#or at least he makes comments that make a lot of sense from the perspective that it was written by a lawyer | Explore Tumblr Posts and Blogs

biioshocker · 11 months

Text

Why Spider-People Suffer

Subtitled: How “Othering” Miguel Killed Hundreds of Cops

I loved seeing Miguel getting othered by his fellow spider-people so casually during this movie, both intentionally and unintentionally, and I believe it’s the reason he convinced everyone their loved ones had to die.

“Othering” Moments in the Movie

I’ve only seen the movie twice so I may have missed something more subtle, but here are the moments I remember where the main cast othered Miguel:

Gwen (unknowingly) making a joke (from Miguel’s perspective, re: “You’re not funny!”) of the fact Miguel doesn’t have a spider sense by letting him get decked by the Vulture.

Peter B. Parker commenting, “You’re not funny, spider-men are funny.”

Miles blatantly in fear of Miguel, on the tram shouting, possibly half-joking, “You have claws? Dude, are you sure you’re a spider-man?”

These seem like inconsequential, even humorous, moments but I believe they’re a lot more meaningful to Miguel than he lets on. It’s not that these moments are massively consequential in and of themselves, but more so that they are part of a persistent, consistent assault on Miguel's Spider-Man Authenticity™ that began with his very…

Origin.

In the comics, and what it appears to be in the movie, Miguel isn’t a “natural” spider-man. Not in the ‘bit and changed’ sense. There actually wasn’t even a spider surrogate for the virus in Miguel’s origin story. Instead, in Miguel’s universe the lab he worked in was attempting to directly recreate their original, dead-slash-vanished Spider-Man by splicing actual spider DNA with human DNA. This immediately deviates from the “typical” spider-person origin story as, usually, tests were being done on spiders and the subsequent escape, bite, and transformation that followed was a complete accident. The only actual accident within Miguel’s origin story was that it was Miguel at all, every other aspect was more or less exactly what the institute Miguel worked for was actually trying to accomplish.

A pretty notable difference between the comics and the movie is the introduction of Miguel’s injections. From what I know of the comics, Miguel doesn’t need to ‘re-up’ his spider-human powers, but we see in the movie that this Miguel needs some kind of supplement. Whether it be to replenish his abilities or to keep his delicate spider-human balance stable, we don’t know yet, but what we do know is that no other spider-person does this and it seems like a private, shameful ritual. A subtle nod to this theory, in my opinion, is Miguel’s “I’m different than them” line taking place at, or almost at, the exact moment he injects.

So, his origin is “wrong,” his creation was a “mistake,” in some manner he has to supplement is spider abilities, and believe it or not those aren’t even the most obvious discrepancies he has from other spider-people. Actually, some of his most noticeable differences lie with his…

Powers.

Compounding that “otherness” Miguel already feels within spider society, he doesn’t have “typical” spider-person powers, notably lacking a spider sense. This is because he wasn’t made the same way other spider-people were. As a literal spider-human hybrid, Miguel derives his powers — talons, paralysis, fangs, light sensitive eyes turned red by super sight — from just some normal, non-radioactive version of whatever spider breed was used in the splicing experiments. The lab didn’t actually know what gave the original Spider-Man his distinct powers, and so what Miguel ends up with is a lot more off-putting than other spider-people.

Humans, and even other spider-people (re: Gwen feeling she needs to reassure Miles he doesn’t need to “be afraid”) are frightened, or at the very least are put-off, by Miguel. I believe this can be attributed at least somewhat (if not entirely) to his powers. Yes, he doesn’t have a very approachable demeanor, but I would hazard that that wall he puts up is in response to the reactions he gets to his powers (ex: “I’m a good guy!” “You don’t look like a good guy!”). They aren’t the pretty, petite, charming powers that other spider-people have. They’re very gritty and raw, and they’re lifted directly from a species of bug that people are notoriously afraid of. And while it’s true that the other spider-people also have behaviors that associate them with the creepy crawler as well, those spider-people have a way to combat their negative character associations that Miguel doesn’t. They’re funny.

Humor is an under-appreciated, though well-established, part of a typical spider-person. The movie even goes so far as to call spider-person humor a “crutch,” but it's more than just making light of dark situations. Humor is how other spider-people connect with their community. This is why despite a persistent hate campaign from the Daily Bugle and calls of vigilantism from local police organizations, spider-people are almost always able to stay in the good graces of the communities they serve. Spider-people, through humor, are able to reassure, console, and win over the hearts of millions of New Yorkers.

So, it is especially obvious to other spider-people that Miguel is distinctly not funny. He is reminded both in comics and in the movie that he’s not approachable like a spider-man “should” be. Miguel doesn’t have humor to use as a “crutch” to offset his unsettling characteristics and because of that, he’s not well-liked by… really anyone.

These perceived shortcomings take a toll on Miguel, and are why he is so convinced of the importance of…

Canon.

Miguel views canon events as the holy grail of spider-person origins because he didn’t have one himself. I don’t think Miguel fully believes he is a true spider-man. Not only were his (atypical) powers acquired through a (botched) scientific experiment, and not only is everyone constantly reminding him that he’s not a “normal” spider-person, but Miguel’s universe already had its “canon” Spider-Man, and he died.

Or, at least he did in the 2099 comics. We can’t be certain about the movie-verse yet, but on the assumption it and the comics share a backstory, Miguel knows the full extent of his Spider-Man’s life. Beginning, middle, and end. That Spider-Man’s story is over and done within Miguel’s universe, which means that Miguel isn’t a “real” spider-man. He’s a knockoff. He was an accident, a fluke, a recreation.

With this in mind, I feel Miguel’s reasoning for dedicating himself to The Canon is two-fold:

Firstly, I think it stems from the idea that because his universe’s Spider-Man story is “complete” that is how the story must be told. There was a set beginning, middle, and end to the Spider-Man of his universe, and he’s easily able to reference it. There’s no guesswork around his Spider-Man’s story because it’s concluded. And to him, that finality is infallible, so he plays it out over and over and over in other spider-verses.

Secondly (most speculatively, but most importantly), but I don’t think Miguel has told anyone that he isn’t a bitten (or born) spider-person. In his introduction, we don’t get the usual “I’m the one and only Spider-Man” cinematic intro we had with the rest of the main cast (excluding Jess). He keeps his introduction short, sweet, and secretive. This leads me to believe he hasn’t told anyone of how he became his universe’s Spider-Man. He might think that if he did, the other spider-people would shun him. He might think they would hate him. He might think they would leave him.

A very, very prominent theme across many of the main cast’s stories is that they felt alone in the world until they found other spider-people, and I believe Miguel feels this isolation the strongest of all of them. He set up the Spider Headquarters in his own home universe. He recruited hundreds and hundreds of spider-people to join him and it looks like many of them live there for at least some period of time. I believe he’s so afraid of being left out of the social spider network that he has outright lied about his origin story, calling on the only Spider-Man story he knows the entirety of— his universe’s Peter Parker. Then, to cover his tracks he began collecting similarities across every spider-person’s reality, enshrining them in gold, and cementing them as The Canon.

And, unfortunately, what many spider-people have in common is…

Suffering.

Suffering isn’t unique to spider-people. Prematurely losing a loved one isn’t even unique to spider-people. Sadly, it’s not very uncommon at all, and those moments are often defining in people’s lives; they can be even more impactful than the joyful moments. I believe because of their efficacy, tragedies are something that Miguel could most easily use to connect with the spiderverse. Not because these tragedies were meant to happen, not because they’re a part of some greater, cosmic prophecy— but, sadly, because they’re so prevalent in every person’s life.

And most compelling of all, tragedy rarely ever has any reason behind it.

Miguel wasn’t able to find some incredible, world-defining Canon Event among the many hundreds of spider-people he met— he was simply able to find tragedy. The senseless, horrible, incomprehensible moment in every person’s life where they’ve lost someone they cared very deeply for, and no one could tell them why. There was no rhyme or reason to it, their loved one just simply ceased to exist— and what was so insulting about it was that the world didn’t end. The planet didn’t stop spinning, the sun rose the following day, and no closer came. Everyone else’s story just continued to be writ, and that was just as painful because it left them alone with their grief in a moment where they felt helpless, hopeless, and inadequate; in a moment that was impossible to reconcile because they wanted so badly, just like all of us, to understand why it had to happen. But there isn’t a why. The universe is random and underwhelming and every day a few unlucky people will draw a card that ends their game, completely by chance.

And then Miguel came along and he assigned the importance to that tragedy that the spiderverse, and all of us, felt like it deserved.

Miguel told them that their suffering wasn’t random. He told them it wasn’t just another case of wrong place, wrong time. He told them there was a purpose to their suffering. All the pain they endured, it had served to make them better, stronger, more resilient. Finally, there was a reason for it to have happened.

Miguel told them they weren’t alone. He reassured them that this horrible Thing that seemed to happen to all of them was cosmically indomitable, universally inevitable, and entirely inescapable— it was Canon. It was the price of power, it was the universe’s exchange. But now, in that tragedy, they would never be alone in their grief again, and that made all the difference.

When Miguel gave them a reason for their hurt, it became a rallying point among the spiderverse. Not only could they alleviate the guilt and the grief their loss has crippled them with, but they had something more tangible to blame it on— The Canon.

The Canon Miguel introduced to them didn’t have feelings, it didn’t feel anger or resentment or spite. It didn’t hurt them for no reason— it was simply the vehicle navigating them through to the landmarks of their lives. And there was comfort in believing that these tragedies were ordained by some unfathomable, all-knowing narrative. And so the spiderverse seemingly collectively decided it was easier to believe in the Canon than it was to believe in an unpredictable universe, until…

Miles.

Miguel sees his own perceived “flaws” in Miles.

Miles wasn’t supposed to become spider-man in his universe.

Miles has an atypical spider-man origin story.

Miles’ “canon” Spider-Man is dead.

For all intents and purposes, he and Miles are likely the most closely related spider-people to one another, but a key difference between them is Miles… doesn’t care. Sure, Miles is lonely in his own universe; and sure, Miles is overwhelmed by the expectations heaped onto him social and familial; and sure, Miles doesn’t even know he’s an accident. But he’s happy. He’s a happy kid and he was close friends with other spider-people who love and accept him, trained and mentored him. That’s not something Miguel had, and he resents of Miles for it.

We still don’t know for certain if there were other reasons Miguel chose to isolate Miles, but from what we can gather in Part One, it seems like Miguel only had the “original anomaly” excuse. Which he used to prevent Miles from interacting with other spider-people, and other spider-people with him. His reasoning doesn’t really add up though. In theory, the “damage” to the multiverse “caused” by Miles was concluded at the end of the first movie. Outside being an anomaly, Miles isn’t causing any harm to the multiverse by just existing in it (that we know of currently). So why restrict his access to other spider-people? It certainly wasn’t because Miles hasn’t experienced a crucial story beat (Dead Police Captain), because as we saw in the movie, Pav hadn’t experienced his either. Yet, Pav was allowed to join the spiderverse. From this perspective, there was no actual reason to exclude Miles from the spiderverse when he could have helped the cause.

Instead, for what appears to be no other reason than jealousy (or fear) that Miles was (and would be) so well liked by other spider-people, Miguel isolated him in his own universe for a year and four months, barring him from a society he had every right to join, and forbidding any other spider-person from even visiting Miles.

I think that’s what it comes down to with Miguel, really. Jealousy that Miles is an anomaly like himself, but unlike Miguel, people don’t question Miles’ Spider-Man Authenticity ™. They don’t make a joke of his shortcomings. They don’t “other” him. They like Miles. No one likes Miguel.

And on top of it all, probably the most infuriating (and frightening) part to Miguel is that Miles isn’t ashamed. He isn’t ashamed of being an accident; he isn’t pouring over his Spider-Man’s history trying to meet made-up expectations; he didn’t even parody the spider-people who were right in front of him when he was just coming into his own. Miles decided at 14 years old that he wasn’t, and couldn’t, be a Peter Parker copy. He accepted himself as his own, unique Spider-Man, and in breaking that mold and allowing himself to take a leap of faith, he became something incredible.

I think that scares Miguel, not only because his entire organization is founded in the belief that all spider-persons must experience specific events, and not because if Miles refuses to follow his story beats then the entire multiverse will unravel, but because if Miles is right and the multiverse can be as diverse and varied as it wants to be, then Miguel has hated himself for so long for no reason.

And I think that fear and jealousy and resentment all comes to head on…

The Tram.

Miguel’s meltdown during the tram scene felt like it came almost out of nowhere. The abuse he hurled at Miles just didn't correlate with what could reasonably be expected of an annoying chase around the city— and it was completely unnecessary. By the time it happened, Miguel had already subdued Miles. He was pinning him to the tram, he had already caught him. There was no reason to be so viscous at that point.

Except Miles had just moments ago done what everyone else had been doing to Miguel this whole time. Miles had “othered” him.

“You got claws? Dude, are you sure you’re a Spider-Man?”

The skepticism must have felt different coming from Miles, because Miles was supposed to be like Miguel. They were both mistakes, they were both the product of a dead Spider-Man, they were both supposed to be outcasts, but instead, here was Miles acting like all the others. Treating Miguel as different and lesser, and I think that was the final straw for Miguel.

I wouldn’t say Miguel had kept his cool up until that point, but he certainly hadn’t set out to hurt Miles— at least emotionally. In fact, he had previously just been trying to ease Miles into his Canon. Miguel had been trying to console him in the same way he had consoled hundreds of other spider-people before Miles.

But then Miles made a hurtful joke because spider-people make hurtful jokes (a theme, maybe, since hurtful jokes had been what provoked the Spot into a rampage, too: “I’ll become strong enough to be your nemesis. Then you’ll take me seriously.”) and Miguel, who already saw so much of his own story in Miles, was enraged by his audacity— dragging Miles down (to him, to his level), pushing his way into Miles’s personal space (look at me, hear me, respect me), and forcing him to listen to just how “other” he was too (we’re anomalies, carry the shame of it like I do).

There’s really no excuse for it. Miguel was clearly in the wrong. No one should be told they were a mistake, or that they’re the reason someone else died— and especially no one should be made to believe that the value of their life was less than another’s.

It’s horrible what Miguel said to Miles. I do believe Miguel was venting his own self-loathing, but he leveled his abuse squarely at Miles and now Miles is forced to struggle through the aftermath, and there’s no excuse for that.

Conclusion?

I don’t think Miguel is a villain, I think he’s just a damaged man. That doesn’t absolve him of the shitty things he’s done, especially to Miles, but I do think it helps to explain them somewhat. Ironically, as much as he feels ostracized from spider society, I think he’s just like every other spider-person. He’s looking for friendships and acceptance and his happy ending, and above all, he doesn’t want to be an outcast. Much of that feeling probably comes from his unwillingness to accept himself as he is and pave his own way as Spider-man.

I hope in the next movie Miguel begins to consider the similarities he has with other spider-people rather than focusing on the differences, because while the Canon may not be real (or maybe it is, guess we’ll see in Part Two), the connections he made with others through loss and grief were. He helped the entire spiderverse find comfort in one another and because of him, they aren’t alone anymore.

#atsv #miguel o'hara #across the spiderverse #spiderverse #spiderman: across the spiderverse #atsv spoilers #miguel meta for the thirsty soul 😌#corrected this bc i said he didn’t make organic webs but i misremembered lol

2K notes · View notes

tanadrin · 3 months

Text

I liked this video from Jamelle Bouie a lot, and I liked it even more because he delivered it as a floating eyes and mouth over an apple.

I'm going to respond to this comment as an apple because I kind of like doing it. It's fun. And I'm gonna respond to this comment by way of a story.

So, all Americans know about the anti-slavery movement, the abolitionist movement. And the way we're taught about the abolitionist movement or the anti-slavery movement, whatever you want to call it, is kind of that this was inevitable--that obviously slavery is terrible and obviously there are people against it and it was gonna end. We teach it as a thing that was bound to happen. So the Civil War comes and slavery is ended, and it's sort of a very neat story.

But I'm gonna ask you to put yourself in the perspective of an abolitionist or an anti-slavery politician in, say, 1840 or 1848; and if you are one of these people, you have a deep-seated opposition to slavery. If you're an abolitionist, you may have spent the previous 10 or 20 years traveling the country, giving speeches, rallying people, doing everything you can to stir up moral outrage at slavery. If you're a politician, you have been working, doing a grind of politics--somewhat dangerous, because people may not like slavery, but they're not super thrilled about black people either--but you are in legislatures, you are filing petitions, you are building coalitions, you are trying to make whatever headway you can to, if not challenge slavery, then at least challenge some of the racist and anti-black laws that are on the books. Both--whether you're an anti-slavery politician or ablitionist--you do not think in 1848 that slavery is gonna be over in your lifetime. You hope that it might be; but you have no particular expectation that it will be. You are not optimistic about the end of slavery. You may not even be optimistic about the world as it exists, because you look around and you see human bondage and horrible brutality that's been there for hundreds of years, and for all you know will be there when you're long dead.

So the question to ask is, why do these things? Why did these people bother? Why did they continue struggling against slavery, despite not really having any optimism about the end of the institution? And the answer--beyond a deep-seated sense of moral commitment--is that these people didn't need to be optimistic in the ultimate outcome, they just needed to be optimistic in the ability of humans, of people to make change; they needed to be hopeful about human agency. That's what they needed, and that's what they had. And so they did not know how far they would be able to take the baton, but they worked and hoped that when the end of their lives came, they'd be able to hand it off to people who could take it even further than they could.

The abolitionists and the anti-slavery politicians were essentially living out what Antonio Gramsci called the pessimism of the intellect and the optimism of the will. I think the exact quote is, "I'm a pessimist because of my intelligence, but I am an optimist because of my will." What this is is recognizing the reality of the world around you, not looking at the world as if it's any better--or any worse--but any better than it is; but not pinning your hopes for a better world on some sort of linear change, linear move towards something better; but pinning your hopes on one of the true constants of human society, which is the ability of human beings to work their will on the world, and the ability of humans to push and persevere.

So, this is all to say that I am not asking anyone to be optimistic about the world. That's very silly; the world's a very terrible place right now--not the worst it could be, but pretty bad--and I do not contest that. But I do think that people should have a bit of this optimism of the will, and this optimism about human agency, and our ability to build a better world. And this is sort of where my very strong distaste for doomerism comes from, because the sense that it is the worst, and nothing can be better, is just fundamentally incompatible with any kind of optimism of the will, any kind of belief in human agency and belief in our ability to change the world around us. And it's also why you will find me on this account often pushing back against the most negative renderings of what is happening in our society, for example. Not because I think everything is great--I do not--but because I do think that the path towards change requires one to have clear eyes about the situation in which you find yourself; and clear eyes both means recognizing the bad, but it also means recognizing those areas where you can make gains, and where you can find success; and where you can win minor victories.

And you may say, well, what's the point of a minor victory? But I think what the anti-slavery struggle demonstrates, what the civil rights struggle demonstrates, what the labor struggle demonstrates in this country, is that minor victories become fuel for modest victories, become fuel for major victories, and major victories can be the things that fundamentally change the entire field of play. So. Pessimism of the intellect, my friend, optimism of the will.

#i do not think i am very optimistic as a rule #but i'm still much more optimistic than bouie #nonetheless #i share his distaste for doomerism and for similar reasons #you cannot be clear-eyed about the world if you are consumed with pessimism

601 notes · View notes

emblazons · 3 months

Text

So—got to thinking (and talking with @magentamee) about the “it doesn’t have to be a one way” line that @chirpsythismorning posted about and realized that yes, it’s likely an implicit ref to Mike’s queerness…but perhaps less as a comment on the specifics of Mike’s sexuality (gay, bi, etc), and more on Jonathan’s inability to figure out what Mike’s sexuality is given his actions.

I already pointed out in that post that the “one way” alludes to the one way sign into Mike’s closet (aka his hidden queerness), but: given it’s Jonathan who says the line, I think it’s more important to look at his experience with Mike + queerness across the season at that point...namely how (at the time he says this) he’s officially the only witness to the convo where his brother all but confesses to his feelings for Mike—

—aka something which Jonathan is clearly perceptive to the subtextual queerness of, and that we see him respond to (at least in the case of his brother) with gentleness and openness:

Now, given that he sees Will’s queerness so plainly, it would be naive to write him off as not being suspicious of Mike’s sexuality as well (both having seen their relationship up close / wanting to protect his brother, on top of just knowing Mike)—and the subtext makes clear that he is suspious, which we can glean from the repeat “dual meaning” lines from him when talking to and referencing Mike (not Will) after the van scene:

It’s Jonathan who comes at us with the “straight? It doesn’t make sense” and this “it doesn’t have to be one way” lines, both clearly referring to Mike (subtextually, though Mike is in frame/convo both times), rather than Will—intimating that it’s Jonathan, not Mike, who is (at least in these scenes) struggling to understand why Mike is acting the way he is, esp in regards to the way he behaves around his all but confirmed gay brother.

Basically: I think this line refers not to Mike’s experience with his own queerness (liking girls or not) and a lot more to Jonathan’s attempts to make sense of the Mike he's seeing (dating El but flirting with his brother)—

—especially given that Jonathan “people don’t always say what they’re really thinking but when you capture the right moment, is says more” Byers has an open (minded) sign over his head in the infamous boys "on el's mind" shot not seconds after this line is said.

TL;DR: the “one way” line is talking about Mike’s queerness yes—but likely from Jonathan’s “wtf is going on” perspective. The wider context shows the “but what about his attraction to girls” aspect of it all is likely Jonathan’s line of questioning, rather than Mike’s own.

#these were the thoughts circling in my head like a drain watching Zone of Interest of all things. good lord #also: stop taking Jonathan’s purpose away from him in the fandom for 500 pls lol #byler #byler in-law #jonathan byers #mike wheeler #will byers #gay mike wheeler #my st commentary #stranger things

199 notes · View notes

ingravinoveritas · 13 days

Note

Did you see this picture yet? The first thing I realized was Michael's hand on David's back and their lovely smiles.

Hello! Yes, I did certainly see this group picture that was posted this morning, after every other picture had been posted. This is from Georgia's Insta, so for those who haven't seen the original post, here is a screenshot, along with a close-up of Michael and David, so we can see a little better:

It seems that Georgia's hashtag has been causing some confusion due to her use of an idiomatic expression, so for non-native speakers, the word "tits" has multiple meanings--colloquially, it's another word for breasts, but in British slang, a "tit" also refers to someone who is a fool or an idiot. So Georgia is saying here that she has tits, Anna has tits, and Michael and David are a pair of "tits" (idiots), which gives us the number three.

I did notice and enjoy that there is a "beading" theme to this picture, between David's suit and Anna's dress. I actually very much like her dress and how flattering it is, and it's something I would wear myself, although probably in a different color than white. I also love the way David's jacket sparkles, and there is something about him wearing it while standing next to Michael (who looks one box of bleach away from Aziraphale) that makes it have even more of a "the angel and the Starmaker" vibe to it. Because it's them. You know?

That was a large part of the impression I had of this picture, as it were. Of there being two distinct couples here, but perhaps not the couples you'd assume. It actually reminds me a lot of the picture that the four of them took in Lapland last year, which also looked like two gay couples rather than two straight ones. They all seem to look very comfortable in this arrangement as well, in a way that I felt was somewhat absent from a few of the pictures that were posted yesterday.

To your point, though, I did notice Michael's hand on David, and the warmth that radiated out just from that single touch. His hand is also noticeably low on David's waist, which echoes how we've seen Michael with his arm around David in the past, and is a lovely complement to David's hand being near Michael's neck. Michael's hair is also a bit disheveled compared to the red carpet photos, and I love the idea of it being messed up from a snogging session he and David were having in a coat closet before the girls pulled them out for a pic. Actually possible? Maybe, maybe not. But it's still a delicious thought.

Another thing I noticed is that there is something to the way Michael and David draw the eye in this picture. Georgia and AL are posing/smiling in the same exact way they do in every group picture...although unlike the others, this one wasn't a selfie, and so I wonder if that could be why they seem to be giving off a sense of discomfort to the camera. With Michael and David, the feeling is more one of hesitation. The warmth and crackliness and connection is still there, of course, but it's also almost as if they're holding back, somehow. Which doesn't seem very much like them, at least from what we've all see over the years.

It is a nice picture overall, though, which makes it unfortunate that Georgia's caption sort of takes away from the moment a bit. And given that she's been in the habit of adding these types of cutting comments/tags to a lot of her recent posts, it feels less like "British humor" and more like knowingly taking a dig at Michael and David. She could have just as easily posted the group pic without the hashtag, so at least for me, that's what makes her using it feel so deliberate.

So those are my thoughts on the Oliviers group picture. I am glad that we actually did get one of Michael and David, and to know that they did have the chance to interact at the event. I'd love to hear what other folks think as well, so feel free to add your perspective in the comments. Thanks for writing in! x

#analumina #reply post #michael sheen #welsh seduction machine #david tennant #soft scottish hipster gigolo #georgia tennant #olivier awards #it's also interesting that Michael feels like the buffer between one side of this picture and the other #to where it doesn't feel like a group picture but two pictures taken separately #and if you can't see the difference between AL/Georgia and Michael/David at this point #i don't even know what to tell you #choices #not all of them good #but i will leave it to my followers to make up their own minds #anna lundberg #relationships #ineffable lovers #discourse

75 notes · View notes

thegirlwhorideslikeasamurai · 3 months

Text

When did Viktor choreograph Stammi Vicino and did he commission the music?

There are some controversies regarding Viktor's free programme and I took the time to look at them in greater detail and pin them down to the likeliest explanation. (some of the things discussed in this post I've mentioned in a discussion I was involved in recently. The rest of this post builds on that.)

Disclaimer: Please note that this is an analysis of the source material. Popular headcanons that have no basis in canon cannot be part of this discussion. This is getting a bit academic. Please bear with me.

1. Did Viktor commission the music for Stammi Vicino?

In an interview, Mitsurou Kubo called the aria a piece of music that exists in the world of YOI, but when we subject the hints in the anime to a close examination, they contradict her statement, making you wonder which is true.

I mean, there’s this (sorry for the crappy screenshot)

Technically, the YOI creators might just have used footage of this programme because there was no time to animate Viktor skating an entirely different routine, but due to the tight time constraints of 12 episodes that forced the creators to condense the plot to 50% of its initial size, every scene and every image demanded to be filled with meaning. Speaking of time constraints, they could have used a series of pictures that show adult Viktor in different costumes (like those that had been drawn for Yuuri's room), but they didn't do that either, which rules out technical reasons for this choice.

But there’s more.

From a storytelling perspective, it makes no sense to combine these lines with a short scene of Viktor skating Stammi Vicino if it doesn’t apply to this programme. It’s bad storytelling, period. As Viktor’s fan, Yuuri knows which songs Viktor commissioned because skaters love to talk about these things in interviews. Being a skater himself, Yuuri is knowledgeable in all kinds of music genres even if he lets his coach pick the songs for him. Skaters just happen to be exposed to a lot of music.

This scene makes it seem as if Viktor has been commissioning music for his programmes for several seasons at least. While this doesn’t rule out the possibility that he occasionally picked a song that already exists for whichever reason, Stammi Vicino applies to Viktor’s situation at the beginning of the show so neatly that the lyrics must have been tailored to him. The commentator’s words while Viktor is skating his FS furthermore suggest that this programme shows a new and personal side of him. Of course, that could also work for a song that already exists, but how likely is it that such a song 100% matches the vision of a perfectionist? That a genius like Viktor would just roll with that is debatable at least. He’d rather think “Okay, that’s nice. But this verse and that verse don’t match my idea at all. I think I'll call my composer and ask them to write a song for me.”

Stammi Vicino holds unambiguous references to Plato’s Symposium, which the YOI creators have mentioned repeatedly. And while this is neither an argument for or against the song already existing before Viktor even thought about a free programme for the season in question, it seems too coincidental from a storytelling perspective.

To me, all this points to Viktor commissioning Stammi Vicino because taken all facts together, it’s what makes the most sense.

Side note: It’s not entirely uncommon for storytellers to contradict their creation. Sometimes, you forget details, remember them wrong, or didn’t think them through. Or your views simply change. In the case of YOI, we have to factor in the possibility that certain details had to be de-homoed due to protests from parts of the Japanese fandom. The rings that were removed from many official arts that were released during the first year after the show had aired are such an example. In addition, interviews are often heavily edited.

2. When did Viktor choreograph Stammi Vicino?

The first time we see Viktor wearing the Stammi Vicino costume, is right at the beginning of episode 1 at the GPF. While there is no rule against wearing the same costume for different programmes and costumes are expensive, you usually don’t see this in real figure skating. Some figure skaters even get a new costume for the same programme mid-season because matches the purpose better.

The music, the composition and choreography, and costume build the concept of a figure skating programme. The more perfectionist a skater is (and many top skaters actually are), the more specific you can bet they are about the concept. Viktor is a perfectionist who has full authority over his programmes and he can afford having several costumes per programme. Wearing the same costume for several programmes is a breach with his characterisation.

Let’s assume for one moment that Viktor did indeed create Stammi Vicino because of his encounter with Yuuri at the GPF in Sochi. Why would the creators have been so sloppy and put him into the same costume which he wears at Worlds when they even designed costumes the other two GPF winners JJ and Chris?

Does he wear the same costume because he met Yuuri there? Well, Yuuri approached him at the banquet at the end of the competition and only because he was drunk. Before, Yuuri was to awkward to even talk to Viktor and was, in all likelihood, too busy not freaking out, dealing with having bombed his performance, and Vicchan's death. To reflect Viktor's first actual meeting with Yuuri in a programme, thus choosing a costume that resembles the suit he wore that night would make way more sense.

Some skaters change their programme mid-season. Some switch back to an old programme, other skaters create an entirely new programme. Again, a skater like Viktor could afford this and is skilled enough to bend a new routine to his vision in time for the big competitions. (For reference: Russian Nationals are two weeks after the GPF, which leaves a skater competing in both events one week in between. That’s just enough to pitch the idea to his composer and commission a costume.)

Once Nationals are over and done, Viktor could start working on the new programme and show it at Europeans for the first time. That would leave him about one month to bring it to a level that will win him this competition. Yuuri would now have about two months to create a perfect copy. As he his busy graduating and preparing his move back to Japan, it’s debatable whether this is enough time. That’s the only reasonable timeline for such a scenario. However, since Viktor wore the costume before the banquet, this doesn’t seem likely and the show gives us no clear-cut clue why that could be and I’m loath to speculate wildly.

BUT: Viktor can't have created this programme after Sochi because Yuuri explains to Yuuko that he started practising the programme when the competitions ended [for him, the season itself is not yet over]. For Yuuri, the season ended at Japanese Nationals, which happen to be at the same weekend as Russian Nationals.

Long story short: Everything points to Viktor having created Stammi Vicino at the beginning of the season in which he wins his fifth GPF and world title, respectively. And there’s a beauty in this choice because it gives Viktor an agenda beyond his love interest. Well-crafted characters exist outside of their interactions and relationships with the other characters. Giving them things that belong to them alone adds more depth to their personality and turn them into individuals. Viktor had a life before Yuuri and this life was lonely and his (secret) longing for love was an inherent part of it (I’m preparing a follow-up post that examines the lyrics more closely, so forgive me for not going into the details here).

Especially in a show that is limited to 12 episodes and in which every image is filled with meaning, including details that hint at the characters’ past are beyond precious.

Thanks for reading! <3

If you enjoy my meta, please consider checking out my works on AO3 (link in bio)! My YOI canon works all include my meta musings.

#yuri on ice #yuri on ice meta #yoi #yoi meta #my yoi meta #viktor nikiforov #katsuki yuuri #figure skating #anime #stammi vicino

134 notes · View notes

starlightiing · 24 days

Text

I reckon I need to stay off some social media re: George Russell because the amount of actual sewage shit that spews from the mouths of backseat (couch) driver fans makes me sick.

George is either regarded as a PR robot, or a whiny, overemotional joke. He's whiny or he's a dick. He's lucky when he does well, or deserves to lose his seat when he does poorly. There's no middle ground for this poor man. It's all. Sewage.

I've seen too many "he deserved to crash" and "he only called for a red to retain points" and "lol did you hear his onboard he's such a baby" from people who would probably shit themselves right there in their pants if they'd been in the same scenario. He was scared for his LIFE, and if you can't hear that in his yells, I don't know what to tell you. Not to mention this is the guy that jumped out of his car and went to assist a driver trapped in his car after a horrific crash....do we not remember that? Do we make fun of him for valuing human life, too???

I try really hard not to fall into "love is blind" mode with my faves, so I'm trying to see George from an outsider perspective but I just don't see it? I don't see any reason for people to viciously hate him and wish for his downfall the way they are. Then he's being scrutinized for not posting much...but if you read the deplorable comments on anything his team posts, why would you want to keep posting? I don't care who you are ....famous or not.... there is only so much the human heart and soul can take and people are viciously attempting to bully him. For no reason.

I guess it's so easy for people to sit on their couch, in their very private life devoid of cameras and microphones being shoved in their faces, with no glass panes set up around every move they make to be seen by the world, to criticize every move these drivers make.

The lack of respect for them in general is seen every single day, but moreso recently by wishing crashes on people who have beating hearts and actual lives outside of their jobs with people who love them. Disgusting. Also, by filming them (re: George) using the restroom and posting it online and joking around about it. Also, wishing career ends on these people who have worked so hard their entire lives for this and who personally did nothing to you.

TLDR; The way people are treating George raises my blood pressure and it's almost sickening to admit I'm an F1 fan among the bubbling cesspool of filth that comes out of some "fans" mouths.

At least yall on tumblr are, as a whole, not like that. I see a lot of "I don't like George, but I'd never..." and I mad respect the hell out of that honestly. Thank you for not wishing death, dismemberment, injury, or anything else so horrible in nature on drivers who have done nothing to you. At least you guys have some sense.

#formula 1 #formula one #f1 #george russell #send all the nasty messages to me that you want #ill just delete them and forget they existed 5 seconds later idc #shrugs wildly #i will defend my guy

68 notes · View notes

underfart-snas · 8 months

Text

i’m going to preface this by saying this will be hard to read. for those who have had to deal with a lot of familial trauma, csa, and various other things really. you’re being warned now.

it is not anything fun, light, or happy. i will not answer questions from anyone. i will not stop people from their comments or tags but i will not look at opinions or attempt to change them. good or bad, i’m too tired to change anyone’s minds or matters on the subject. while i am regretful and sorry for many things, i know this won’t change much.

i’m not looking for forgiveness. i'm looking for closure.

i will not argue on how i’m a good person, or how any behavior in the past was justifiable or right. it was wrong. i still fuck up to this day trying to be human. at this point, all i want is to speak up about what i had to go through and why things ended the way they did with hopefully a more clear sense of perspective as to why i made what i did. and then i would like to move on.

flowerfell ended in disaster from all sides. a story i, the friends i made along with it and worked deeply with during it all, held very dear for our own reasons. be it to express the hardship of survival, to cope with the progression of loss, or having hope in finding small things to live for and learning to find love in friendships, family or otherwise that we couldn’t have in life. it was a big story for everyone, and i understand not everyone got the message. people have not been kind. i’ve seen equal sides of good and bad come from it.

i won’t argue about the shipping aspects. people are right in believing i liked what i liked, and whether or not they hated that was up to them. i had my personal reasons and i never intended for it to be a malicious thing, but i understand people’s headstrong thoughts on the canons or otherwise. I didn't like to go out of my way to shove it in people's faces, which is why i scrapped later stories that were pressured to be frans related and instead made them into personal characters.

it’s fucked up seeing people get chased and hurt over fictional things. things that aren’t physically harming anyone, at least when they’re contained properly. things you shouldn’t be actively looking for if you don’t like it. things that people may actually be doing to cope with their own trauma. i watch so many people looking for hate, or reasons to be angry. i think that adds to much sadness overall. i can’t say much for those who don’t go about tagging things properly for those who don’t want to see things other than "please work on that."

when i played undertale, i lived vicariously through frisk as i played. they were quite frankly, a blank slate. i was able to self-insert in a way. due to story aspects, i felt the monsters were like... old old. like ancient beings that lived lives unfathomably long beyond the human lifespan. beyond the passage of time.

i fell in love with characters and aspects and ideas it gave. i fell in love with it’s world, the possibility of other worlds like it, and exciting wacky hijinks. i took interest in others making au's and thought about how i could make my own. what my own life lacked or couldn’t give me. the family and friends i found through it.

toby really kicked everyone’s ass with this one, and i hope he does it again and again. and i pray he continues to succeed. because he made something beautiful.

now for what i had to deal with, during the failed attempt of making my story…

i have had to process a lot of neglect from family and home in recent years. though i’m older now, it still hurts. things still linger and sting harder than they should. they say it gets better but it really sticks and comes back in many ways that make life so much harder than it should be. it’s only made harder when people want you to be better, but it takes time to get there. sometimes people can't be with each other because of it, which is something i've had to learn over and over again. it takes so much time and it takes it away from everything you hope can be good and great in your life.

growing up was a nightmare. i’ve had to grow up with abandonment from my mom. neglect from my dad. i've had to deal with them trying to reach back out and my feelings on whether or not it's deserved. or if i'm even ready to handle it yet. many times i'm not.

i’ve had to deal with surgery to fix my body from disgusting and life ending deformation as a toddler which still leaves scars on my body today. my family has told me i’m lucky to even be alive. sometimes i almost wish it took me, because the world is cruel. but at the same time, i want to live so, so badly.

i’ve had to deal with manipulation and rape from someone almost ten years older than me in household when i was just a child. from five to nine. threats of being compliant and not to speak up or else my life was in danger. being physically trapped for hours while my body was a tool. later this fell onto another child of a caretaker for my sister, which is the only reason i got away from it. so i never got the chance to speak up myself and that effects me to this day. i was told years later this same thing happened to my older, severely autistic sister prior. someone who literally cannot verbally communicate or function without help from another. my grandmother telling me she left before because my father didn’t believe her. this all meaning, this is something that could have never happened.

i've had to handle my grandmother’s physical and verbal abuse for the rest of the those years after she came back to take care of my sister. my sister didn't escape abuse either. i would be stuck listening to her convince me as i got older and barely making it out of school that wouldn’t ever survive on my own. that i would never make it. that i would never find love. that i’d be eating fucking “saltines and ketchup” on the streets. i’ve had to deal with eating disorder because of her and various other disgusting shit i don’t want to add that the fear had made me succumb to. i didn’t leave my room for days at a time unless i was forced to. i didn’t sleep properly, to the point of passing out for minutes at a time. anyone who used to come to streams would know, i used to fall asleep while drawing with my brother. in many ways, my grandmother has made me so functionally stagnant, which is so hard to combat now.

cutting out all the general silliness and nonsense i would make just to smile once in a while, my art and flowerfell was an escape for me. it was a way to express my pain and hope that there was some sort of out. that there were friends to be made and love to be had. family to be found. that if you’re strong enough maybe you can be redeemable and make it to the end. frisk was hope. sans was strength. and all of the friends they were supposed to make along the way were support.

but at the same time, i clearly wasn’t able to handle the scale of what it became. i wasn’t ready for the crowd, i wasn’t ready to make a coherent and straight story, and was too giving and lenient. i wasn't ready for the "godlihood" people were pressing on me when i was just a normal person. it made making real friends a hassle. i didn't know who was honest or using me. many people have used me.

i was scared after it fell apart and got toxic. that people can take and twist and hate no matter how hard you try. i didn’t understand a lot of things back then or how to defend myself. i didn't understand how to combat theft, i didn't understand fiction kin, i didn't understand self care or boundaries for others and myself. i didn't understand a lot of things. i try really hard to understand now.

for all intents and purposes, it was getting septic. i was getting septic at that time and for some time after. and because of that i lost not only my story, but my friends and my sanity. i wasn’t able to keep it together for them or myself. i was hurt and hurting others by proxy. and i am so sorry for it. all of it.

i was only saved by finally being taken away from home by someone who actually took a chance on me. someone who made time for me even when i was getting reclusive. someone who loves me through all of that even if i hurt them terribly in the process, and may even still in all the faults i'm working on. despite everything, they're still with me today.

to this day i find flowerfell hard to look at without feeling various stages of grief. i have many degrees of anger and sadness, at times hopeless acceptance. not necessarily towards anyone anymore, but that i was unable to finish it. or felt i was unable to. that i'm unable to surpass it. that i was so fearful of loss and parts of myself being taken away when i already felt i had so little. how it blinded me to what good i had at so many times. how it’s destroyed my ability to create and fall in love with characters i like or make, and their worlds. no matter how hard i try now. that it’s taken my ability to trust, communicate, and form steady relationships with people. how it effects even those who have stayed and try so hard. that it’s taken my ability to share and feel safe doing so. even with people i'm close with today.

even situations on how helpful it’s been for people over the years, and deeper connections to self or others they’ve found in the progression of time because of it. i’m not unhappy for those who have, i’m grateful that people have found their hearts in it. it was made with unfathomable love and there’s incredible pain on having given up continuing what could have been more. what else people could have connected with or felt. there was so much i didn’t get to share, and got too angry and scared to give.

i grew to believe people didn’t deserve it anymore because of what i and my friends at the time were going through. i no longer wanted to feel hurt. i no longer wanted my friends to be hurt. and i violently took it away into myself, which has hurt me even more over the years.

i want to believe people would have liked the ending, and anything that would come after that. it was going to have a good ending.

later i would find the fear of parts being taken would be connected to discovering plurality in myself, and recently finding out in therapy i’m probably not too separated from my sister in being on the spectrum, adding to all of that and more. i’d have to process that feelings became separated and another struggle to deal with. that i was dissociating from everything so hard these feelings are expressed as their own apart from me, but still with me. that this was my way of not being alone with what i had. it is not a kind thing. while they're like family to me, it is also a cage.

it would take me years to actually discover what this was properly, having to go through a whole ordeal of manipulation and problems from that alone. i would have to deal with them also being stolen and taken advantage of due to complacency and misunderstanding. which has made every bit of fear with what came before twice as difficult. however, i've also had good people along the way, and i hope they stay with me for a very long time.

because of this i’ve learned a lot about systems and kinships and reasons why these exist. how these things can make people feel at home. i have changed a lot of views on it and how these things help people, even if they’re strange at times… i’m not mad about it anymore. if it helps people it helps people. other people are trying to survive too. i just ask people be respectful about it.

i don’t hate fanart or others trying to make stories anymore. as someone who struggles now with even a fraction of creating any amount of work i used to, i’m more glad than not that it’s encouraging people to improve and move forward. but i won’t ever accept discredit because at the root it is mine still. i made this for myself before i made it for others. it will always be a part of me, even if painful now.

i’m just tired. i’m tired and i hope over time i’ll be able to rest.

sigh.

to kaze, your document is faithful and i won’t argue that any of it is wrong or malicious. there was a lot missing from that video that could and should have been added. it wasn't just about shipping, but a lot more. i hope people will leave you and others alone about flowerfell and ship nonsense at the end of the day. especially when your stories were wonderful and aren’t hurting anyone. while we’re not on good terms, i do wish them a very "fuck off and move on."

however, i will not accept the statement that you were helpful to my mental health, or to others involved to begin with. trying to be, maybe, but it faltered.

apart from encouraging anger towards the fanbase either on my or by your own hands, flipping the switch between telling me to keep going and giving up. you fully took advantage of the complacency i had to go through at home to survive and had to unlearn for many years prior. you weaponized your problems at home onto us. this compiled everything, probably for both of us. this would only continue on to my system in many ways.

you actively encouraged suicidal behavior within the group, provoking my brother into a pact at his lowest. you took advantage of me and my brother mentally and sexually. knowing full well of our issues and my own csa, you still crossed lines. doing or sharing things without warning or prior consent and conversation, at times even within public groups. fighting back or saying something about these things were difficult because everyone was sensitive at the time. even if things were jokes at times, it didn't always come across that way.

i watched blind fight so hard for you in many ways even when they were struggling so badly with their own physical health, even staying in the end. i don't know if they're doing well or are still there now which is another string of worries.

what hurt the most is that for years you blamed me for an attempt because i “didn’t love you enough to talk to you or be honest” and held it over my head instead of explaining until the very last second before i left that it was because of home. you continued to comment in ways up until that point, then deleting things as if i couldn’t see logs. every single day i thought you were going to just be gone in an instant without warning. that i and others would lose one of our best friends. i grew so afraid of talking to you because of this. i was scared to hurt people more in anger of that. it is still something that terrifies me to this day.

flowerfell wasn’t the break of our friendship, it was the inability to handle the weight of taking care of someone who was unwilling to work on themself on top of all of that, while being unable to take care of myself at the same time. not being enough. that nothing of what little i could give would ever fix what was happening, and that i was being used as an escape method. much like my brother was. we weren’t good for each other anymore. and while i wanted to keep holding on, many people told me i had to let go and they were right. i'm sorry that it wasn't completely by my own voice that i let go.

i don’t even hate you anymore, if i even ever really did to begin with. the most i get is mad and i may say the word "hate" in anger, and that is entirely my own fault for checking in once in a while to see if you’re still breathing or getting better. because i cared a long fucking time and i think parts of me still do. i can’t say there weren’t fond memories or good times and i still have gifts i won’t throw away. and i won’t discredit that i do see you trying really hard for yourself now, which is a hopeful feeling and all i and others ever wanted. even if we may never speak directly again, because i don’t think that would be good for either of us, i hope it keeps going well.

but i don’t think you have the right to say i’m a bad person as if you weren’t just as bad yourself. you effected me and others just as badly.

we don't have to forgive each other. but i do hope, after a long time, we can forgive ourselves.

just a last little edit:

before you start congratulating someone who added to the entire severity of literally everything, understand this:

we were not driven by her or her alone. this is not her fucking win. this is the result of friends and good people saying we should speak up and needed to be heard for years. this is because we have support we actually feel safe with and finally decided we're fucking tired. we didn’t speak simply because she put out some silly little document. she only added to the fucking misery that everyone else has brought on about this!

this is for ourselves!! thanks! and goodbye! - =D

#flowerfell #flowerfell au #frans #tw csa

191 notes · View notes

orionsangel86 · 1 year

Text

I was once again flicking through the Sandman comics and thinking about the changes made to the show (as I am pretty much always doing) and something that struck me as interesting is why they chose to swap out Tales in the Sand for Men of Good Fortune.

In the comics, The Sound of Her Wings is the last story in Preludes and Nocturns. Dream’s meeting with his sister Death closes out the first of the overarching storylines within the Sandman saga, and it ends with Dream finding some measure of peace after speaking with her, and finding joy in hearing the sound of wings.

This can be interpreted as the first bit of real foreshadowing of Dream’s desire to die. Anyone who has read the Kindly Ones knows how important The Sound Of Her Wings is as it is called back to heavily at the end.

In the comics, the next issue can be seen as a one off, but is included in The Doll’s House book. This issue is Tales in the Sand - the tragic love story of Dream and Nada.

Right after Tales in the Sand, we get to the Doll’s House, which begins the exact same way that episode 6 of The Sandman Netflix show ends - with Desire calling on Despair to begin their scheming over the existance of the vortex.

I found it very interesting how the show swapped out Tales in the Sand for Men of Good Fortune - a story which in the comics comes much later within The Doll’s House storyline.

On the one hand, it makes sense to move Men of Good Fortune outside of the Doll’s House story for pacing reasons. But by putting it where they did they have drastically changed the tone of the story in a few ways.

1. It changes the end of The Sound of Her Wings. Show!Dream doesn’t leave his sister to sit and find peace in the thought of death, instead he does the opposite, he immediately goes and seeks out the one person he knows who is quite literally the antithesis of death - someone who finds joy in living. It still ends the Preludes and Nocturns story with Dream finding some manner of peace and happiness, but not in the sound of wings. Instead, it’s in the reunion with his friend who loves life so much he refuses to die.

2. It takes the place of the only love story we are given for Dream at that point in the comics. The Sandman comics have a tendency to avoid revealling too much information about Dream too soon and up until this point in the comics, all we know about his love life is that he condemned a lover to hell 10,000 years ago, based on a very brief conversation in A Hope In Hell. Tales in the Sand is the expansion of that brief conversation, giving us at least one perspective of how the tragedy played out.

I am really curious about why they decided to leave it out of the show completely. Partly I think its because it isn’t exactly a flattering look at Dream as a character. Probably didn’t seem like good business sense to the people who wanted The Sandman to perform well to basically destroy your main characters likeability half way through the first season (imagine all the Twitter puriteens and anti types who would get on their high horses attacking Sandman fans and Neil Gaiman alike for daring to like a main character who comes across a little bit rapey in this particular story - among other horrific character flaws).

Also, Tales in the Sand generally fits better with the Season of Mists story arc overall, and I think we will get a much kinder and more forgiving version of this story in the show.

So instead of being introduced to the first of Dream’s lovers, we are introduced to Hob Gadling. Make of that what you will.

3. It makes the immediate cut to Desire at the start of The Doll’s House story all the more eyebrow raising. Part of the reason why I think Desire’s scenes follow on from Tales in the Sand is because Desire had a lot to do with Dream’s bad behaviour in that story, and what ultimately happened is partly their fault. It is brought up both in comic and show when Desire tells Despair that “Nada was a mistake” but in the show, this comment remains a mystery, whereas in the comic, it goes some way into explaining the horrific story we have just read.

In the show, instead it makes for absolutely beautiful subtext as they cut to Desire’s realm and the song Desire as Desire says “Attend sweet Sibling” whilst we have just watched Dream reunite with Hob and smile the first real smile he has had all season so far. For a split second on my first watch I legit thought Desire was talking to Dream at that point and encouraging him to hook up with Hob. It was a very confusing few seconds!

At the end of the day, I think the change to the order of these stories was a very good idea, even without the added level of shipping fodder it gives us Dreamling shippers. In changing the end to The Sound of Her Wings in the show, it removes the foreshadowing of Dream’s desire to die, which I’ll be honest, so far I can’t see at all in the show version of the story. Instead, we get a Dream who is happy for the first time after reuniting with his friend - who apparently waited an additional 33 years for him and built/refurbished a pub in that time.

I have a bazzillion more thoughts on the changes from comic to show on the Men of Good Fortune issue in particular, but that’s for another post. I just had to get my thoughts down as the more I read and re-read the comics, the more I feel like the show is considering a different direction, a more hopeful happy direction. But I guess we’ll have to wait and see.

#the sandman #sandman meta #dreamling #dream of the endless #the sandman comics #sandman comic spoilers #the sound of her wings #men of good fortune #tales in the sand

456 notes · View notes

zabiume · 11 days

Note

I really like the fact that Ichigo is a translator it wasn’t something that i ever thought he would do but it somehow works. I never thought he’d become captain I just don’t see it for him which is why it’s confusing when people say he should’ve become one ?? Like no way 😬

What do you think about him being a translator ? Also what did you think about the use of him being captain ?

ohhh, this is such a dead horse topic on my blog at this point, but yeah, i've never vibed with ichigo being a captain, mainly because a) he's much, much stronger than the average bleach captain😅, b) the thematic point of the story was that he's the living world protagonist and rukia is the soul society protagonist (at least during the first arc), and honestly if anyone has a believable motivation for "changing the system," it should be rukia, who grew up in the worst side of that system, and c) it's hard for me to wrap my head around what he would even do there. his duties and narrative goals have long transcended the mere hollow-purging he was doing in the first arc, i mean he was literally fighting a god in the last arc to prevent the collapse of the three worlds 💀 if anything, ichigo cares about all the realms, given how many times characters in TYBW comment on how virtuous he is because he's willing to rescue even his past enemies if they're no longer causing any trouble to him.

i think the reason this comes up a lot in fan circles is not because of how people perceive ichigo, but how they perceive soul society. shinigami characters are very popular, so it's easy to assume a lot of fans see them as the good guys. personally, i think kubo writes them as a very "do whatever is necessary to keep up the status quo" guys who act in soul society's best interest first and foremost, but aren't all necessarily bad people. it's the classic "good individuals ≠ good system" set-up.

i don't think kubo concerns himself with whether a side character is morally good or bad, he just writes them as having motivations that are consistent with who they are as people. for instance, mayuri isn't "good" but he acts in accordance with his own specific set of values. rukia and renji are "good" because their values often align with ichigo's. it's kind of like...the individuals might be likeable or even nice, but the system itself has done some pretty corrupt things. systems are slow to change, so i'd find it pretty unrealistic for one individual to be able to change centuries worth of practices overnight. of course, soul society has changed because of him, but so has everyone else. byakuya met ichigo and byakuya changed, grimmjow met ichigo and grimmjow changed, riruka met ichigo and riruka changed, etc etc. he's the consistent one, it's the others that change because of his influence. he's already done all of this without being captain, so i don't know how it would be interesting, narratively, for him to attain that role. what would it say about the character that hasn't already been said? it's implied that soul society aspires to reach his level, not the other way around, so it doesn't make sense to posit them as aspirational here. as the hero, ichigo is the aspirational one for most of the characters in the series.

also, i know this isn't a popular opinion, but i like that ichigo has parts of every "identity" in his blood (shinigami, hollow, quincy, fullbringer etc etc😂). therefore, it makes sense to me that he's got allegiances to every group, just as he's got enemies. he's bigger than any one particular group.

coming to his living world job, i think it makes perfect sense and i love how kubo phrases it

from a watsonian perspective, we knew from the very start that ichigo is good at english, likes it, etc etc. we also knew from the very beginning that he wasn't much help around the clinic and that isshin actually urged him to stay away from it, even though i would've been equally okay with him being a doctor. ichigo is smart and he has a great sense of compassion, so that's not at all a bad job for him either.

HOWEVER, my most favorite thing about it is, again, coming back to how kubo phrases it. ichigo as a character has always had insight into both sides, the dead and the living, that's what makes him special as a human, so in a way, he's always been a translator, it's just the language that changes. he's understood the language of grief, managed to bridge the gap between the dead and the living. he's been able to convince soul society to return ginjou's body by communicating the real anguish that ginjou felt as a soul reaper. he's been able to understand the arrancars even as he was fighting them, and in silent victory, he's even been able to empathize with aizen! ichigo is all about understanding, as you can see here in one of my favorite bleach chapters:

ichigo is very intuitive, very eager to understand another heart and build connections, and what else is translation other than accessing a whole other language, a whole other mind, trying to understand it? it might not be accurate or exact, but it comes close, and that's the joy of translation, isn't it? finding the most resonant way to have one world connect with another? the way i phrase something might be different from the way you phrase it, but feelings are universal and no one gets that better than ichigo, who has repeatedly understood the feelings of characters whom he shares no culture with. there's also a meta-ness to the "connecting two different worlds:" bleach has always had contrasts (the modern world, which ichigo lives in, vs the ancient world soul society is modeled on; the western influences on bleach's aesthetics, while bleach itself is a japanese story). ichigo ties everything together, so it's just very fitting and satisfying for him to occupy a position like this!

obviously, it also makes sense for practical reasons, considering the work-from-home nature of the job allows him to be on stand-by in case of any emergencies that need him, and it allows him to break the shonen generational curse by being very involved in his son's upbringing😂. kubo mentioned on klub outside recently that kazui's room was built according to ichigo's specifications, and that's a level of involvement i've always expected from ichigo😅 he's a homebody at heart, he loves having a home and a family and i think any job that allows him to be close to them is a good one! kubo gets a lot of deserved criticism, but i think he's always known his characters well, so i like it! ¯\_(ツ)_/¯

#bleach has plenty wrong with it but i think a lot of it's criticism in the GP stems from people projecting their nrt trauma onto bleach😂#and like. i'm sorry you had a bad experience there but ichigo is not naruto & ichi/hime isnt a nrt endgame ship & bleach is not nrt!#it might be only slightly better but it IS still...better😅#do i even tag this....i never check the ichigo tag so idk what the vibe is like there #ichigo kurosaki #asks #i personally enjoyed the idea of it even back then because some ichihime writers were writing him as one well before it was even canon lmao

41 notes · View notes

its-the-sa · 4 months

Note

Different anon. God just boiling down the slugcats to 'animals' angers me in a way I didn't think I could be angry. Yes, they are animals, but by all means they are cognitive and understand complex emotions, communicate with a supposedly complex language, are able to be taught to do things. Why else would the iterators use them as messengers constantly? It's not like they're messenger pigeons where it's just going from point A to point B, they understand exact instructions. If this was just some random animal, making groans and grunts, they wouldn't be able to understand what Five Pebbles even meant when he was explaining how to ascend. Even with the mark, could you imagine if he told a lizard this? Artificer, arguably, is a prime example of this. Just an animal would get over their fallen children, sure they'd grieve but in the end they'd just make more. Arti not only is so enraged by their death, that she is physically incapable of ascension, but also swears vengeance upon a whole other species. This isn't just some animal who lost her children, this is a mother who is enraged at her children's murder. Sure, they aren't on the same level as humans are. Like obviously. But I'd argue it makes sense that a scavenger and a slugcat could fall down the path of enemies to lovers. Especially when you consider the fact that death isn't permanent in Rain World's universe. That would definitely change one's perspective on it. I dunno if I make sense, I'm juggling like three things at once, but I had to say what I needed to say. Wording bad, slugcat smort.

tbh it took me a minute to figure out what this was even referring to, because honestly I don't think that anon meant to use the word 'animal' to dehumanize arti in the first place. it sounded to me like they were just using it as a non-human equivalent for 'person', like "why would anyone fall for a person who committed hate crimes against them?" which is a valid question. it never even occurred to me that they could have meant it in the sense of calling her an inferior creature.

that said... you ARE 100% right and you should say it, lmao.

I very nearly got into this exact argument once, bc i saw some comments from a guy scoffing at the idea of arti showing mercy to baby scavs. because by his logic, 'she is just an animal, so she isn't bound by human morality. in the wild, animals kill any young that don't belong to them without hesitation'. and it just pissed me off so much, because not only was it such an edgy "mercy is for the WEAK!" alpha-male bullshit take, it was also just factually wrong. many animals can and do adopt the young of other animals, even other species, especially when they've just lost their own. and like you said, they can grieve, but then they move on. they keep surviving, and making more babies. they don't dwell on injustice, or let rage consume them to the point that it becomes a hindrance to their own survival. they don't go on single-minded revenge quests. they dont try to justify their own violence by demonizing entire species, and they dont end up plagued by guilt in their sleep. those are very, very human things.

and yeah, i see a lot of people theorize that it's the mark of communication that grants the slugcats higher intelligence, but I don't really buy that either. i think the mark just lets them understand the iterator's language. they must've already had the capacity to understand it, or else it wouldn't work at all. it'd be like trying to install windows on a calculator. also, even without the mark, slugcats are obviously shown to communicate with each other. they have their own culture, they tell stories and make art, and they're apparently able to understand karma and the nature of the cycle at least enough to be able to ascend. so like... any creature thats capable of spiritual enlightenment must at least be sapient, right??

it seems like in the absence of the ancients, both slugcats and scavs are beginning to move in to their niche in the ecosystem

#in other words #[holds up a slugcat] BEHOLD A MAN

94 notes · View notes

highfantasy-soul · 2 months

Text

Ok, here's my breakdown of Jessie Gender's video on NATLA. I decided not to post this as a comment on the video because I just don't feel like it would be productive, but I needed to refute the points she was making as she's a quite respected (at least, I really respect her opinions on things) video essayist and I felt like this video was...wild.

So, I guess it's best to just watch along with her video and read my commentary side-by-side because I don't give much context for my points, this is just a stream-of-consciousness style response.

To be perfectly clear - this is not intended to be a 'hate post' about her, this is just me feeling very strongly that the interpretations of things she had in her video needed to be talked about and another perspective given.

I shift from saying 'you' to 'Jessie' like halfway through (when I decided not to post this as a comment) but I don't feel like going through and changing all those, so yeah, just ignore it.

1) you insulted a martial arts kata as 'a mildly choreographed dance' - it shows a complete lack of understanding of other cultures and a desire to take a quick dig at something you didn't like in a way that insults a cultural practice. I really didn't expect to hear that sort of comment from you so it was pretty jarring when you said it. Ironically, you say that Sokka was wrong to assume the Kyoshi warrior's kata was a 'dance' because that's 'a girl's place' when...you literally made the same insult with not a hint of recognition just a few minutes earlier about a movie you didn't like…

2) I felt that the live-action really deepened a lot of the themes from the OG - take Iroh's storyline for example, fleshing out Suki's character so she's...you know, her own character and not just there to teach Sokka a lesson, and delving into how hard of decisions you have to make during a century long war. Idk, I'm just really curious as to how you felt quite literally the polar opposite of me

3) Sokka's sexism: the animated show handled it one way, but Sokka's treating women as 'less than' wasn't a core part of his character - in all honesty, it doesn't actually make any sense as he was raised by Hakoda (who we never see being sexist), Gran Gran (who left the NWT due to its sexism), and was surrounded mostly by older women. The sexism storyline in the cartoon was to teach a very blatant lesson to kids "don't be sexist, boys!" while the live-action made Sokka's struggles much more realistic and in line with the world building: he struggled with non-traditional masculinity and if he was 'allowed' to be that way while they were at war. For me, it's a much more important message for young men today than the very dated 'women can fight, too!' message that was needed in the early 2000s. It's very odd to me how you claim that Sokka always taking charge isn't ever challenged when...in literally the scene you're showing when you say that, Katara challenges him.

4) I'm sorry, but I cannot possibly see how Suki is her own person more in the animated version than in the live-action. She was literally created solely to teach Sokka a lesson and have no character traits other than 'I'm a strong woman warrior' where 'woman' means 'I like romance' rather than...I'm a whole person with my own wants and desires and fears that have nothing to do with a love interest as is shown in the live-action. You keep comparing the animated and live action as though they were trying to tell the same story about Sokka's journey with his role in the world, but they weren't. Of course Suki's attitude toward him is going to be different, of course he's not going to need to tell her 'you're right, I'm a dumb, terrible man, pretty please could you teach me', because it's a different dynamic they're going for in the live-action.

5) When Sokka pinned her in their lesson in the live-action idk how you got that she was 'demuring herself' to Sokka? Just as in the cartoon, he managed to get the upper hand - which she promptly took back, teaching a lesson along the way. She didn't make herself less so Sokka could feel secure in his masculinity - it's a bit odd you feel that showing respect to someone and helping them learn is 'demuring yourself'. I much prefer them respecting each other than the animated version of them seeing each other as less than and then...her giving him a kiss to prove 'see, I'm a romance-loving girl, too'.

5) To me, Suki beating Sokka in the live-action when the first sparred wasn't her being mean, it was her not understanding how much less experience Sokka had fighting - she genuinely thought he would be able to hold his own against her because he had told her he was the best warrior in his tribe. Her face clearly shows 'I have no idea what I did wrong - I thought that type of sparring is what everyone did for fun, why was he uncomfortable with it?' Not really sure why you made the connection that us seeing Sokka's abs was meant to indicate that his insecurities are unfounded when...literally the whole season shows us that Sokka's struggles aren't "end goal = big strong warrior" but rather "you don't have to be a big strong warrior to help, you are allowed to delve into other aspects of who you are and those are just as important". Just because he has muscles, also doesn't mean he's a competent fighter - those two things aren't the same.

6) It feels like you took certain scenes and made wildly left-field interpretations of them and then claimed that that's what the show was intending you to take from it. It's like saying that the scene that cuts from Sokka saying he bets Momo tastes like chicken and cutting to the scene that shows people cooking meat actually means the showrunners are saying Sokka is going to cook and eat Momo this season and that will then give him the powers of the Avatar. It's very clearly not what the showrunners were saying, but if you interpret it in the least forgiving way and then make a wild leap off that, then yeah, you might get upset with that made-up interpretation. Same with the reasons they didn't put Sokka in the Kyoshi outfit - there is 0 evidence of them nixing that part due to transphobia. I didn't see it as any malicious intent, just a streamline of the plot so Sokka doesn't have to go change before running away on Appa.

7) I feel that the live-action DOES challenge the Fire Bender's colonialist rhetoric in the Kyoshi Island episode, but the animated...doesn't? At all? It's solely about girl power - and as we see with Azula and all the women fire nation soldiers, the fire nation doesn't seem too caught up in sexism. You know what they are caught up in? Which you mention? Bender supremacy. And that's what the live-action directly addresses with Sokka being so surprised that Suki is able to hold her own so well even though she isn't a bender. He's seen just how powerful benders are (they destroyed his home, killed his mom, and beat his ass last episode) and it's in line with the worldbuilding that he feels like he's already several steps behind in being a good enough warrior because he doesn't have bending (a storyline that isn't brought up until an episode in season 3 of the animated show). To me, the live-action Kyoshi storyline refutes the Fire Nation's imperialistic themes much better than the animated show does.

8) The live-action's lesson wasn't that might makes right - Suki never did any strength training exercises with Sokka, she taught him how to control his body and use his opponent's strength against them. Fight smarter, not harder. Know what you're fighting for, not just that you want to fight. Even if you don't have the resources of your opponent, it doesn't mean you're doomed from the start. That last one is particularly poignant when we look at how much stronger the Fire Nation is than the other nations they're subjugating: it's the classic 'oppressed rising up against their oppressors and not winning because they just punched harder, but because they used what they had to fight for a righteous cause and didn't just give up because the other side was more powerful'. That's quite directly what the live-action was saying - the exact lesson you thought it should be saying. You have to do some serious extrapolating from the animated episode to get to those themes while the live-action drew that concept up to the forefront immediately.

9) Aang's journey to accept his Avatar responsibility and the previous Avatar's enforcing this is directly from the animated series. Like, directly. It's not the live-action show saying 'colonialism good'. Showing the Avatar power wasn't the showrunners saying 'see, this OP is good and cool', it was to show the magnitude of it - something the animated show does too. The live-action does talk about how terrifying and damaging that power is - literally the previous episode has Aang almost toss Katara and Sokka off the mountain and they mention it. Just earlier in that episode, Sokka talks about Aang almost killing them and Aangs major hang up about embracing it is that he might hurt someone. Kyoshi argues that not learning to control it will hurt more people and - y'all, individuals are allowed to have their own views of the power that everyone doesn't have to agree with. What happened to 'make strong characters with flaws in their world view?' did you all of a sudden decide that's NOT actually good writing? So having the Avatar who used her powers liberally, and as the video states, used them maybe too much, telling Aang that he needs to use his own powers a lot is…consistent characterization? Which is then challenged by Roku later as he tells Aang that all the Avatars are different and have different views on the power of the Avatar. Why is Kyoshi's opinions suddenly taken as wholly accurate in representing what the show overall is trying to say? She's giving her opinion to Aang - an opinion that has some truth to it, but also some flaws that Aang will need to navigate on his own journey. Kyoshi and Roku's stories are not compressed all into Kyoshi - only the aspect of Roku taking control of Aang and using his body to fuck shit up in the Avatar state is compressed - not the ideological aspects of it

10) Sokka supporting Katara's fight against Pakku is a culmination of his arc to let go of obsessively protecting her and actually letting her decide her course of action herself - because his arc was different in the show than in the animated series. Trying to say that the reason he told her to kick Pakku's ass didn't fit because he was never sexist wasn't the reason - it WAS a culmination of his arc, you just refused to see it by clinging to the old one.

11) The whole argument as to 'why show genocide' I already made a post about, but to condemn the depiction based on the way you interpret the showrunner's quote is disingenuous. Again, it's taking something and making up a narrative around it so you can feel justified in hating it. It's important to show a culture before they are killed because they deserve to be seen as people, not just martyrs. They had lives. They lived and were happy and had a rich culture. They were not just 'fated to die and be told of in history books'. Genocide is disgusting and hard to watch - it's calculated and brutal. Showing that drives home just how awful the actions of the fire nation are in practice rather than just theory. Yes, the airbenders fighting was 'cool' to see - in the way that all action is 'cool' to see. But no, the genocide wasn't played as 'look at neat fighting!' in the live-action. It was shown as brutal and terrible, horrifying and surprising, and the airbenders didn't deserve what happened to them. It also gives you a direct view of what the fire nation is capable of when they come to the south pole and the northern water tribe: you've SEEN the devastation first hand and you DON'T want to see it again. The threat isn't theoretical, it's very real.

11.5) To take a CHILD'S quote about the sequence being 'so cool' is absolutely WILD to me. GORDON IS A CHILD! No, he's not going to have the most sophisticated and politically nuanced sound bite to say about the action sequence in an interview. HE'S A CHILD! Holy mother of god. To use that to bolster your point that 'that's the way it was intended to be viewed and how everyone is going to view it!' is just…..holy shit. You're taking media interpretation from A CHILD??????? Do you think, if we interviewed a child about the OG show, they'd talk about the fucking colonialism??? How Azula was abused too and didn't deserve her fate?? Or do you think they'd say "The fight between the Fire Lord and Aang at the end was so cool!" Honestly thought Jessie Gender wouldn't try to bolster her interpretation with a quote from A CHILD, but I guess here we are…

12) It's wild that she makes the point that conservatives are incapable of reading deeper than just the surface-level visuals of a story while…she's doing literally the same thing just in the opposite way. The live-action depicted the genocide, therefore they MUST just want to 'cool' visual of firebenders fighting airbenders! There can't be any other things at play here! No story being told whatsoever because all it is is spectacle! That's all I see! Ironically, she's falling into the same trap of not looking deeper at why one might depict the horrors of genocide and the battle against people with no army.

13) Aang actually treats the genocide as more immediate in the live-action than he does the animated show. Most animated episodes, you can forget that it even happened, while in the animated show, it pops up a lot in some unexpected ways like when he's uncomfortable waterbending because Gyatzo had always been his teacher, when he yells at Bumi for making light of the genocide, his desire to get to the north to keep it from happening again, when Zhao proclaims that he can wipe out an entire race of benders and Aang says he knows exactly what that's like, when he constantly stays to help people because 'I couldn’t help my own people, but I can help them'. Not only through Aang, but also through every child in the series - like with the animated show, the live-action shows how kids are shaped by the generational trauma of the war plus the immediate effects of it: Teo ready to fight, Jet making compromises to fight back, Sokka shouldering too much responsibility so young, Katara's trauma around her mother's death and her waterbending, Bumi losing his faith, Zuko and Azula being shaped by their father to be the perfect weapons to continue the war.

14) Interpreting Zuko's comment of 'sometimes the weak can become strong' right after his father mutilated him for showing compassion is not meant to be taken as a thesis that 'Zuko just needs to get better at fighting, this is what the story is saying, I am very smart'. It's showing HIS CURRENT view of the world - the idea that his father has taught him that he needs to be strong and Zuko has bought that and wants desperately to earn his father's love. Zuko's story through the series is showing that 'strength' isn't what his father defines it as (or what Jessie defines it as in her video) but rather it's strength of character - compassion is not weakness, it's strength, and no, that doesn't mean if you have compassion you punch harder.

15) The live-action show makes the Fire Nation MUCH more nuanced than the animated show - we see how Ozai and Azula aren't just maniacal villains, but we see the pain and torment their upbringings deal out to them, and in turn, deal to others. It shows the cycle much more clearly and showing fire nation citizens who disagree fleshes out the culture even more.

16) Jet was much more nuanced in the live-action as he's RIGHT about the mechanist being a spy and the king being lax in his duties. He's created a community of people to try to heal from the harm the fire nation has caused them and he gives actual good advice to Katara, helping her emotionally heal and remember the good aspects of her mother.

17) The argument that 'the live action is trying to ignore the past' is a massively simplified narrative. The live-action is showing Aang stuck in the past, unable to take large steps into the future. Pain, trauma and loss can anchor us in the past - it's HEALTHY to keep moving forward rather than only thinking about the pain in the past (ie Jet's advice to Katara). Aang was continually trying to avoid the genocide happening again while simultaneously trying to get past Avatars to do the big hard work for him. His lesson is not to 'forget the past just live in the now' but rather, don't let fear of what has happened in the past stop you from making a difference in the future. Yes, war is loss and suffering, but if you get paralyzed by not being able to prevent that, the fire nation will just keep marching across the world. It's about not letting the past immobilize you to the point where you stop fighting back against oppression - or getting together with a community to help you fight for fear they'll die just like those in the past did.

17.5) Letting go of the past is a buddhist philosophy that is a lot more complicated than Jessie is making it out to be here. Just as in the animated series, characters can come to realizations about lessons they need to learn while still taking seasons to fully learn the lesson - just because Aang said he's ready to let go of the past doesn't mean he's now ignoring it and all will be smooth sailing. It means he's ready to start taking steps to do that and approach life in a healthier way. It's wild that Jessie took the direct quote "I need to let go of the past to focus on my future" and then states that the show is saying "the character's aren't seeing future possibilities and hope, they're focused on the now" when, quite literally, the quote she just referenced….is talking about building a better future.

18) Then, she references later seasons (Aang in the fire nation school) a lot to indicate that the live-action is ignoring those concepts from the OG when….we're talking about season 1 here - not season 3. Why is the world not allowed to organically grow? Why would you make the argument that 'season 1 didn’t explicitly deal with these concepts that aren't brought up until season 3, so therefore they are ignoring them'?

19) Jessie uses a lot of clips from a Daily Wire (conservative talkshow) guy as if that has anything at all to do with the live-action ATLA. She's trying to draw a line between that ideology and the ideology of the show and I feel like she had to bastardize the NATLA show in order to do that so horribly, her interpretation of the story and themes is completely unrecognizable to what is actually shown on screen.

I usually agree with her takes on media, but this video was not it. Every interpretation she had, I interpreted the scenes/lessons in the exact opposite way and, I believe, I interpreted it closer to what the showrunners intended.

Oh no, i just had a thought: this is The Last Jedi all over again! I saw so many negative interpretations of that movie that I just sat and scratched my head over like "How in the WORLD did you get to that conclusion??" when I thought my own interpretation was just...the obvious way to view the movie. I had no idea my views on it would be so controversial. Here we are again. Time is a flat circle. Life is a meaningless cycle of disappointment and confusion, neverending.

#natla #natla positivity #netflix avatar #netflix atla #this isn't intended as hate to Jessie Gender - only a response to her publicly posted video

47 notes · View notes

cleolinda · 7 months

Text

Creepypasta: The Dionaea House (2004-2006)

I wanted to post a few of my favorite creepypasta/Weird Internet Fiction stories this month, so of course one of the first I looked up was "The Dionaea House." Dated somewhere back around 2004-2006, it's one of the earliest entries in the genre; I’m not sure how many people know about it now, but Back in the Day, it was one of the creepypasta classics. Then, while researching all this, I discovered to my utter astonishment that it was written by Eric Heisserer—who wrote the Oscar-nominated screenplay for Arrival and is currently best known here, I'd bet, as the show runner of Netflix’s Shadow and Bone.

Years ago, the story was at dionaea-house.com (now offline), and it was the kind of thing you'd stumble across somehow—maybe on a friend's recommendation, maybe from a forum discussion—and then lose yourself in for a whole afternoon. It starts out as the story of a fictionalized Eric posting the emails of an old buddy, Mark, who's trying to figure out why their friend Drew... snapped. And "Eric" is posting these emails because Mark now has disappeared. And before too long... someone else has to pick up the story. Because it turns out that, at the heart of the mystery, there is a house, and going to that house is a mistake. I would describe it a little like House of Leaves, except also smelling like cake, and projecting out to multiple locations rather than pulling you into one infinite labyrinth. Also, a shit ton easier to read.

Relatively speaking, at least. "The Dionaea House" started out as “emails” posted on a blog at that original URL [unofficial mirror], then spun out into a Blogspot, an AIM chat, two separate Livejournals, and multiple commenters interacting on them. Some of them seem to be strangers walking in off the street, as it were, but the trick is, we don’t know which commenters are part of the story, which gives the “flesh puppet” comments, for example, a weird jolt of realism:

(I would like to think “TELL THE HOUSE TO FUCK OFF” is one of the in-story commenters, honestly; I like to think this is who I’d be in a horror story.)

So while "The Dionaea House" doesn't have the single-minded realism of "Ted the Caver," the blog-and-comment format—a found document subgenre for the 21st century—also allows for multiple perspectives. (I’ve lost count of the number of protagonists the house consumes, but it’s at least three, maybe four.) Tumblr is currently in year two of the Dracula Daily read-along, and I’ve always argued that Dracula was a techno-thriller for the nineteenth century: correspondence, newspaper articles, diaries, and even audio journaling on a phonograph. Emails, blogs, chats, phone messages, comments, and an article about the murder-suicide that starts the story—“The Dionaea House” is pretty much in the same multi-perspective, multimedia genre. Unlike Stoker’s bound novel, however, “The Dionaea House” wanders the physical space of the internet, and it trusts that either you'll see that the story has a new branch, or you won't, and that's okay.

In fact, I'm not sure if Eric Heisserer didn't know how to bring the story to a conclusion, or he got busy and couldn't keep going—or maybe there is an ending and I just never found it. (The Loreen Mathers blog doesn’t make a whole lot of sense to me and seems like one giant loose end, although the mention of engineer-occultist Jack Parsons adds a new dimension at the last minute.) But as with "Ted the Caver," the lack of a concrete ending makes sense for a shaggy dog story like this, as frustrating as it might be. Maybe Loreen got got, just like everyone else! Isn’t “disappearing before explaining what the hell she’s talking about” exactly what that would look like? We don’t know! If there's a scary house and you manage to burn it down to the ground in a complex denouement, that's a story. If there's a scary house out there, somewhere, and we'll never know how it came to be or what happened to the people who tried to take it on—that's a creepypasta. That’s a legend.

#creepypasta #internet fiction #first look on patreon #horror #spooky season #halloween everyday #long post

135 notes · View notes

tubbytarchia · 28 days

Note

want to hear your thoughts on jimmy and joel. all your thoughts. all of them. across universes.

You ask you shall receive. I love them a lot

I can see them as a ship (and no Joel white knight can come at me when those two frequently engage in questionable exchanges) but mostly I see them as best friends with a brotherly bond. Joel is kinda similar to Martyn to me when thinking of Jimmy, where he's always been there and taken him for who he is and just fucked around, carefree. He's a mean bean but his banter doesn't give off maliciousness, to me he hasn't ever seemed as overstepping and making Jimmy genuinely upset

Unfortunately ESMP2 happened and it really pains me how much Joel drove the "toy Jimmy" bit into the ground, resulting in all the seriousness that Jimmy wasn't ever offered. Maybe Jimmy wouldn't have become as much of a joke as he was were it not for Joel. Maybe it would have all hurt a bit less if Joel hadn't built massive walls around Tumble Town. This does pain me always, but you know what, at least "bullying Jimmy" is not his shtick that he needs to rely on throughout various SMPs as much as it feels like certain other people do. He decided to lean into it this once wirh some thought that wasn't just "haha Jimmy sux!!" but unfortunately it devolved and absolutely everyone went along with his bit. But as far as Joel goes, from a brotherly sort of friendship perspective especially, this kind of teasing and banter is more excusable than it would be within a romantic ship etc, but regardless it still pains me lol

Aside from that though, they're buds... Joel I don't think could ever comfort Jimmy in any decent way just because of being the rabid creature that he is, even if he were to know of and understand Jimmy's horrors (to the best of his ability). But what matters is that he cares... He doesn't ever express this outwardly but he cares and that makes me happy and enjoy them as a duo. Things like how in Limited Life he really wanted to help Jimmy get some time to stay in the game longer and his downward red life spiral pretty much beginning with Jimmy's death. How in Secret Life he expresses confidence in Jimmy having his back, and how in spite of his anguish after Lizzie's death, he doesn't say anything to ruin Jimmy's fun upon him not being the first one out. Even when Jimmy's not there, all he says is "Jimmy's gloating about it, which is a weird thing to gloat about? But we have to give him every little win, don't we"

Also in 3rd Life, Jimmy kind of jokingly (I guess??) left a sign on Joel's property that just said "I miss you - Love from Solidarity" and I never stop thinking about it. It pains me a lot, especially when that came before the FH ordeal kicked into proper gear. It honestly reads like one last effort to get away from something awful that he's anticipating, for someone to help? Something something canary, he's sensing the danger. But Joel is stupid lol and I can't blame him for not paying that sign any mind. Anyway this is a stretch I just. I never stop thinking about it.........this reads like a cry for help..........

It genuinely surprises me when I think back to the traffic series' and realize how little Joel has made fun of Jimmy. Sure he laughs, with him it's more excusable because of their friendship, and yet somehow he doesn't make a fool of or comment on Jimmy's reputation as much as some others do. He doesn't seem to think Jimmy to be notably incompetent like some of the others do. Can't say too much on other SMPs because I've seen very little of them but the vibes seem to be more or less same. I love them a lot anon, I love them a lot... Joel, for a change, is someone Jimmy deserves (because he deserves someone who cares) and is fortunate to have, if only it weren't for all the unrelenting horrors that Joel can't really help with in any case. Pensive

#blabber

52 notes · View notes

ingravinoveritas · 19 days

Note

i honestly think it was just a stupid joke, maybe for attention but like isnt that the point of instagram? idk just my own not very strong opinion

You're absolutely right, it could just be a stupid joke. I am well aware that I sometimes read a lot into things or unintentionally misread things, so I fully appreciate you saying this. The thing is, though, that she continued with this on Twitter as well:

So from my perspective, that makes it seem like less of an Instagram thing and more of an Anna thing. As does the fact that she has a longtime pattern of making posts like this when he is trending/when something Michael has been part of gains a lot of positive attention. (Contrast that with, for example, the negative reviews of The Way, and how she never said another word about it or in support of him once the backlash happened in response to the show.)

The other thing I keep thinking of is how vastly different the reaction would be if Michael was the one saying or doing any of this. If he'd posted a selfie of him wearing a "Who the F*ck is Anna Lundberg?" t-shirt. The feeling I have is that people's reactions to that would be very different, regardless of whether it is a reference to an episode title or something else from a TV show. Or if he tweeted "She's very grateful to have me to keep her grounded," it seems almost a certainty that it would come across as patronizing or condescending and he would be excoriated for it.

And then what also comes to mind is Michael on the Assembly saying that he cries every day. Again, I feel like, under any other circumstances, we would say that someone who is in a relationship and cries every day is a potential red flag, or at least something that seems concerning. But because Michael is a man, it seems like his feelings are more easily dismissed, and I'm genuinely confused as to why.

All that said, I do want to be clear and again emphasize that what I am reacting to is not just this one Insta story in isolation, but everything that she has been saying and posting for the last several years. It's the very fact that it keeps happening that is a problem, more so than any one individual post or comment by itself. So hopefully that makes sense and better explains where I am coming from, and I appreciate hearing the opinions of others as well...

#triotonfarriage #reply post #michael sheen #welsh seduction machine #it's also that Anna very much reminds me of the mean girls I dealt with in high school #so it is difficult not to respond emotionally at times #again if this was a one time thing i wouldn't even say anything #but i will leave it to my followers to make up their own minds #anna lundberg #relationships #discourse

60 notes · View notes

yanderelinkeduniverse · 6 months

Text

Hey I’ve got something in the works for Halloween but it’s probably going to be late, so it’s going to be more like a mid-November thing. But I’ll at least whip up some tasty art because you guys deserve something nice for the holiday.

Anyways, in the meantime I wanted to share a line of thought I’ve had for a while about Wild’s memories and his attitude towards both himself and Flora.

It’s kind of an analysis/speculation type of thing where I look at the memories in “Breath of the Wild” and see how these memories could have affected Wild’s current mental state in the actual comic, so not explicitly yandere.

All art belongs to Jojo!

So first things first, something that I’m sure a lot of people have pointed out is that Link’s memories in Botw aren’t actually about him so much as they are about Zelda.

From a writing standpoint, this at least makes a little sense since Zelda is supposed to be an important character in the game and since she’s currently preoccupied with keeping Calamity Ganon at bay, using the memories to explore her character is a reasonable thing to do.

But from an in universe perspective, this doesn’t feel very fair to Link. We rarely get to see events from his perspective and instead see things from the perspective of Zelda or some other character. Plus, we get no memories that truly focus on Link himself before he became Zelda’s personal knight. Anything we do know about Link is derived from comments characters make(like Zelda mentioning Link’s father) or diary entries.

Logically, this would all make Link kind of alienated from his past self, a stranger to this “Him” he used to be.

And we know that Link only ever regains memories of the Princess and not of himself, because when Zelda talks to him after he regains the final memory, she says this:

Note how she says “of us” and not just “all your memories from 100 years ago.” So there aren’t any little gaps in between shown memories where Link collects memories beyond the time he was with Zelda, at least none that exist beyond headcanons.

Anyways, I want to talk a little about Urbosa because for as well meaning as she may have been, I think some of the things she says in two memories in particular relate pretty heavily to Wild’s self esteem in the comic.

There’s two things she says in particular that I think would’ve stuck with Link — and thus — Wild.

The first one is this:

We don’t know what order Wild collected his slate memories in the comic, but if we assume that he decides to collect them in the order of which photos came first on the slate then what Urbosa says would most likely affect Wild heavily.

He’s basically got no solid self image of himself or especially not the self he was 100 years prior. So one of the first things he learns about himself being that he was “a living reminder of Zelda’s own failures” when he goes on to recover more and more memories relating to Zelda and her failures just feels like unintentional set up for Link to develop some more self loathing issues.

But being fair to Urbosa, she is basically Zelda’s surrogate mother and by this point has known Link for maybe a day or two. She’s not obligated to worry about him. Plus at the very least she does add on that this is how the Princess sees him, not what he actually is.

The second comment from Urbosa is this:

Prefacing this with saying, again, Urbosa does clarify that Link doesn’t hold any blame for the way Zelda sees him at this point, so good on her for that.

But still this is almost the exact same sentiment being repeated, Link’s own struggles are ignored in favor of focusing on how his success is interpreted as Zelda’s failure. Even if Urbosa adds on that this isn’t his fault it’s just how Zelda is, from Link’s perspective that’s got to leave some kind of impact on him. Perhaps guilt?

So to summarize, because of the selection of memories we know Link collects in canon, it’s logical to assume that Link’s view of himself in the present and from a hundred years ago would be rather negative.

And this perfectly reflects how Wild acts in the comic.

I don’t know about you but to me Wild has always had a particularly toxic view of himself from 100 years ago. He barely sees his past self as himself, instead calling that past iteration “Him” like he’s talking about a separate person. And he’s always given me the vibes of both resenting his past self while simultaneously wanting to be him again.

The way he talks about his past self being capable of feats he could never see himself doing shows that Wild in part seems to see his current self as “lesser than” his past self, especially when it comes to how the Master Sword responded to him at different points in his life. So it’s not a stretch to say that Wild may want to “be” that person again, especially since we see him use the sword at least one time.

But because of his perceived “failure” and possibly how he made Flora feel, he also resents the gifted prodigy he once was, not seeing that he was and has always been a human person with his own struggles.

Anyways this is sloppy and messy but I wanted to get this off my chest because I think it’s really interesting.

#acrylic talks #linked universe #lu wild #not yandere #lu analysis #breath of the wild #urbosa #princess zelda #lu flora

57 notes · View notes