales? 

Fucking adorable ohmygod

I started a fic a while ago that I think I’m gonna scrap, that just indulged in the fairy tale metaphors and stuff because I just love how cute it is lmao

If she wasn’t dumped, I think she could have had amazing growth alongside Lottie, and their friendship/kinda, probably, most-definitely-if-MC’s-not-there-more-than-a-friendship growing together would have been so good

In an alternate reality Hope was dumped instead, and that helps me sleep at night

I firmly stand by the fact that Noah should have been the deciding factor between Hope and Hannah/MC, where Lottie said something that screwed with his head earlier in the day to make sure her friends were safe

Noah should have saved Hannah/MC and Hope should have returned with Rocco, hellbent on revenge and proving herself

That would have been so good for Noah stans and such good drama, that actually made perfect sense

Hope was fully expecting that she’d get picked by Noah because they’d spent three days attached at the hip and then to just… not have that happen. It would have driven her insane and if there was then a scene with MC where she just like, gives up

Like she’s spent the past two days grafting Noah but he won’t make up his mind and she’s just done and MC can comfort her or fight with her and you just get to humanize her make her vulnerable and hurting and I fucking WISH they did something like that, even for RHannah

And Hannah’s growth in the Villa would have been so amazing

I think her idea of a perfect guy is definitely too much, and I’m not advocating that she settles by any means, just that she could have learned that there are things more important than money

That conversation on day 1 where you choose between money, kindness, and intelligence still baffles me

Like why are you a gold digger Hannah?!?!

Why don’t you just want a Prince/ss Charming???

Her and Hope should have swapped and I don’t understand why they weren’t

I mean, I do really like Hope, but Hannah’s just so cute and has so much to learn and her struggling in the Villa just to have a lightbulb moment with MC would have been precious and now I want to write it dammit

Anyway, Hannah is adorable and had so much potential and she never should have returned if they were just going to scrap everything that made her Hannah, except for snooty literature

I wanna listen to her rattle on about Belle and Mulan and every other Disney Princess and what they meant for representation and progress in media and then compare them to their original stories like a dweeb and I would have melted on the spot

Like yes, please tell me more about how gruesome Cinderella is

She should have shown up at the finale and hugged MC and been innocent and sweet so I could have just lost my shit for like a half hour

But stan OGHannah, burn RHannah

AJ:

Adorable, precious, denied an arc outside of coming out

I am not exaggerating when I say that I cried at 4:30 in the morning at her blushing face when playing the first two days

It’s just so fucking cute and I’m a sap and I don’t know why it made me cry, but it did okay?!

And her coming out was such good representation!!! By far the best thing in Boat Party, and I’m so proud of the progress FB’s made in queer representation at the very least

I know she’s pretty one dimensional, but most of S3 is unfortunately

Her being available right off the bat was also such a win, I’m positive it’s the reason she had so many stans

If her and Yasmin had switched or her and Lily, they would have been the ones that were dominating Reddit polls and stuff

And I know she’s written as masc but I just can’t really see it? Like I can’t see her in a dress, but outside of a few clothing items, I guess I just can’t see it? Maybe androgynous is more the word for my image of her, like definitely a mix

She’ll wear a skirt under the right circumstances, but never a dress, a crop top with a flannel, her prom outfit that’s like a frilly jumpsuit, stuff like that? idk im not a lesbian

Her route for me was so glitchy, but I know that if MC’s stolen from her by Yasmin, Tai, or Ciaran, she has some really cute scenes and I wish I could have seen them

And I know some people were ragging on her for the eyelash at the end of the scene but I thought that was just a perfect callback - maybe it’s the writer in me

Basically, AJ’s adorable and why did Ciaran have to split her and MC up, not cool dude

Yasmin:

I forgot I was doing a Yasmin route a while ago, but from what I’ve seen and played, she’s really sweet 

I hate that she’s almost nonexistent outside of her route

Give us a mysterious musician friend, you cowards!

I saw that she sings to MC on the final date and damn is that cute

Her eyeshadow kinda throws me off, but her stuffed animal makes up for it

And I’m salty that Yasmin the Lamb disappeared too, that was such a nice detail that made me start a Yasmin route

She’s distant and self-assured, but has a soft, gooey, nostalgic center and I wish we saw more of that, even if we weren’t on her route

My final thoughts on Yasmin: An artsy indie icon that I really need to stop getting distracted from and finish her route

Lily:

Again, don’t know much about her, but she seems really cool

Her shaving her head between the finale and Boat Party is such a flex and I wish she did it right before Boat Party so we could see her in all her bald glory

She’s into cars, right? And… architecture?

Idk, I barely remember my own name, let alone a 10 minute date from months ago

But I’ll definitely get around to doing her route at some point, maybe just to write for her, we’ll see

Elladine:

I know she’s not an LI, but MC so should have been able to run away with her

I missed that option in S3

I kinda get why they didn’t do that, but Boat Party’s just so messy in general

And I would include Genevieve here, but she’s so cute with Seb that I’d feel bad splitting them up

But Elladine had actual problems with Nicky!!!

Why did they mention it for it to never pay off??

And I’m so mad that the hype around her died when it was revealed she wasn’t an LI or the badass of the season, because I still adore how sweet she is

I also want to brag that before we got a name I was calling her Emma and that’s just on example of my almost psychic-ness

But yeah I wanted Ell to be a run away option and I’m salty that she wasn’t

Know what, fuck it, Viv too, she’s smart and cool as hell, let us love these awesome women FB, you cowards!!!

I have no idea who would be my number 1 based on canon, but if we’re talking hypotheticals, I think my answer, as strange as it is, is Hannah.

I just love what she could have been, but by no means what she is. 

It’s so awkward to know her for three days, not see her for three weeks, then spend a couple more days with, a couple weeks at most, just for her to write a whole ass book about MC?? And tell her about it with that hair????

No thanks, I’ll stick with closeted sapphic horse girl nerd Hannah because I guess that’s somehow my type??? Oh god what the fuck I swear I’m not a total weirdo

#asks #can it kc #okay but im loving doing this they're so fun wtf #but thanks so much for the ask!!!!! #litg

[idreamtofmanderleyagain]

princess-nazario:

It's ok, thanks for clearing things up. See, everytime theres a post that might just be different the tumblr-fad! Version you speak or questions how tumblr might be romanticizing them theres always annoying people in the replies saying that theres a version where she wanders down the underworld herself, or that the version where shes kidnapped is...weak or a damsel in distress since it doesnt fit into tumblrs made idea of empowerment?? Its so annoying honestly. I saw this kind of stuff in a lot of posts while exploring the greek myth tag and its just... infuriating. I definitely should ignore them but it seriously makes me kind of sad and angry at the same time? The hades and persephone posts are everything(mostly tumblr-fad!) Version I reread your original post and yes I do agree, tumblr-fad! Persephone does take away a lot of the complexities and archetypes I read you examine. I think Hadestown might portray Hades and Persephone's power struggle well, it doesnt completely ignore the implications its giving off for the sake of some romance. This is what tumblr is doing and it's really annoying. By doing this and reducing the characters here to simple boxes it's taking away your interest in the myth, I think that's what you meant? I think your study of Hades/the underworld being Persephones self, cthonic meaning "spirit of nature within, inner self" while I dont fully understand that's really cool. I especially dislike how woobified and depowered he usually is in the tumblr-fad! Theres a lot you can work with him as the antagonist in a retelling I think. In fact maybe itd be great to have a retelling that explores the power struggle between Hades and Persephone and shows how Persephone gets through adversity and becomes of equal power through oppressive authority? Thatd be really cool. Tumblr-fad! Version is the twilight of myths but kind of the opposite. In twilight, the author itself romanticizes the creepiness and power struggle that might be there between Edward itself(although Bella does have a lot of agency so I think that's why it resonated so much with female readers?) while the Persephone has a various amount of versions, most versions being she was kidnapped/abduction with many meanings and metaphors and allegories to things, and tumblr-fad! Version ignores nuance in favor of their ships. Thanks for being so open and honest about this, I honestly was stressed because I thought my response maybe being immature or uninformed might be irritating or annoying. I haven't been sneaking through your blog or anything like that, I just saw your original post in the goddess demeter tag so I searched up "Persephone" on your stuff since I was curious with what else you might have to say about it. I wish Tumblr could maybe bother to learn something called not everything is entirely not THIS thing or the OTHER and maybe do something different from what Hades and Persephone coming to be known as the peak of all love stories on the website.

@princess-nazario I hope you don’t mind, I copy pasted your last reblog into a new post thread because the last one was getting massive.

I think I’m starting to understand what you’re getting at regarding the perception of victims as “weak,” and it makes a lot of sense. Thank you for clarifying regarding the “damsel in distress” trope because that’s when it clicked for me what you were talking about. I actually agree on that point, I think there is a tendency for pop feminism to kind of portray more vulnerable, sensitive or fragile women as less feminist, so I can see how you’re applying that to your views on how people on tumblr perceive the story of Hades and Persephone.

That said, I think you have a lot of different angles you’re looking at this whole thing from, and that’s great! However I think there’s so many subjects you are trying to tackle here that it seems like you are kind of are only half informed about, maybe from exploring discussions online. I think this is resulting in conclusions that are kind of confused and lacking in more solid foundations, if that makes sense. I think maybe you might benefit from exploring each element further on their own merits.

For example, did you know that there are a lot of different feminist viewpoints on Twilight itself? And not all feminists completely condemn it? In my opinion, there are a lot of things about Twilight to criticize, however there was a distinct element of hatred for the interests and desires of teenage girls involved with how people responded en masse to the Twilight phenomenon. I don’t think you were old enough to be directly familiar with all this at the time. I think a decent primer would be this video from Lindsay Ellis (tho please keep in mind that some of her most recent content is not for younger audiences). It doesn’t cover all angles of the topic, but it does give an alternative perspective in retrospect about the raging Twilight hate that swept through pop culture for a long time:

Also, there is a whole conversation to be had about the concept of “woobification,” and why that word exists, as well as how it is used in conversations about girls and women’s fantasies. The original post I made shows that I have my own frustrations when male villains and darker archetypes are whittled down to something seemingly non-threatening and “socially acceptable” myself (like...turning the beast into the prince in Disney’s Beauty and the Beast), but in my experience, people have often used the word “woobie” to describe any explorations of the vulnerability of these types of male characters when women do so because they find those men intriguing or attractive, and that can get kind of tricky because in many ways, those conversations can harbor a subtle resentment and shaming towards female fantasties, period.

I’m getting the impression that maybe there’s something about Hades and Persephone, or at least the archetypes they embody, that really intrigues you, but you’re not sure what you are supposed to think and feel about it from a feminist perspective. That’s ok, ultimately you’ll figure it out on your own. I can’t tell you what to think about the myths themselves on their own, separate from contemporary feminist media because that’s ultimately it’s own thing, and you can springboard your own perspectives and reimagining off of the original in any way that feels right to you.

 What I can do though, is leave you with some age-apropriate content that I was consuming at your age, as well as a link to a site that explores stories with similar archetypes that Persephone embodies. 

The site is called Girls Underground, and it explores and catalogues stories about girls who go on heroine’s journeys in the “Cthonic” context like I was talking about, as in exploring their own inner psyches through the experience of traversing a strange, scary, magical place. Sometimes these stories involve the trope of a spooky attractive male character who takes on an adversarial role that is sometimes also romantically charged, but not all of them do. I think the resources page may be of particular interest to you because it links to essays on subjects within this genre of storytelling. The Examples page has a ton of other stories not listed here that you can take a look at, however not all of them (but many of them!) are kid friendly.

Movies that I would recommend: 

Labyrinth (1986), which was my favorite film since early childhood, and is the reason I love these types of stories to begin with.

Legend(1985), which doesn’t depict a healthy dynamic, but is a great film and does have a big place in the general conversation about this type of storytelling.

Howl’s Moving Castle, either the book or the film. 

Pan’s Labyrinth is rated R for some gore and violence, and it has scary moments, but I think it’s fine for most teens. The character of Pan is not part of that whole “demon lover” trope because the heroine is a small child, but he takes on a similar role in terms of being a figure that embodies the underworld and thus a major part of the heroine’s psyche.

Honestly, I would consider Disney’s Beauty and the Beast (the original, not the live action remake) a good rendition. It was written by a woman.

Jean Cocteau’s black and white La Belle et La Bete.

Jane Eyre by Charlotte Bronte, or a film adaptation of the same.

Rebecca by Daphne DuMarier, which is what my username is from. I’m fond of the Hitchcock film adaptation.

Honestly, the 2004 adaptation of Phantom of the Opera is...flawed, but it was my introduction to Phantom, and it’s a lot of melodramatic fun. 

It’s worth noting that in a lot of these stories, there are not perfect, healthy relationships depicted between men and women. There is cruelty, there is harm. But in many cases, that does not mean these stories have nothing to say about relationships between men and women, nor does it say that they are solely tales about abuse and we cannot find romanticism within them. Each story has it’s own flaws, it’s own strengths, hold deeper meanings beyond the surface. They contribute something distinct to a rich history of artistic explorations of the dynamics of power in romance and the female experience with our own desires within a patriarchal society.

[matildainmotion]

My Cure for the Blues, thanks to my Daughter who Loves Pink: What Might Yours Be?

I am blue. I don’t know why. There are many blatant reasons for blueness in the world right now - more than there have ever been in my lifetime - yet still I don’t know why. If I did I wouldn’t be blue. I would be sad with purpose. Or angry. Or upset. But what I have is a slightly pointless feeling. Being blue is vague. Vaguely low. A big wash of a dark colour, devoid of detail.

Meanwhile my four year old daughter is definitely not blue - she’s pink. “What’s your favourite colour today?” She asks, everyday. I find it a hard question to answer with accuracy, perhaps because of my vague blue feeling. She does not: “What’s yours?” I say. “Pink,” she replies with absolute certainty, “And gold.” Another favourite question of hers, that she poses most evenings at supper: “What are you the fairy of?” The grown-ups round the table come up with various quips in answer: Daddy is the fairy of mashed potato; Granny is the fairy of hearing aids; Mummy is the fairy of tiredness. 

“And you, Tenar?” 

“I’m the fairy of beauty, sparkly things and everything I like,” she replies, while skipping up and down beside the dinner table, because the fairy of beauty is much too busy to pay any heed to the fairy of meal time manners. Her favourite Christmas present was a gold princess gown, which she dons daily, and Snow White-like, checks in the mirror to see if she looks suitably fair. She wants to grow her hair down to just above her bottom. 

This all comes as rather a shock to me because I was not a pink girl - my favourite colour as a child was navy blue, no pastels please. I refused to wear dresses. I had a party boiler suit- dark blue - for birthdays. I climbed trees, ran along garden walls and lived in trousers. I was inconsolable when my father once brought me back a kilt as a present from a trip to Scotland - imagine being given a skirt! Despite being told this was a skirt meant for men, despite the photos in the family photo drawer of my father, a proud soldier in a Black Watch regiment kilt, I remained unconvinced. I have stayed relatively consistent in my tom-boyness into adult life. As a mother my children rarely see me in dresses, hardly ever in make up. Mummy has long hair under her armpits and on her legs but often shaves her head.

Given the version of womanhood I have presented to my daughter, I assumed  her predilection for pink princesses was a result of the vicious marketing to which children, especially girls, are subjected - the bright pink magazines with plastic toy lipsticks and hair curlers sellotaped onto the front, placed at just her height on the wracks near the supermarket check out. This is just one example of the many things about the world that make me blue so, when her pink princess phase began, I set to work. 

I had already consistently switched pronouns around in books - mostly from he to she - or had discussions with my daughter about the absence of active female heroines.  More recently, her questions such as “Why is it girls that have long hair?” Or, “Which one of these princesses is the most beautiful?” lead to long discussions about the history of fashion, gender as a colourful spectrum, and how peacocks are just one example of a species in which it is the boy that gets to wear the gorgeous feathers. None of this seems to make the slightest difference to my daughter’s commitment to pink, but two developments recently have eased my concerns and made me think that there is more than 21st Century patriarchal capitalism at work in her choices, and that the pink thing - or the thing for pink -that is sustaining her spirits through this hard time might actually contain within it a clue to the medicine I need for my blues.  

Firstly, last weekend, after a day on which I had had to work and so had resorted to letting Tenar watch Disney’s Cinderella (the 1950 animation) she ran back and forth during supper and told us her version of the story. In her rendition, she played the part of the fairy godmother, and having magically rustled up a stunning dress for Cinderella, she thought she should be the one who got to enjoy it. So it was she, the fairy godmother, who danced the night away with Cinders. And what of the prince? No princess for him - he was left with a slice of pizza. After three nights of dancing together, Cinderella married Tenar, the fairy godmother, and they lived together happily ever after, with an ever-expanding wardrobe of fabulous dresses. The prince married the pizza, and was, apparently, content with his lot. 

I was reassured by this that my daughter is in no way either a passive consumer of pink-ness or likely to become an easy victim of social norms. Soon after marrying Cinderella, she came up with the second thing which allayed my concerns, and made me question my fast feminist assumptions as to what is at work in her psyche. She announced, seemingly out of the blue (that colour again), that one day she wants to acquire a white, calm, mare.  

We have some chickens, but on the whole we are not an animal-focussed family. No cats. No dogs. Certainly nothing as large and demanding as a horse. My daughter accepts the fact that owning a horse is a big deal - you need a stable, a meadow, and various other bits of kit, so she is going to be patient - not a quality that comes to her easily - and wait, but it is important that she gets the mare when she is still young, she says, by the time she is twelve. By then her hair should have grown to her full desired length and both she and the white mare can ride over the fields with their locks streaming behind them. She is also keen on a cart to go with it, which will, she says, make shopping much easier and less boring. She will look after it very well: she will dress it in garlands of flowers, feed it hay and apples and exercise it daily. Its stable will be right beside the pink, gold and violet-painted bedroom of her own, into which she will also have moved by the time she turns twelve.  

I am not entirely sure from where this horse has ridden into her mind. She has a sticker book of white unicorns, but much of the dream seems to be of her own invention. I am not about to surrender to an essentialist narrative and suggest that all little girls harbour a horsey dream - how could I when I myself never have?- but it has touched me, this sudden passion for a white horse, the oddly mature way in which she discusses the details of it, and it makes me think there is more than magazine marketing at work in her.  

My husband plays Tenar the theme tune to White Horses, the 1960s TV series, whilst I remember all the stories I know that feature a woman and a horse. One of my favourite Ted Hughes’ tales concerns the first woman complaining to God that she is bored - she wants a playmate. After trying out various creations and getting it horribly wrong, God finally gets it right when, out of the crests of the waves, he conjures a horse, who rides ashore to greet the waiting woman. Going further back in time, there are the tales of Epona and Rhiannon, Celtic horse goddesses which I know of thanks to mother-maker, Jackie Singer, who made a brilliant show about them that explored women’s power and sexuality - both its repression and liberation. Rhiannon in particular, who can outride any man with ease, is no passive princess. Whilst the image of a girl dressed in pink is no more than eighty years old, the image of a woman riding a horse is clearly a good deal older. However, irrespective of age (simply using the fact that something has been around for a long time is a highly dubious reason for justifying it - patriarchy, for example, is ancient!) it seems to me, listening to Tenar, that she has somehow tapped into an image-geyser - it has sprung up mysteriously, and with tremendous energy. It feeds her.  Life is tough, we are confined in a tiny house, while we try to stay well, stay sane, shield Granny, but my daughter is buoyant, not blue, because she is dreaming of horses- I need some of what she’s got.  

But I never dreamt of horses. They don’t do it for me. I think back to when I loved navy blue and try to recall what else I was dreaming of then. What made me run around the kitchen table with delight like my daughter does? And then the answer comes: I wanted a meadow too, but not for a horse. I wanted a cabin in one corner - I was going to run across the meadow, barefoot, marvel at the wonder of the world and then head into my cabin and write. I didn’t want to be a princess, I wanted to be a poet. With the same passion, the same weird mix of realism and fantasy as I see in my daughter and her horse ambitions, I made plans for my poetry cabin. I remembered this when I watched the amazing Amanda Gorman, not dressed in pink or blue but brightest yellow, reciting at Biden’s inauguration - a young poet woman warrior. I can feel it does me good to summon up this archetype, this image. It starts, slowly, to dispel the blue. It’s a dose of a meaning-of-life medicine, the first iteration of it that I ever brewed for myself and so, because of this, it still holds a certain potency. As Victor Frankl argues in his classic Man’s Search for Meaning a sense of purpose, of meaning, is what we (man, woman, or betwixt and between) need to survive the hardest times - a holocaust, a global pandemic, or, closer to home, just a tough day of schooling with the kids. 

So, here are your questions for the month - actually a mix of my daughter’s questions and mine:

What is your favourite colour today? What are you the fairy of? What do or did your children, if you have them, dream of? And what were your own childhood dreams? And can your answers to these questions change the colour of your days?

As I type this, Tenar is sitting on my lap, and she has asked for the last word. I have said she can dictate and I will type. Over to Tenar, then, to finish this off:

“I ask my mum so many questions that I feel in my body and I say my heart is the thing that controls my feelings. I ask every night to my mum, why she was a tom boy? And I say that I love you as much as I am going to love everything around me, and I love my heart, and my horse. And I am a girlie girl, not like my mummy.  I love princesses, I say, every night.”

[malachi-walker]

What character(s) from other fandoms that you're a part of remind you the most of Catra? Personally, I don't think I've seen too many, aside from maybe Vegeta from DBZ and maybe Jason Todd from DC comics but that's about it for me

Ok, anon, thanks for your patience. Let's go.

Firstly, I have two ladies that do give me a similar vibe to Catra (though they aren't 100% matches as you'll see.) And I want you to take particular note of that: it's very telling that the characters you mentioned are both dudes. This is something I have been thinking about for literally decades because it is a deeply entrenched stereotype in our culture: male abuse victims are angry, frustrated loners who lash out until they find that one (girl) person that gets through their facade, female abuse victims are portrayed as either anxious messes (more common in recent years) or as just... These smiling caricatures who continue to pretend to be happy because that's what our societies expect women to be. And this is something I took note of at a very early age, because as someone growing up with an abusive birth father I looked to the MALE characters as a guide book on how to act, because getting angry and lashing out was what made sense to me at the time and I resented the hell out of that unspoken implication that I was supposed to just suck it up and plaster on a smile when I wanted to rage against the injustice of what I was dealing with. In hindsight it wasn't great behavior, but it was what I needed to keep myself sane at the time. I'm not even exaggerating when I say I have waited my whole life for a character like Catra: someone who is reflective of my experiences as an ex-abuse victim, someone who is angry and wrathful and still allowed to be sympathetic. Now on to our two ladies.

First up: Vriska Serket from Homestuck. (I know, Homestuck is a huge fandom with a lot of assholes, but I do still enjoy the original comic. I just don't interact with the fandom.) Vriska and Catra both have similar vibes in the way they project their outward personas of being the badass bitch who takes no shit and is on top of things, but we all know that's a lie. And they both come from abusive backgrounds: Vriska was forced to become a killer at a very young age because her parental guardian (a literal giant spider) would eat her if Vriska didn't feed her other kids. Doesn't excuse her jerkass tendencies or her terrible actions, but that was how she started out. And Catra's deal with SW needs no explanation.

They both have developed very similar gadfly tendencies in order to maintain a sense of control around other people (though Vriska is a lot more mean spirited about it) and both have moments when the facade cracks and they show actual sincerity and frustration at themselves and other people. The main difference between them is that Vriska's actions are driven by a sense of grandiose self-importance that she has cultivated and fed into as a way to avoid looking at her own actions (because she's the best, so everything she does is awesome, right?) whereas Catra's primary driving motivation is pain: either making sure she doesn't have to hurt anymore or hurting those who hurt her. Plus Catra grapples with her sense of guilt a lot throughout Spop and maintains those sympathetic undertones while Vriska's moments of clarity are so rare that you basically have to keep a chart to locate them. But you could totally picture them both teaming up to make fun of their respective frenemies, assuming they didn't kill each other first for reminding themselves of their deep underlying self-loathing.

Second candidate: Anthy Himemiya from Revolutionary Girl Utena. And boy howdy, if anyone is interested in this show and wants to avoid spoilers, skip to the end now, because we're going on a deep and dark journey here.

At first glance, she and Catra don't have much in common. In fact, she seems to fit the stereotype I described above: the placid smiling doll who takes the abuse and keeps going. Key word: seems to. Anyone who actually watches the show knows exactly where I'm going here.

We're introduced to Anthy as the "Rose Bride": the prize in a series of sword fights between students at a very strange school, with the ultimate promise being that whoever owns the Rose Bride at the end of the duels will gain some nebulous ultimate power. And yeah, I said "own" for a reason: whoever possesses the Rose Bride effectively owns her and some of the most uncomfortable scenes in the show reinforce the fact that Anthy tailors her thoughts and actions to whoever currently controls her. And as you can expect, this leads to BUCKETS of abuse. Literally everyone in this show is culpable in some manner for this, no matter how well intentioned.

But remember that "seems to?" Because that's only one side of Anthy; the outward persona if you will. On the other side of the coin you have Anthy the Witch, and that's where the parallels with Catra come into play and why Anthy was my go-to abuse representation before Spop rocked my world. Because the big twist we find out at the end of the series is that Anthy and her older brother Akio (formerly Dios) are the former literal personifications of the fairytale damsel in distress princess and the noble prince on a white horse, respectively.

But the balance was upset: having to constantly go around saving people was literally killing Dios, because one of the major points of RGU is that you can assist people in saving themselves but doing it yourself strips them of agency and traps them in a cycle of needing to be saved again and again. The more people the noble prince saved, the more people needed saving. When it became clear that he couldn't keep going, Anthy took a stand and prevented the people coming for Dios (angry that he wasn't saving them anymore) from getting to him, and thus incurred the wrath of everyone and got skewered alive by an angry mob in the process. This isn't hyperbole: the role of the Rose Bride is to instinctively bring out the disdain and hatred of everyone on the planet. It's a punishment for stepping out of line, for not being the placid princess who needs to be rescued anymore.

Because we're operating on fairy tale logic, no longer being a princess means that Anthy became a witch, and no longer being the prince made Dios into satanic archetype Akio. So behind the scenes of the entire show, Anthy is the witch assisting her brother in orchestrating the duels, and their ultimate goal is to find someone pure of heart enough to embody those princely virtues Dios once possessed and to steal that power so Akio can return to being who he once was. All of the psychological torments and head games are designed to weed out the potential candidates to find that special someone... Except it's an impossible goal because no human being can live up to that standard. And with each atrocity they commit it becomes even more impossible to return to being that person.

Ok, tangent done, here's where it gets interesting: Anthy is a character with two sides to her, the suffering Rose Bride fated to endure the hatred of the entire world and the Wicked Witch who manipulates and orchestrates the torment of those around her. But here's the deal: she's a victim too. She's a victim of a system that won't let her be anything other than these two binaries; she's a victim of her brother who has all the power over her and has trapped her in a codependent incestuous relationship, and I don't care how awful the things she's done are: nobody deserves to go through the shit she does. So with all of that in mind, the actions that she goes through as the witch make perfect sense. Why shouldn't she torment these people who do nothing but abuse her and deny her of agency? Even the best hearted of the duellists (aka the ones who don't hit her or abuse her sexually) nonetheless fall into the trap of projecting their own biases and expectations onto her, biases that her role dictates she carry out. Her actions as the witch aren't right, but nothing about this situation is. That's the entire point.

And that's where she ties into being like Catra. Catra does some truly fucked up things, but it doesn't cancel out the fact that she's an abuse victim that has been literally tortured for most of her life for no good reason and has received zero acknowledgement of that abuse in universe. And much like Anthy, she can't begin to heal until the situation is acknowledged, because that's literally step one of breaking the cycle: confirming that this is not okay and that no one deserves the shit she's been through. Just knowing that herself isn't enough: it's acknowledgement from others that enables that process to begin, because no one can recover from abuse in a vacuum. You need outside people to be touchstones, because so much of recovering from abuse is confronting the way it warps your perception and thought processes. You need at the minimum one normal perspective to give you that, preferably more, but one minimum.

Hurting the people who care about her is definitely not okay and I'm not excusing her actions in that category, but it doesn't change the fact that she is justified in wanting to rage and lash out, because she is still trapped in that cycle. She can't heal or let go because the process hasn't even been started. She's not off the hook for the things she's done, but neither should she be automatically condemned without taking those factors into account (which is the entire reason why the distinction between an excuse and a justification exists.)

And if I can be a little pithy... The other similarity between Catra and Anthy is I can guarantee that in twenty years people will STILL be arguing over whether or not Catra "deserved" to be freed from her abusive situation.

Good God this turned into an essay. Hope this makes up for how long it took, anon. And anyone else who makes it this far, treat yourself. You earned it.

#long post #anon #answers #comparitive analysis #yes virginia i am a lit graduate

[raeynbowboi]

My Opinions of She-Ra Ships

So, I just finished watching season 1 of She-Ra and the Princesses of Power. It was definitely very very very queer, and overall I’d say I liked it. With that said, as with any new fanbase, a new slew of ships have popped up, and I figured I would give my personal opinion on the main ones I saw.

Catradora/Catadora

I really like the realtionship between these two characters. I really don’t mind if they date or remain frenemies, I think they work wonderfully off one another. I wouldn’t be opposed to them becoming a couple toward the end of the series when Catra and Adora make up. But, if they never get together, I wouldn’t feel cheated. Though you do have to admit, there is some heavy flirty undertones to their dynamic, but part of that does come from being best friends. Out of all of Adora’s possible ships, this one feels the most likely to me.

Glimmadora/Glimadora

I’m okay with this as a ship. A big problem I find when it comes to lesbian ships is that women are a lot more physically intimate and affectionate with their friends, so it can be a bit harder to tell flirtation and romance from just a really strong platonic bond. So far, while I’ve seen some romantic undertones, it hasn’t felt like there was anything direct enough to say that I fully ship it or that I see it as a likely outcome. However, since she’s Adora’s second closest female companion, she certainly has a lot of seasons to get out of the friend zone.

Perfumadora

So far, the only character to show direct, outright attraction, or at least admiration for She-Ra/Adora. It’s difficult to say at the moment if she’s attracted to Adora or only to She-Ra, but there was definitely some crush elements done when she saw She-Ra for the first time. Only time will tell whether this lesbian (or at least, girl loving) character will win the protagonist’s heart. Another potentially interesting element of this ship is that if Perfuma was actually more attracted to She-Ra than Adora, I could see this ship being used to explore lessons of finding someone who loves you for who you really are, not some idealized version of yourself, or some other lesson like that, which is always a good lesson to teach kids. Plus, out of all the Princesses of Power, she has the most Princess Classic archetypal aesthetic, so she creates the Knight and Damsel trope with Adora better than the other princesses. So, if Catradora was not the endgame ship, and if this relationship wasn’t toxic, I think this would be my second favorite shipping option for Adora.

Glimbow

Well, just so long as it’s as a BrOTP or a Friend!Ship, I don’t mind this pairing, but the instant I saw Bow I could tell he was coded gay. No doubt in my mind. So the idea of these two becoming a couple just feels wrong and off-putting. Besides, boys and girls should be allowed to be close best friends without any romantic tension needing to exist between them. But that’s also my reading of the character, so the fact that I read him as gay does color my opinion of him being shipped with female characters.

Seamista/Merhawk

To be honest, I’m just not much of a fan. While one could draw a parallel to Kiribaku with the happy dope pining after the grumpy aloof person, Mermista really lacks Bakugou’s depth and redeeming features, coming off as just a rather one-note sourball. Meanwhile, Seahawk lacks the endearing charm of Kirishima that makes Kiribaku work so well, making him come off more as annoying and intrusive, unlike Kirishima, whose invasion of Bakugou’s bubble feels more like a natural extension of his friendly nature. So it just feels like a clash of two tropes thrown together more as a comedic bit rather than a proper ship. There’s also the fact that since i read Bow as gay, and there’s only like... 6 male characters with names, and one is a horse and another is the main bad guy, any pairing that robs Bow of a potential male love interest is not going to catch my interest.

Bowhawk/Seabow

Speaking of, this is my primary OTP for the series on the grounds that... there’s not really any other option if I want a cute gay couple. Plus they do have chemistry, it’s not just me scrounging for whatever scraps I can manage to find. There is something there which points to flirtatious elements to their dynamic. Considering they’re the only two male characters who are both humanoid and not part of the Horde, it’s safe to bet that unless Bow is planned to end up with Kyle that this is the most likely gay pairing.

Byle/Boyle (Bow x Kyle)

Out of all the other Horde characters, Kyle screams turncoat character the most. Especially considering I don’t think any of the other cadets even had their names said, and he had his said multiple times, which sort of boosts his relevancy within the story. So, there was some romantic coding between these two toward the end of season 1, and I suppose if Kyle did betray the Horde, he might make for a decent match with Bow, but that’s really going to depend on their relationship and how it builds from here. Right now, I’m still more on the Bowhawk train, but I’m open to this ship so long as it’s well-written. And hey, if this ship becomes canon, I won’t care as much about Mermista and Seahawk being a thing. I just want some guy on guy romance. I also lean toward Byle for the ship name, simply because Boyle is an actual surname and will muddy search results.

Scorpcatra

The relationship between Catra and Scorpio is definitely interesting. I could see them becoming best friends, I could see her just being Catra’s funny sidekick, or I could see Catra forming an emotional attachment to her and wanting to protect her. This is another pairing where if it became canon, I wouldn’t complain, but I’d also react the same way if it didn’t happen. Granted, it’s only been one season, we’ll have to see where the romantic arcs take us.

Encatra

Honestly, you could tell me that Entrapa and Catra become a BrOTP, an OTP, an OT3 with Scorpia, or a BrOT3, and I’d believe any of those claims. She doesn’t seem to be particularly interested in relationships, but we haven’t seen much of her yet either. Only time will really tell if Entrapa even feels romantic or sexual attraction, but no matter how her relationship with Catra and Scorpia evolves, I’d be okay with any end result.

Spinetossa

So far, this is the only ship with any solid credibility thus far. I mean, they’re practically hanging off each other 24/7. If they aren’t wives already, they’re clearly at least dating. I’d be surprised if they ended up just being sisters, but they’re the only ship thusfar with canonical backing as far as I can see. Everything else is pretty much still speculative at this point.

Kygelio (Kyle x Rogelio)

If you were unaware of this ship, I don’t blame you. I only learned of its existence while making this post. The lizard guy’s name was never even given, that I know of. However, Rogelio is shown taking care of, carrying, and supporting Kyle a lot in the background. Considering Kyle’s weak will and seemingly low self-esteem and self-worth, it’s hard to tell if this is just a very close, supportive, and protective friendship or if there’s a romantic element. Considering I don’t even think Rogelio spoke at all this season, it’s hard to say. However, considering they’re 2 of the only 6 named male characters, I wouldn’t dream of ignoring the shipping potential in them.

#she-ra ships #shera ships #catradora #catadora #glimmadora #glimadora #perfumadora #bowhawk #seabow #glimbow #byle #boyle #merhawk #seamista #scorpcatra #encatra #spop ships #she ra ships #spop #she-ra #shera #she ra #she-ra and the princesses of power #netflix #kygelio #spinetossa #rogelio