#the archetypes of good vs evil but like. actually both of them are just people in the end. like everyone else.

[catsvrsdogscatswin]

Thanks to my post about the 28th, it’s come to my attention that a significant portion of humanity don’t read history books for fun, so here’s a few broad strokes of what, exactly, is going on with the cultural connotations of race within Dracula, as understood by an American:

European racism of the day was predominantly based on cultural ethnicity rather than skin color, and one of the main sliding scales (other than how old and prestigious the ancestry was) was how far west you were on the Eurasian continent. The further east you went, the less “civilized” things became, until you hit Asia and Oceania and just became inundated with absolutely rancid racist caricatures. Stuff from the “Orient” was there for exotic/shiny toys and moral lessons about how much better the West was, and not much else, so you can imagine what depictions of actual Asian people thus became.

(We’re faced with this east vs. west scale in Jonathan’s very first entry: Budapest straddles the line between the “civilized” western part of Europe and the “uncivilized,” opulent, and exotic world of eastern Europe. Jon is going from the known and familiar city into the mysterious, unfamiliar wilderness, an extremely common Gothic horror archetype.)

Both the fear of the unknown and the exoticizing/othering of Eastern Europe play heavily into Dracula’s themes, with the sexually predatory Count Dracula coming to England to do all sorts of unspeakable sordid things to innocent English women. (Not exactly Stoker’s finest hour, but this was a typical attitude of the day.)

Following that, it was also thought at the time that one’s moral character was essentially genetic. Certain people of certain races were predisposed to be “better” or “worse,” and your own moral character was also influenced by your parents’ status in society and behavior. A prostitute mother or a criminal father meant you would inherit their dubious moral quality, which is partially where “this person has bad blood” comes from. Bad blood is literally the negative morality passed onto you from your parents: you’ve inherited the bad qualities carried in their blood.

Linking back to the east-west thing, the further east you go -you’ve guessed it- the worse this supposed ancestral bad blood gets. People of “lesser” races included the Romani, Jews, Slovaks (and sometimes the Russians), and they were just supposed to be, like, naturally inclined to be bad. They were Programmed For Crime from the moment they were born, so you didn’t need to explain why such a character was evil when they showed up in your novel: I mean, they’re [INSERT RACE], aren’t they? It’s in the blood. No explanation needed. Everybody knows that. 

The assumption of the time was that such people were literally born bad, which of course naturally justified how they were treated. When they showed up on a page, you were supposed to distrust them on sight. 

Occasionally, low-class people were also treated as a race all their own, like poverty was some kind of moral failing. After all, the older, more prestigious, and wealthier your family was, the better their inherent moral quality, so poor people are obviously uncouth and have bad blood, right? 

(It’s an extremely stupid circular way of thinking, but that’s bigotry for ya.)

Dracula is a nobleman with old lineage, but he’s also steeped in the flavor of Eastern Europe: “barbaric” and proud, yet initially treating Jonathan with extreme courtesy; threateningly exotic and yet also familiar with English customs. As we go through the book, you’ll see that he almost exclusively hires Romani, Jewish, or extremely poor for his henchmen: he’s a force of evil that uses other “evil” tools, who bend easier to his will than “normal” people of “proper” races. 

(By all means, please pause here a moment to scrub yourself of the nauseating feeling that such a bullshit attitude evokes.)

In any case, Dracula himself is a pretty good example of all these racial ideas converging, which was also why he made such an effective monster to the Victorians: there’s just enough that’s familiar and proper in him that they couldn’t quite properly Other him, which links back to the transformative horror of vampirism turning something formerly good into something very very bad, which with their worldview of “you are born with this moral code because of racial predisposition and lineage” is just shocking. You mean this Eastern European man can infect our formerly good and pure citizens and make them act his way, just by an act of force? Uh-oh.

Anyways TLDR Dracula is a book steeped in the cultural traditions and expectations of the day which means that it’s lovely horror but also an absolute crock of shit at times due to racism (and several other -isms, which I will not cover here because I am trying not to make this an essay). 

#Dracula Daily #cw: racism

[teapartypenguin]

Fairy Tale Allusions in Yugioh 5Ds

So I was rewatching 5Ds and Akiza's duel against the knight dude got me thinking about the fairy tale allusions in her design and arc, and thinking about it more got me to realize that 5Ds actually has a lot of loose fairy tale allusions throughout it. So here are just a couple of the ones I noticed:

Akiza in general: Akiza's first duel of the series was already really heavy with the knight vs. witch symbolism. It also got me thinking about the "Princess, Witch, and Prince" theme from Revolutionary Girl Utena. A very basic rundown of what Utena says on it is that people will try to sort women into a box of good (Princess) or bad (Witch) based on how much they conform to the concept of what a girl should be like, a good Princess has to trade independence for protection from a Prince, any girl that doesn’t agree is a Witch. Problem is that no woman is ever just one of those things at a time, and Akiza definitely isn't. She is at first feared for her power, labelled the evil Black Rose Witch, and attempts to find comfort and safety in her "Prince" (Sayer). Only when she meets Yusei and the gang and finds acceptance from them and her parents do we see that she's actually a very kind girl. And even then, she doesn't go trading one Prince for another, she's never as reliant on Yusei as she was with Sayer and maintains her independence. Also just her deck in general carries the theme with fairy tale-like imagery (roses, knights, witches, fairies, and a dragon).

Akiza + Yusei: These two are basically Beauty and the Beast. I am a major faithshipping fan, but even if you take out the romantic aspects, it still fits. Yusei being Beauty and Akiza being the Beast for obvious reasons. The scene with Yusei waking Akiza in the hospital also gives major Sleeping Beauty vibes as well (this scene also owns my soul).

The rose imagery also still fits with both of them.

Yusei: He's Cinderella: he's a poor boy, goes to a ball that he wasn't supposed to go to (Neo Domino), has to leave at midnight (gets arrested), but leaves behind a "glass slipper" (the mark of the Crimson Dragon) that makes it so that the prince (Godwin) can track him down and give him another shot at freedom (not for altruistic purposes of course, but it still fits).

Jack and Carly: Scoopshipping are The Little Mermaid. The mermaid (Carly) falls in love with the prince (Jack), but for certain reasons, they cannot be together. Said mermaid makes a deal, by trading her soul, she gains legs (Dark Signer abilities + duel runner) which allows her a second chance to go after the prince. But the prince rejects her proposal (because she's undead and evil now), and the mermaid concedes. But being unable to hold up her end of the deal, she turns into sea foam and dies (turns into dust and dies).

Leo and Luna: Luna's deck already has a loose fairy forest type theme (and in the manga, has a Fairy Tale archetype). I want to say they're Hansel and Gretel. Has the same beats of two siblings getting lost in the woods (Luna with her spirit world adventure, Leo dueling Devack with "Closed Forest" up). But most of it comes from their duel with Devack, in which Hansel (Leo) stalls the witch (Devack) for as long as possible until Gretel (Luna) can kill the witch by pushing him into the oven (win the duel). You could also say that Luna's arc of freeing Ancient Fairy Dragon has elements of Rapunzel (saving the princess from the witch that locked her up).

Those are at least the ones I noticed. I doubt all of them were intentional but it's interesting when you make the connections. Let me know if there's any I missed because I'm not done with my rewatch yet and don't have anything for Crow. Feel like Team Satisfaction and Neo Domino City have Wizard of Oz parallels, but haven't got enough info to say how yet.

#yugioh #yugioh 5ds #aki izayoi #akiza izinski #yusei fudo #jack atlas #carly carmine #leo and luna #rua and ruka #faithshipping #scoopshipping #revolutionary girl utena #rgu

[hasarjunadoneanythingwrong]

my immediate thought in regards to "why are all the grands men and beasts women" was "because sexism" but then I though that's jumping the gun, but then I thought about it and like....that actually tracks? Like look at the main stories people associate with Nasu, Heaven's Feel or Fate Extra or CCC or Hollow Atarxia. They all have a theme of "Women are extremely easy to corrupt and men are much more set in their ways". Even Notes is about a male killing a corrupted female figure. Pretty much every story Nasu writes boils down to a powerful force that's been corrupted into being evil, and the only male one of them that actually gets treated like a villain for it is Angra Mainyuu who still gets to be a main character and does the right thing in the end rather than have to be stopped by force.

I dunno maybe i'm overthinking it? I guess it could just be he really likes Sakura and Shirou and so he keeps making similar characters and THAT's why we get so many "evil woman of corrupting evil" characters vs "Bodysnatching and-or power/name-borrowing himbo who is very bad at trying to help"

I feel like it’s probably a bit of both of those reasons as well as a simultaneous combo of it being not that deep and also deep like

(Disclaimer that I haven’t fully read the source material)

As you mentioned nasu loves the shirou/sakura type dynamic and a lot of his work reflects themes that, while not identical do tend to mirror that in vaguely similar ways with the fucked up dude trying his best and woman suffering very much who then starts lashing out super hard thing it to varying degrees of success and compassion. And to be clear, I think Sakura herself in the original vn is a pretty good character- she isn’t demonized by the narrative so much as it’s seen as a understandable but not tolerable reaction to a frankly untenable situation, and she is allowed agency and to grow and heal as a person-her most important relationships in heaven’s feel aren’t just w shirou but also her estranged sister. Same case for shirou as well-he suffered extreme trauma at a young age that he never healed from, instead using an unrealistic ideal to keep himself moving cowards, and the routes all tackle that background and how it colors his relationships in varying ways. Obviously there’s still flaws w their writing and they/their proxies haven’t always been handled great afterwards (stares hatefully at ooku) but I think some of this really is just bc it’s two character archetypes that personally speak to the writer in question.

At the same time there’s def been more of a focus on evil and fucked up women after the case then there has been on the fucked up men, and if I had to say, in the most mercenary terms, it’s probably bc they think sex sells (or something along those lines). I know stuff like ccc was written with the premise that ‘all girls possess the ability to become monsters when in love’ and borrowed heavy theming from sources like utena, but at the same time there’s basically 0 focus on the men of that game or other games (sans gilgamesh and Charlie/karl in extella link.) Why can we not have any male secret gardens? Why is the game so heavily weighted towards exploring the dark side of feminine sexuality but locks you out of archer’s third secret garden if you play as a male character? (I know why, but it’s so petty when they don’t do the same to the female servants if you play as a girl) It hampers their ability to properly develop the character arcs and themes of the story when they shove recurring characters like Leo and Julius off to the side while giving loving attention to new people like liz and jinako and it’s truly a shame. This is a similar reason as to why goetia is now the only beast who is completely unsummonable (you can summon fou paws can you not?)-they simply want to dedicate more time to developing the women characters whether bc of preferential bias on the writers end or bc the women are more popular, but it does create a damaging implication about what they might think of women when they don’t also reflect that effort back into men

I don’t think this is something done out of complete malice but it definitely does give off unfortunate implications, especially bc a few of the beasts have no historical basis (kiara and koyanskya) and are just woman who girlbossed too close to the sun, whereas all the grands do have some connection to history even if they are more obscure, so it does give off the impression that the evils of humanity are all sexy sexy women and the world will have to be saved by men even if that’s not what the writers intended (I still suspect we will probably get a female saber, and ofc goetia is a man…72 men?)(I also argue that kama should’ve been a man or non-binary bc how tf are you gonna split list into a top/bottom side for yin-yang stuff and then make them both woman for personal horny reasons that’s just stupid. Fuck outta here men also list. Or, uh, women also lust? I’m losing track).

would also argue king Hassan is PROBABLY not a himbo.

#AAAAA STOP SENDING ME ASKS THAT TRIGGER ESSASTS #there’s also something to be said about some of the grands being relative nobodies like who tf was thinking romulus would be grand lancer #and yeah everyone has heard of the constellation Orion but he uses a club in that. yet grand archer?? #not to mention king Hassan fucking haunting the grand assassin spot pls #at least merlin makes sense. that’s like. yeah that’s exaclty who the grand wizard (caster) should be #my asks

[rosewood-writes-and-reviews]

I don’t like Alice from the live action Resident Evil movies) as much as I don’t like Geralt from the Witcher because they both share the same boring stoic character traits. Don’t get me wrong, stoic characters can be good when they are written well and are complex (like Batman and Ada Wong), but if their expressions only range from stoic to grumpy to angry, then it just makes me not care about them even more.

The reason why Batman works (when he isn’t written by people who clearly hate Batman or overhype him by having him somehow beat characters like Superman and put him in Batman vs Superman situations for like the millionth time) is because he is wearing a metaphorical mask. He pretends he’s this stoic, ruthless and protective powerful man with no powers but in actuality, he has never emotionally recovered fully from his losses. He also shows care towards characters like Baby Doll, showed Harley Quinn kindness and he adopted Dick Grayson because he put himself in his shoes when he witnessed Dick lose his parents to a criminal.

Which is why I hate the out-of-character Batman moments of him knocking up his oldest son’s girlfriend and that infamous comic book that had him say, “I am the goddamn Batman.” I’m not a comic book reader but I watched the movies and the cartoons that featured him.

The reason why Ada Wong works as a stoic character is because it’s obvious she’s playing a character, a fake version of herself or the sake of her shady jobs. She works as a mysterious character that best in the remake timeline we have so far because she is not tied to the typical and predictable Catwoman archetype Capcom attempted and failed to make Ada into to make the overly complicated Batman and Catwoman dynamic between Leon and Ada. Remake Ada has more interactions with Luis that show some more dimension to her character, such as her fulfilling Luis’s last wishes of saving Leon and Ashley and avoiding Wesker from blowing the whole island and forcing a helicopter pilot to fly in a different direction to keep the Amber away from Wesker.

I am hoping that if she appears in another title by HERSELF, not with Leon and not a single mention of Leon, we get to know her more as a person. And for RE6, I want Leon and Ada’s encounters to be different, not the whole “you love her, don’t you?,” and the flirting Leon and Ada do when Helena is being forced to fight her sister. Like, guys? Time and place?

So when I compare RE Alice to Ada Wong and even Jill Valentine, RE Alice is the weakest female character written (not talking about strength and skill wise, that’s not what I’m talking about). If I had to choose between Batman and the Witcher, I’d pick Batman every single time. I also picked the Witcher as another stoic character I don’t like so that I don’t get the, “oh god, you are SO misogynistic” comments. Both RE Alice and The Witcher are equally boring to me. Plus, RE Alice was good in the very first movie, every other movie was just bad to worse, to worse, to “okay, what are we doing now?”

#writing #character writing #character development

[chronostachyon]

From a YouTube comment I just wrote

Link (cw: reaction video)

Star Wars and Indiana Jones are both cut from the same cloth: pulp fiction. The magazine format, not the Tarantino film. Pulp comics were cheap, trashy stories built around broad character archetypes and thrilling good-vs-evil violence; I fully get why they're fun and nostalgic, but they push a British colonialist viewpoint of noble men in savage lands that's very much descended from Rudyard Kipling. Takeaway, pulp fiction is a fun storytelling genre but it's best not to let it shape your world-view.

Regarding the changes to the film over the years: I'm sure many other commenters (online or meatspace) have mentioned that the CGI was added after-the-fact, as were the "Episode 4" and "A New Hope" parts of the title... but the title change happened much much earlier than the CGI change. In the time of Episode 5 (1980), it suddenly went from a standalone movie to first in a trilogy, so they updated the title of the first film. That change was a lot less controversial compared to Lucas's digital remasters just before Episode 1 (1999). Nobody grew up on "Episode ∅: The Unsubtitled" VHS tapes: in 1977-1980 home video releases weren't yet a thing, and taping things at home off of broadcast TV was incredibly rare (the tech was immature and outrageously expensive then). Nope, people grew up on the "Episode 4: A New Hope" name that you actually saw here, and they always knew it as first in a trilogy. There wasn't a real opportunity for a widespread "they changed it now it sucks" outcry, because the only crowd who knew the difference were people who watched it during that three year gap and were old enough to remember the old version.

A brief rant:

IMO, the "they changed it now it sucks" folks have a good point here and there, but I also see Lucas's thinking in 1999 about how a new generation was going to grow up with a Star Wars trilogy, and he wanted the original trilogy to look less jarring to people born in 1990-1994 even if people born in 1967-1972 hated the remaster changes... especially how a lot of cutesy squeaky animals were added in the Tatooine establishing shots and, yes, Greedo shooting at Han and missing. A lot of it boils down to kids my age screaming that ThunderCats the children's cartoon about teamwork was cool when we grew up, but the new ThunderCats is a children's cartoon about teamwork and that's earnest and cringe and I can't believe we're exposing younger generations to it, because ThunderCats the children's cartoon of the 1980s was gritty and dark and sarcastic like the stuff I'm into now as a teenager. Neo and Trinity and Morpheus just really get me, mom.

All that said: it's awful that we don't have a Blu-ray that has both VHS-era and remaster on them, though.

#cringe #i am cringe but i am free #star wars meta #star wars prequels #star wars remasters #pulp fiction #irony poisoning

[hurremshiv]

In SO4 writers took the “Mustafa is innocent/ Hurrem is snake” route but if they were to take the other route (which is historically more accurate) and address Mustafa’s mistakes, how would you write Hurrem? Cause as much I believe they did Hurrem dirty and put her in a very shitty light, if the other route was taken Hurrem role would basically be non-existent other than trying to play with SS mind and that’s it. If anything Rustem would be shown more which we wouldn’t really like.

I would definitely lean on subverting and deconstructing the Livia archetype far more than the show does. Overall the real issue in my opinion is the fact that I think the show focuses far too much on blaming individuals and ends up letting the system and the empire as a whole both off the hook. And the black and white approach that the show takes does the conflict between Hürrem and Mustafa an immense disservice.

I'd let Mustafa be more morally complex and ambiguous. While keeping his characterisation sympathetic. I think the point should always be that the system itself is hostile to humanity, and that everyone is trying to survive within it. And of course that applies to him and Mahidevran just as much as it does to Hürrem and her kids. That said, I don’t know much about the actual history the show is based on. But what I do know is that there is a lack of evidence around the actual execution of Mustafa. So it’s hard for me to really give a concrete answer. That said, I would want to see more fleshed out relationships between him and his siblings and a sense that he cares about them while also being aware of the fratricide law.

As for Hürrem herself, I understand why the show has her involved in Mustafa’s death. She has good reason to want him dead, it’s more entertaining and the Livia archetype/girlboss villain is a well worn trope that people find entertaining. I think if she wasn’t involved, her characterisation and the show itself would have to be very different. Since her portrayal is so tied to this archetype and her role is so pivotal in the show, to actually change that would make the show so different as to be almost unrecognisable.

I think how I would write Hürrem depends on how I’d write her role in his death though. And there’s a number of ways to do that while still subverting this trope. One issue to avoid would be overcorrecting and making her a perfectly innocent woman who ‘knew her place’. Because that both does injustice to how she broke rules and precedents and stay within the whole framework of evil ambitious women vs. good obedient women. I’d let her to be the first Haseki Sultan. Since it was a title specially made for her. So it’s meaningful to her specifically. I’d also make more of her charity work than the show does. For something that was historically an important part of her legacy and that is clearly important to her in the show, it gets remarkably little screentime outside of certain token moments like episode 93 or the women coming to visit her in episode 134. Other than that I’m not really sure. The thing about Hürrem and really the whole show is that it’s more about the mythology around history than it is about the history itself. So from that perspective there’s a lot to work with.

#hürrem sultan #magnificent century #answered #ibrahimnerde

[austennerdita2533]

we generally overlap on a lot of ships. actually maybe all of them but one. phoebe x cole. they had chemistry but i always felt that there was inherent balance there. it was enemies to lovers to enemies to lovers to enemies to lovers... a real rollercoaster. what is it that speaks it you? what is it that you love about them? i am 100 open to changing my mind 😌

Hello there!

I might not be able to change your mind about Phole on the whole, nonnie, and that's okay if I can't! I am always good with a difference of opinion, especially when it comes to shipping because we all gravitate toward characters/couples for a variety of reasons based on our own subjective preferences and experiences. However, I can try to elucidate for you why it is I love them so much. Why I still root for them no matter how many times I re-watch.

The first, and most obvious, reason is their chemistry is electric. It draws me in, buzzing with an undercurrent anytime they share a scene together. I have no qualms admitting that I am a sucker for heady, intoxicating - hell, perhaps even a little dangerous - tension between two characters. That's the good stuff right there! Keeps me hooked and invested! Theirs' bursts forth in the first exchange they have and lingers like a delicious infection until the last.

That said, the bigger reason I ship Phoebe and Cole is because they fit tropes and archetypes I enjoy in characters as well as in relationship dynamics. They're an an amalgamation of so many good ones! Witch/demon, enemies to lovers, forbidden love, light vs. dark, good vs. evil, opposites attract, Hades and Persephone etc. But it’s the way that these tropes intersect and manifest, I think, that makes their dynamic sexy, spirited, and stirring to watch. 

I've always been a big fan of the enemies to lovers trope. I gravitate towards it in almost every medium, but am particularly fond of it in paranormal/supernatural settings because there's bound to be higher stakes and more skewed morality on all sides. Things cannot be as black and white as they are in real life when there's magic involved, or supernatural slaughter happening, or plots to overturn the so-called "natural" order of the world. I think that leaves more room for convoluted and problematic conflict. The gap widens for me between who/what is salvageable and who/what is not. It also makes the rollercoaster of emotions the characters experience - all those heavy ups-and-downs - all that life-crushing angst they're put through over and over again - more palatable, more believable, and even, in my opinion, more excusable in a lot of situations.

Phoebe and Cole have a pendulum-like complexity to their romance, to their internal makeup as people, that is heightened by their supernatural roles/status/perversions and I think that, as a consequence, it makes sense for them to have a broader moral ambiguity they must learn to traverse together as a couple. Because traverse it they do.

Both of them toe the line between good and evil, between light and dark, as they hover in this beautiful but labyrinthine in-between space, and I really resonate with that. I mean, who among us isn't a compilation of mismatched, contradictory parts? I know I have 'em in spades! 😂

I'm also a firm believer that love is more than just connection, or compatibility, or fate; it's a conscious choice that has to be made over and over again, every day. It's a decision you make to continue to work for the love you have or want with another person, to fight for it, to find a way to protect and preserve and endure through it, no matter how many obstacles life throws in your way. And Phoebe and Cole fight so hard for the love they have for each other! So. Damn. Hard. I can't help but root for them for that fact alone.

Not only do they fight foes, but they fight friends, they fight family, and they fight uncontrollable circumstances that rain down on them determined to cleave them apart. It's actually quite tragic to me how hard and how often the Charmed universe tries to yank them away from each other, but they're like magnets, they're like planets who cannot stop orbiting back toward each other because their love is that powerful, it's that important to them. They won't give it up to a black hole's gravity. They refuse to let it be erased or discarded or destroyed. It's embedded in the very fabric of who they are. It's is a part of their DNA, and they'll cary it with them always.

I also think it's important to note that Phoebe and Cole usually find a way to compromise. Their imbalances aren't unbreachable; in fact, they often find a middle ground that allows them to enhance their weaknesses without necessarily sacrificing their strengths. They believe in each other, too. Build each other up. Cole constantly reminds Phoebe how smart, powerful, and capable she is in the same way that Phoebe acknowledges and nurtures the good in Cole. She encourages him to lean into his humanity, to express it in a way he never could before he met her.

Overall, I think they make each other better, more rounded people. They complement each other like yin and yang and that's extremely satisfying for me to watch.

I know and acknowledge that there's a lot of Source!Cole drama later on in their relationship with him growing more possessive, controlling, and power hungry, but I give him kudos because he does push back against it as much as he's able. He battles against the darkness. Goes to war with it, really. As much as the "evil" overtakes him when he becomes The Source, it still cannot manage to expunge his love for Phoebe. She's his one weakness. The one remaining light the darkness of the Underworld cannot stamp out completely. The reason I say that is because, although it takes him time and many unsuccessful plots to get there, he does let Phoebe go. He surrenders. He doesn't make it all about him in the end, doesn't keep her from moving on.

He loves her enough to place her happiness above his own. Not only does he help her find love again, with someone else, might I add, but he sacrifices himself to protect Coop because he knows it'd devastate her if she lost him. His love for her supersedes everything else - even his own life - even his own freaking immortal power - and I think that says a lot about the virtuous depth of his feelings. Love of that magnitude can only come from a pure sliver of heartspace somewhere, you know what I'm saying?

Cole's unconditional love for Phoebe is the one glimmer of humanity he refused to surrender to the Source's total eclipse of evil. Nothing in the universe could or would take that away from him. And guess what? It didn't.

That takes a tremendous amount of courage and self-will from anybody, and I'm awed by it. Absolutely gobsmacked! It literally opens me up from neck-to-navel any time I try and imagine the profundity of that sort of love and devotion.

All of this, to me, is reason enough to ship them. And you know...to cry about them into my pillow for years to come. 😭

Anyway, I have no clue if I managed to sway you at all but I hope you had fun listening to me try and explain my reasoning!

xx

#anonymous #replies #the loveliest of lovely people #ashlee bree talks phole

[daisylikesmedia]

Series 6 Episode 9: Night Terrors

Heyy everyone, today we’re going to look at another Mark Gatiss script, and his first script to not be a historical. I’ve never really been a big fan of his historical works, so let’s see how he fares writing in the present day.

I want to take a slightly different approach with today’s approach, and use an example of another episode with the same concept to compare and contrast my thoughts. The episode we’ll be comparing Night Terrors to is Fear Her from the 2nd series of new who. If you were reading back then, you’ll know I’m not a big fan of that story, but after watching some Doctor Who Confidential apparently that episode was supposed to focus on the kind of childlike suburbian horror we also see from Night Terrors, making it in my opinion a good point of comparison.

So, the first thing you have to nail when doing a horror episode of Doctor Who is the horror itself. We’ve gotta sit down and ask ourselves “is this episode actually scary?”. I think Fear Her, despite having intentions of creating horror, doesn’t hit the mark here. The drawings could’ve been spun into a more body horror kinda thing, but the episode avoids focusing too much on this aspect, whereas Night Terrors is very willing to show in graphic detail people being turned into wooden dolls, a little bit like the gas mask zombies from The Empty Child/The Doctor Dances. The evil thing locked away in the cupboard trope is done in both episodes as well but is used to a much greater effect in Night Terrors imo. One drawing at the back of a closet VS all your scary toys and ideas locked in a cupboard. Even the setting of Fear Her is all bright and colourful, compared to the dark dreary tower of flats that Night Terrors exists in. It feels that Fear Her tried to be horror but didn’t want to commit to it, whereas Night Terror embraced it fully.

Another thing I want to touch on are the performances of the main cast. Both episodes focus around a child in distress, and so both episodes had to take the risk of hiring a child actor. Get a well-suited one in, and the episode goes smoothly. Get an actor who isn’t suited for such a big role, and the episode can crumble underneath them. Fear Her’s child actor was one that I don’t think managed to sell the performance, and so it made it so hard to take the episode seriously. Night Terrors on the other hand has a pretty strong performance from the child actor the episode revolves around, and so the stakes are sold.

My only big issue with this episode is that I’m not much of a horror girl, and so often I need a bit of levity to balance out the darker toned stories. Fear Her gave too much levity and it diminished the horror in the episode, but with Night Terrors there’s no real levity of all bar the odd line or two, making it one of the bleakest episodes of the show. I think the balance can be seen in Moffat’s RTD-era scripts. I think in those he does a fantastic job of finding that goldilocks zone between too much and too little levity. It’s just right in those stories, and I love them for it.

TL:DR/Overview: Night Terrors takes the archetype of domestic horror that Fear Her uses, and does a much better job at executing on it. Strong performances, great scares, and a good use of the tropes around the genre make this episode a fantastic little surprise to rewatch. I do think the episode sometimes lets the tone get a bit too dark for my liking, and a lot of the episode isn’t “memorable” per se, but it was a very refreshing watch. A tier.

#daisy reviews media #doctor who #11th doctor #night terrors

[astridbecks]

i absolutely adore tiefling baby gwendolyn de rolo. please also consider: the de rolo sibling dynamics here can only be improved by vesper de rolo, who was probably conceived before/during the vecna arc, ending up as an aasimar due to vex becoming the champion of pelor while pregnant with her.

#critical role #tal’dorei reborn #de rolo family #elvie.txt #both children affected by their parents decisions both good and questionable; both equally loved and cherished #the archetypes of good vs evil but like. actually both of them are just people in the end. like everyone else. #vesper bonding with her baby sister over being Not Quite Human (quarter-elf) #vesper de rolo #gwendolyn de rolo

[icewindandboringhorror]

idk if its just having learned too much about efficient conflict resolution/healthy communication or simply that I’m a boring silly person or etc. etc. but I often run into the issue of having to pause shows/movies and walk away for a while because I am SO annoyed by the way characters handle things in the most nonsensical way imaginable.. 

It’s weird since I actually always find it very difficult to relate to any characters, so it's not out of emotional attachment/personal stakes (more the opposite lol, I usually view them all neutral or negative, am only there for the world lore or sets/costumes) yet despite my overall detachment from anything that happens (often have no investment in how the plot actually turns out, etc) -  it’s like... just the sheer act of witnessing blatant easily solvable miscommunications or situations that go SO poorly is enough to gradually grate at my nerves 

(maybe it’s also that I'm a very problem solver/solution oriented type of person  so my brain may be a bit more rigid about that - like I don't ever really ENJOY seeing stuff go wrong, it’s not intriguing or interesting to me, usually just stressful because I can imagine all the ways it could have easily been avoided/want to solve it/, etc. As opposed to others who are maybe able to turn that part of their brain off and see it as entertainment, etc.)

And, I understand that for plots to happen, generally something has to go wrong, I mean usually plot is based on conflict (in SOME form), so I don't know how to articulate why exactly SOME plots bother me so much and others don't, but for some reason there's just a very specific type of story event where the things that are apparently meant to have stakes seem SO forced and completely irrational or senseless that it's like.. legitimately impossible to watch lol 

(I don’t mean in a overly nitpicky cinemasins style criticism way but just.... you don’t even have to be nitpicking details to see that it’s like... why do NONE of anyone’s actions or motivations make any sense and half of you resolve conflicts like a 5 year old... HOW is this meant to be interesting to watch in any way..?? like Flawed characters can be fun!! I’m not saying everyone must have 100% perfect communication skills, but there’s a difference between having well established repeated patterns of behavior due to character flaws and “Oops! The Story Demands That We Lack Common Sense At Random”)

#maybe it's the type of conflict also? I seem to not mind conflict as much if it's like 'character vs outside factors out of anyones control' #or the conflict is that characters need XYZ thing and don't have it or complex ideological disareements between characters that aren't clear #cut so they keep butting heads over it. etc. etc. but when it's stuff like ''character who SUPPOSEDLY implied to be a master strategist #routinely makes the WORST decisions imaginable' or 'two chars have a conflict that could be easily resolved with a simple 5 minute convo' or #character who is supposedly mistrusting and cold falls into traps and is easily manipulated by person who might as well be wearing an 'I Am #Evil And Will Betray You Immediately' t-shirt.. like.. hello?? i hate all of you #and it's often this on TOP of other things that already annoy me - like straight romances or etc. etc. #It’s not that I necessarily inherently have anything against cishet (straight romance specifically between a cis woman and cis man) relation #ships in media but I think it’s just something you get tired of seeing since forced romance (especially of that kind) is in #EVERYTHING.. kind of like with All I Want For Chirstmas Is You - like I don't think anyone thinks it’s an objectively awful song the #vocals are good. music itself is fine. etc. - BUT still it’s SO overplayed around holidays that when it #comes on most people groan and whine and moan and wish they’d play ANYTHING ELSE. Media is sort of the #same way when I start a new TV show and in the first episode cardboard cutout stink ass Male Main Character gives his first glance to boring #underdeveloped Female Main Character and you just.. know.. that there’s going to be some annoying romance or something you groan and whine a #and hope that they both blow up #OR WHEN i FINALLY actually like or relate to a character in ANY way and they ruin them by forcing them into a straight romance #any character I've ever had even moderate care for (which isn't many lol) is usually more like.. aro ace coded or at least usually #like the weird hermit nerd unemotional genius sociopath detached from society isolated whatever etc. etc. - you know the character #archetype I mean. and they ALWAYS are like 'aww but actually they're lonely.. some poorly written other character that they have #zero chemistry with must finally get through their Icy Exterior and finally they can feel Happy and Loved' liek guiejnhjknJKGBHRJGBEJHBTH #listen you KNOW this man (it's usually a man) is NOT interested in anyone and even if he WAS he would be some eccentric #old gay wizard or evil scientist or something but you KNOW IN YOUR HEART he would not date a cis woman.. ESPECIALLY NOT #THIS ONE *points at the generic romantic interest character that literally has nothing in common with them at all and is only there to be #The Opposite Of Them and Teach Them Humanity * .. let him be isolated in his wizard tower and HAPPY ABOUT IT you cowards #now look at what you've done to him.. you've tried to make him a Normal Human With Normal Emotions and you've RUINED him #BUT ANYWAY jhgibhj that's another pet peeve but not the main one I'm talking about right now lol #This is another reason I rarely watch stuff lol.. like i WANT to see the costumes and the world and maybe get aesthetic inspiration but.. #god... sitting through the plots and characters.. There's definitely a scale like some shows are actually reasonable OR are completely nonse #nse and every character is a dumbass but in a fun actually entertaining way.. but ..hhh.. so many times it's just like No.. I Can't Do This #long post

[true-blue-megamind]

FAN THEORY THURSDAY: Megamind’s Connections Beyond the Film

Before we get started, it’s time for the obligatory SPOILER WARNING!  

In case this hasn’t been made sufficiently obvious by the fact that this is a post about Megamind written in a fan theory series about Megamind and published on a blog dedicated solely to Megamind, please let me just assure that this article is, in fact, about Megamind.  

If you haven’t seen the film yet yet, I have to question why you’re reading this in the first place.  As well as your taste in animated movies.  I’m definitely questioning that.

Over the years I’ve heard several fan theories concerning connections between the film Megamind and various other forms of media.  Today, let’s delve into just a few.

The first one is so obvious it’s almost painful, but it has to be mentioned.  Megamind is a Superman spoof.  Metro Man is clearly based on the Man of Steel himself, with a hefty dose of Elvis Presley and a larger range of character flaws thrown in for good measure.  (He also seems to contain quite a lot of the Popular Jock archetype.)  The character of Megamind is more complex still, combining elements of Alice Cooper and a nineties Goth theater kid with several comic book supervillains. The best known of the last include alien genius Brainiac and mad inventor Lexx Luthor, but they aren’t the only ones.  Some of Megamind’s engineering and technological inventions call to mind Spiderman villain Doctor Octopus even more than Lexx Luthor, and he also shares some parallels with the mad inventor Dr. Sivana in the SHAZAM comics.

Megamind’s most notable of the latter is the similarity of attitudes toward society.  Both Megamind and Dr. Sivana started off trying to use their inventions for good—the first in the classroom and the second for the betterment of mankind—but both became bitter when people mocked and shunned them.  For Dr. Sivana, this led to a desire to conquer all of Earth while for Megamind, in a sort of microcosm, it led to a similar drive to take over Metro City.  Both Lexx Luthor and Dr. Sivana have, perhaps, the strongest connections to Megamind as share, deep down, a desire to help or protect mankind, and as Lexx Luthor, like Megamind, harbors a secret love for the reporter damsel in their respective stories.  (This desire to do good, especially in the face of corrupt officials, ties into another Megamind fan theory that I will likely discuss in more detail in a later post.)

The connection between Megamind and Alice Cooper, by the way, was extremely intentional.  The creators stated in an interview that, like Alice Cooper, Megamind’s dark, evil self is, in fact, a stage persona.  (Even their clothing, consisting largely of black leather and spikes, is similar.)  That fact is illustrated in the film as we can see that Megamind’s behaviors on- and off-camera tend to be vastly different.  Even as a villain, he is merely playing a role, although in the case of Megamind that role has begun to merge with his self-identity.

There are, however, hints within the world of DreamWorks that Megamind has other connections as well.  The first is fairly recent and intensely interesting. In the Rise of the Guardians, Jamie Bennett, a young boy who still steadfastly believes in the seemingly impossible, mentions “aliens in Michigan,” only to be scoffed at by his friends.  Because Metro City is located in Michigan, (as can be seen briefly when the Death Ray is fired from space,) many fans theorize that the “aliens in Michigan” are none other than Megamind, Minion, and, perhaps, Metro Man. 

This would indicate that the two stories take place in the same world, and that Megamind’s adventures, while well-known in Metro City itself, have been covered up and kept secret from the rest of the world.  (Imagine moving to a moderately-sized city only to discover that—surprise!—there’s an extraterrestrial supervillain in residence and, oh, by the way, if you live downtown homeowners’ insurance is ridiculous!)

The second inter-film connection is less clear, but has spawned some interesting fan theories as well.  The idea is that, like Rise of the Guardians, Monsters VS. Aliens also takes place in the same reality as Megamind.  It’s not too far fetched—after all, both films involve extraterrestrials and amazing inventions—but there is one specific theory that really ties the two together.  Consider this for a moment: Megamind is a blue alien with incredible intelligence who hails from a destroyed planet.  Does that sound like any other DreamWorks character you know?  If you’ve seen Monster VS. Aliens, the antagonist, Gallaxhar, probably springs to mind.

According to Fandom.com, Gallaxhar’s official backstory is that he “destroyed his home planet” for the implied reason that “he experienced bad childhood and unhappy marriage.”  The fan theory is that that Gallaxhar’s planet was, in fact, Megamind’s home world, and that the former created or harnessed the black hole which destroyed it.  This would explain why Megamind’s people—as well as Metro Man’s—didn’t have time to escape despite being space-faring.  You see, black holes take millions of years to develop, and even a rogue black hole would take about a million to shift and swallow an entire solar system, so if the event had occurred naturally, there should have been plenty of time to build an entire fleet of spacecraft and leave for Earth or another safe planet.  (The fact that Megamind’s parents set his escape pod’s navigation system for Earth indicates that they knew of its existence.)

Of course, despite their large heads and blue skin tones, there are quite a few physical differences between Megamind and Gallaxhar.  The first is humanoid while the second has four eyes and tentacles instead of legs.  Fan theories have explanations for that, too, however.  

There appear to be two schools of thought on the subject.  The first is that Gallaxhar was another breed of alien living on the planet, possibly a servile race different from Minions, and the second is that part of Gallaxhar’s “bad childhood” involved being experimented upon, thus giving him his bizarre appearance and his seeming obsession with experimenting on others.  (There is some disagreement in the Megamind fandom about exactly why Gallaxhar was subjected to such treatment, ranging from falling into the hands of an unscrupulous scientist to being part of an experimental medical program.  The latter fan theory suggests that Gallaxhar was both blind and paraplegic, and that his additional eyes and tentacle “legs” were meant to rectify that, but that those physical differences made him an outsider, thus leading to his unhappy life and ultimate hatred for his own planet.)

If that were true, many may wonder what, exactly, Megamind might do if he ever found out about Gallaxhar.  Well, good news!  Just like there’s an app for everything, there’s a fan theory for that, too!  I will warn you, however, that this one is, frankly, build upon pretty thin evidence.  However, it’s interesting enough to be worth relating.

There is a character in Monsters VS. Aliens named General Warren R. Monger who, on the surface, is exactly what he appears to be: a high-ranking military man.  However, there are a few things that fans point to as possible evidence that Monger isn’t what he seems.  

The first is so simple that, alone, it would be inconsequential.  Monger rose through the ranks uncommonly fast, so much so that it caused some comment among others.  The second is significantly odder; Monger claims to be ninety years old despite looking like he is in his late forties.  Now, of course, this may have simply been the character exaggerating or messing with the “monsters” under his care, but some fans say it’s more than that, and claim that Monger chose that age because he was unfamiliar with human lifespans.  Next there is the fact that Monger is so intelligent that, despite one of the beings in his containment facility. Doctor Cockroach, being a super-genius, Monger outwits every escape attempt the monsters can make.  Then, of course, there is the fact that, despite his brusque manner, Monger seems to actually sympathize with the inhuman people he is charged with containing, and even pushes for them to be given a chance to prove themselves.  There is the oddity that, although he is assigned to the secret military base at “Area Fifty-Something,” Monger seems to disappear a lot, often for days at a time.  Finally, there are a few key physical and technological attributes: Monger has some odd and incredibly energetic facial expression—including a nearly maniacal smile and a dark scowl—as well as a jet pack that he appears to have constructed himself and green eyes.

I’m still not certain I see the resemblance, but maybe there are some similarities?  What do you think?

If you’re familiar with Metro City’s resident blue alien, you can probably see where this is going.  Although it’s not a popular theory, I’ve heard it suggested in the Megamind fandom that Monger is, in fact, Megamind disguised using his holowatch.  (This is why the green eyes are significant; Megamind’s eye color is the only aspect of his appearance that the holowatch doesn’t change.  However, I feel compelled to note that the shade of green appears to be different.) Fans insist that it would have been easy for someone as incredibly brilliant as Megamind to hack government systems and forge documents such as birth certificates thoroughly enough to dupe even U.S. Military Intelligence. The two jet packs, some have contested, look different either because of the disguise or because the one featured in Monster VS. Aliens is an older model. I’ve even seen the fact that both Megamind and Monger begin with M being pointed to as possible evidence that the latter is no more than an invention of the former.

The argument is as follows: as Monsters VS. Aliens takes place in 2009, one year before events in Megamind, it’s possible that Megamind, still being a villain, created an alter-ego which he could use to help him search for and deal with other alien life.  (He is shown to be painfully lonely, and the Megamind comics reveal his desperate desire to find other survivors from his home planet.)  Upon figuring out who Gallaxhar was, and more importantly what he had done, Megamind wanted to be part of taking him down.  But he couldn’t be too open about it; he was, after all, still a “Bad Guy.”  This theory explains Monger’s frequent long absences—during those time Megamind was back in Metro City taking care of his regular business— as well as why Monger had a secret soft spot for the “monsters.”  Megamind, having always been treated like a monster himself, would naturally want to give them a chance, but wouldn’t dare behave in too overtly friendly a manner as it would have aroused suspicion.

As I said, support for that particular theory is, perhaps, a little thin, especially given the fact the Monsters VS. Aliens preceded Megamind, so character designs from the former are unlikely to have been influenced by the latter.  Nonetheless, I admit to appreciating the complexity and creativity of it.  It’s an undeniably fun theory. If they haven’t already, maybe someone will write a fan fiction about it one day.

Those are only a few of the theories out there connecting Megamind with other fandoms.  One could go on and on about the subject, but I won’t torture readers by doing that.  Nonetheless, it illustrates once again the immense love and original thought that Megamind fans put into developing their theories!  I dare say that few other animated movies have earned a following so dedicated and inventive…  But, then, any of us who love the film Megamind will tell you that it has more than earned the consideration!

#Megamind #Megamind fan theory #Megamind movie #Megamind fan theories #comic books #comic book #superheroes #supervillain #DreamWorks #DWA #Monsters vs Aliens #Rise of the Guardians #Rise Guardians #Monsters #Aliens

[twh-news]

How Loki Shapeshifted From Nordic Folklore to a Marvel Icon

by Sara Durn

There are more than 800 years between the stories of Viking god Loki first being written down and his arrival (in the superb Tom Hiddleston) in the Marvel cinematic universe in 2011’s Thor. The new Disney+ series Loki, set to be released on June 9, is primed to explore more antics of Thor’s trickster brother as he attempts to fix the timeline he helped break in Avengers: Endgame. Among his many talents, Loki has cheated death a few times in the MCU, but that amounts to child’s play for this god.

In Norse mythology, Loki causes just as much confusion as his Marvel iteration. Though there aren’t any stories of him outwitting death, there are plenty of myths where he shapeshifts, swaps genders, or tricks gods into killing other gods. In the Marvel universe, he’s quite prone to allegiance swapping. Let’s dig into this troublemaker’s journey.

What is Loki’s origin?

The legends surrounding the Norse god are first documented in writing around the 13th century, primarily in Iceland. There are two versions of these legends that enter the historical record around the same time—the Poetic Edda and the Prose Edda. The Poetic Edda is an anonymous collection of Old Norse poems that are mainly pulled from an Icelandic medieval manuscript known as the Codex Regius (some of the poems date back to 800 CE). The Prose Edda is an Old Norse textbook for composing poetry that was written by a single author, Snorri Sturluson, a colorful Icelandic historian, scholar, and lawspeaker.

“Within the myths, you can see Loki moving from being just mischievous to being absolutely evil. If you think of him as only being mischievous, he’s actually a creative force and often ends up getting the gods much of their magical possessions, like Thor’s Hammer, through his cunning.”

“Pretty much everything we know about Loki came from Snorri Sturluson,” Viking scholar Nancy Marie Brown, author of Song of the Vikings: Snorri and the Making of Norse Myths, told io9. Brown says this was very appropriate given that “Snorri was quite a trickster figure himself.” While calling him the “Homer of the North,” Brown also acknowledges that Snorri spent a lifetime “double-crossing friends and family… scheming and plotting, blustering and fleeing”— a life that eventually led to his unheroic demise in a nightshirt where his (supposed) final words were “don’t strike!” In both Eddas, Loki is always portrayed as a cunning trickster. In the Prose Edda, Snorri describes Loki as “pleasing and handsome in appearance, evil in character, very capricious in behavior. He possessed to a greater degree than other [gods] the kind of learning that is called cunning.”

Besides appearances, Loki is always getting the gods into trouble and then cleverly extricating them from the mess he’s made. He fathers the Midgard Serpent destined to bring about Ragnarök, the end of the world in Norse mythology. He convinces the blind god Hodr to kill the beautiful and favored god Baldur. He kidnaps the goddess Idun to save his own hide from a furious giant. The mythological character is constantly switching sides—sometimes supporting the gods and sometimes their enemies, the giants. In the MCU, Loki is both hero and villain—in The Avengers he opened a wormhole in New York City releasing alien monsters and in Thor: Ragnarok he helped Thor save the Asgardians from Hela’s wrath.

Thorwald’s Cross, a fragmented runestone depicting Odin being consumed. Image: Public Domain

Loki might have begun as a Norse god of fire—fitting considering how fire can be both “helpful and destructive,” said Brown. Fire can both burn down your house and cook you dinner. It’s tricky that way—like Loki. As Brown puts it, “You can see his two sides there [reflected in fire].” Brown also explains that there was likely a transformation in Loki over the centuries. “Within the myths, you can see Loki moving from being just mischievous to being absolutely evil. If you think of him as only being mischievous, he’s actually a creative force and often ends up getting the gods much of their magical possessions, like Thor’s Hammer, through his cunning.” Again, it’s just like Marvel’s Loki, who sometimes helps the other gods out, like when he teamed up with Thor to escape the Grandmaster in Thor: Ragnarok.

What is Loki’s relationship with the Devil?

In the long, slow conversion of the Vikings to Christianity that took place between the 9th and 12th centuries, Loki became a parallel to the Christian Devil. The creative, positive elements of him fell away leaving only the god favored by the Father (Odin/God) before getting cast out. (It does sound a bit like Lucifer, right?) Christianity paints a world that is far more black and white, good vs. evil than the Norse pagan religion—here’s little room for a grey, ambiguous figure like Loki. As Brown puts it, “The Christian religion insists that you’re either with us or against us. Whereas in what we understand of the pagan Viking religion, there were a lot of shades of grey. There was a spectrum on which you could move back and forth. You weren’t all one thing or all the other. You weren’t all female or all male. You weren’t all good or all evil. It was more human.”

Loki always moved fluidly between those two polarities—helping Thor in one story, causing an overthrow of the gods in another. In one tale, Loki shapeshifts into a mare, becoming the mother of Odin’s great 8-legged horse, Sleipnir. In another, he fathers the wolf Fenrir. The Church couldn’t really handle all that grey area Loki liked to inhabit, and so it eventually cast him as the devil himself. “[Monks] had to sort the gods into saints and devils, and Loki by being sexually ambiguous and also morally ambiguous falls into the devil [category],” explained Brown. Though Marvel’s Loki certainly channels a bit of the devil at times, we’ve luckily yet to see him become both mother and father to world-ending, multi-legged monsters in the Marvel Universe. But, there’s still time, especially with the new Disney+ series hitting the small screen.

When was Loki’s Revival?

After the Viking conversion, the Norse myths started to fade, and Loki with them—until the 1600s, when medieval manuscripts like those containing the Prose and Poetic Edda began to be translated. “The reason [these myths] became popular was because of nationalism,” Brown told us. “In the mid to late 1800s, there was the idea that what distinguished one nation from another was its cultural heritage.” This spurred Jacob Ludwig Karl Grimm and Wilhelm Carl Grimm—known to many simply as the Brothers Grimm—to go “collect the stories of the local people to prove that Germany was a nation, not a collection of states. You had the same thing happening in Ireland to prove that they were different from the English and you have the same thing happening in Iceland, Norway, Sweden, and Denmark.” This eventually gave rise to the Nazis appropriating Norse myths in their twisted pursuit of alleging Aryan supremacy.

Following the Civil War, the United States also looked to the Middle Ages to redefine the country’s fractured identity. As Chris Bishop, author of Medievalist Comics and the American Century, explained to io9, “[the Middle Ages] offered an aesthetic that was individualistic (think: the knight errant, Robin Hood, etc.), given to interpretations of exceptionalism (Camelot, the once and future king), venerable (where old equalled established and respectable), and (unlike Classicism) Christian.” The Middle Ages, or more accurately the remixing of the Middle Ages known in academia as “medievalisms,” appealed to many Americans obsessed with ideas of American exceptionalism and singularity in the 19th century. Eventually the U.S.’s obsession with the Middle Ages made its way into comic books starting with Prince Valiant in 1937, a comic strip created by Hal Foster set in and around the legends of King Arthur. Other medievalist comics followed eventually leading to the inclusion of Norse gods like Loki, Thor, and Odin.

First appearance of Loki in the 1949 Venus comics. Image: Wikicommons

When was Marvel Comics’ Loki introduced?

While Loki first appeared in the 1949 comic book Venus styled after (you guessed it) the devil, the modern-age Loki didn’t hit the comic book scene until co-writers and brothers Stan Lee and Larry Lieber adapted him in 1962’s Journey into Mystery #85. It’s in that issue where Loki “becomes Thor’s enemy/ally/brother/adopted brother/etc,” said Bishop. The mischievous personality of the Norse god remains largely the same in the Loki of the comic books and films and even retains the ability to swap genders at times.

In the comics, Loki is raised as Thor’s brother in Asgard—somewhere the Marvel stories diverge from the Norse mythology. It’s Loki and Odin who are sworn brothers in the Norse myths, not Loki and Thor. As Brown explains, “Loki and Odin are blood brothers, which means they are even closer than real brothers.” In the Viking world, two people who swore a blood oath to one another formed a bond that went beyond kin, and so went the Norse Loki and Odin’s relationship. As Bishop points out, the Loki/Thor dynamic of the comics and movies is a “classic, formulaic archetype.” Thor is the “big, hunky, handsome (but slightly dumb) hero” and Loki is “his slight, quirky but super-smart frenemy. Loki is the dark, misunderstood, vulnerable shadow that audiences can relate to, reach out to, care for. Thor is that dumb jock who everyone looked up to at school, but Loki was that cool, quiet kid who went on to found a tech-empire.”

Why is Loki called a Trickster?

What does remain consistent with Loki is that he always plays the trickster. He is the manifestation of psychologist Carl Jung’s archetype: The trickster disrupts the individual and/or society causing either growth or destruction. Social scientist Helena Bassil-Morozow points out that when it comes to Loki, “despite the fact that the narrative details between the medieval Loki stories and their contemporary versions vary, the main idea remains the same—the trickster mercilessly attacks those in power and nearly causes the end of the world.” Both in the Norse myths and in Marvel, the world needs saving from Loki. He acts as the catalyst for a whole lot of upheaval—upheaval that in the Norse myths causes Ragnarök.

Loki “functions as a locus of salvation (literally, a prodigal son).” Loki just might be a savior. He’s someone audiences can look at and think “if Loki can be redeemed, so too might I.”

Perhaps that’s where the two narratives differ the most. In the Norse tales, the end of the world at Ragnarök is inevitable. Odin and Thor will die. Everything will change. Vikings lived with the knowledge that their world would end. In the MCU, we don’t know how the story ends, plus Ragnarök took place already and yet the Asgardians live on. There’s still hope that Loki will prove to be good and that the other superheroes will save the world from whatever mayhem he’s caused, or so we can hope in the upcoming Disney+ series. As Bishop puts it, Loki “functions as a locus of salvation (literally, a prodigal son).” Loki just might be a savior. He’s someone audiences can look at and think “if Loki can be redeemed, so too might I,” explains Bishop.

While the Vikings’ Loki caused the end of the world, today’s Loki might just save it. Or maybe not. And, perhaps that’s the fun of the trickster—you never quite know what they’ll get up to.

#loki #norse mythology #mcu

[the-redeemed-anon]

Villains vs Antagonists, what each word means because this fandom uses them as synonyms when they are not

Oh boi, who would’ve thought that this was my debut analysis post on Tumblr for this fandom? Hi, it is I, Redemption Anon from @kateis-cakeis’ blog. This isn’t the post I promised to post first, but this topic has bugged me, especially in the current events. It is time to talk about villains and antagonists, DSMPblr.

Disclaimer before I get into it: I am what would be considered an old dog in this fandom, I’ve watched in a weird way Season 1 while it was still going down, and I officially started lurking on Tumblr through anons on a couple of blogs right at the start of Season 2. It’s just that now I felt the need to make a blog where I analyse stuff. So, I feel like I have some knowledge, albeit imperfect, of characters and events, across the story. Also, I am talking about the characters here, not the CCs. If I mention a CC, their name will be labeled accordingly.

With that out of the way, let’s jump into it.

Now, you may see the words “villain” and “antagonist” being used a lot when discussing the DSMP and other media in general, but the thing is, they are not synonyms, and I feel like a lot of people fail to grasp that, because oftentimes, we have characters that are both at the same time, making the line blurry. Well, let me try to explain my take on these terms.

An antagonist is a person who opposes the protagonist, it’s the rival of the main character, the anchor of the POV that is followed in the story. This usually means that an antagonist can be paired up with the villain role, and the protagonist with the hero role, but it’s not always the case. There are stories where the protagonist is the villain, and the antagonist is the hero (for example, the Genocide Run of Undertale). And even then, there are antagonists that aren’t the villain in the grand scheme of things (for example, you wouldn’t call Gary from Pokemon a villain, would you?) Basically, antagonists are very much POV-centric. In the DSMP, the best example I can give is the BA versus Techno. From Techno’s POV, the BA was his antagonists, while from the BA POV, Techno was the antagonist. Bear in mind, neither party was a villain, or a hero.

A villain is very much a person that serves an evil purpose, the opposing force to the hero of the story, whose actions point to a good purpose. While the hero is the person you are supposed to root for, the villain is the one who is supposed to lose, to not cause a bad ending to your story. The villain and the hero depend a lot on morality. Villains can have downright evil goals, like say, destroying the planet or something repulsive enough to make most people root against them, or morally-grey goals, where they intend to do evil for what they think is the greater good. The last one works well with sympathetic villains or protagonist villains, because you get to see them from another angle. In the DSMP I think it’s safe to say we have two true villains, that being Dream and the Egg, because almost everyone agrees that if these two got their way, it would be bad. I am going to talk just about one of them, however.

Okay, now that we made those two terms clear, let me repeat: antagonists depend on the POV that is observed, while villains depend on morality. On the DSMP these two factors make saying the categories characters belong to tricky, especially when some self-assign or are assigned by other characters or even the fandom into archetypes. In this analysis I want to analyse Wilbur, Puffy (the characters that self-assigned themselves as villains at one point in their arcs) Tommy (who I saw people assigning him as a villain recently) and Dream (one of the true villains of this story, and not only that, he fits the classic combo of antagonist and villain).

The Self-Appointed

Welp, time to talk about my favorite character, Wilbur, and sympathise with Puffy fans, because they’re going right through what we, Wilbur fans, went through since “Then let’s be the bad guys” was uttered.

So, Wilbur and Puffy self-appointed themselves as villains. That makes them villains, right? Not quite. See, the thing with villains is that they are dependant on morals. The audience isn’t the only one that has a moral code, characters have one too. And, in my opinion, in this case we have to talk about the moral codes of these two.

Both Wilbur and Puffy have, or, had, moral codes that revolved around peace, not killing, and the like. Moral codes that you would generally label under “morally good”. What happened to these two, then, for them to go and call themselves villains? Well, it’s quite simple actually.

They broke their own moral codes. I’ll start with Wilbur because I am more familiar with him, and I can use the quotes provided by kateis-cakeis here (thank you my dude for your hard work collecting these!).

So, we all know that at the beginning, Wilbur had a very peace-oriented mindset, wanting to use words over weapons in conflict [“We don’t win wars with battles and with armour. We win wars with our words, Tommy. We’re starting a revolution, not a war.” - (Wilbur’s The Wall: 4:54, 29th July)], and, as such, he saw himself as a good guy [“It was Dream, he’s kinda the bad guy. Yeah, we’re the good guys, we’re the good guys here.” - (Wilbur’s Niki joins L'Manberg: 22:28, 6th Aug)]. What changed? Well, for starters, Wilbur underwent a spiral from paranoia that started from the Independence war. We can see his opinions change thanks to the flashback to the Election era [“And power isn’t gaining from diplomacy, and bureaucracy, and giant courthouses suspended in the sky, blah blah blah. It’s gained from swords, Quackity. It’s gained from blades, it’s gained from steel, iron.” - (Quackity’s Killing My Enemies: 1:06:19, 12th Apr)]. Of course, his spiral worsened after the Election, but we can assume he still thought of himself as a good guy.

That is, until the infamous scene. You know the one: [“Tommy, I’ve got a question for you, right. Because this festival, this is a good idea, this doesn’t seem like a bad like, this doesn’t seem evil. You know? This seems like a nice friendly thing Schlatt’s doing. Tommy, are we the bad guys?” - (Wilbur’s who are you go away: 1:08:14, 8th Oct)]. Oh yes, here, after about two weeks of being in a high stress situation, high paranoia and Schlatt seemingly doing a good thing for his nation, Wilbur starts to question himself. He starts to question if this is the moral thing to do, the right thing to do. And, logically, if you’re not in the right, you’re in the wrong, so the conclusion he reaches, is this: [“Tommy, am I, am I a bad, am I a villain of this story. Am I the villain in your history?” - (Wilbur’s who are you go away: 1:08:59, 8th Oct)]. He self-appoints himself as a villain, and then embraces the role, as well know. As Season 1 progresses, Wilbur doubles down more and more on this idea that he is the villain, and his story ends tragically. Even his ghost thinks of him as a villain, and compares Phil to Saint George, a hero, for killing him (I will get back to this).

So, was Wilbur an antagonist? Yes, definitely, especially from his POV, I would argue, because if he thought he was in the right, he would have never uttered the infamous “Then let’s be the bad guys.” Hell, other Wilbur analysts have pointed out that Wilbur may have wanted to be stopped from pressing the button. Even from his POV, you could argue he’s against the protagonists of the arc. The fact he had some potent self-hatred just helps cement that he was an antagonist, someone who must be stopped.

Was he a villain? I would say no. Look, I don’t see Wilbur as a villain, even if he tried to place himself into this archetype. In Season 1, I think the villain was Schlatt, followed by Dream, starting at the end of the Season. Wilbur strikes me more as a fallen hero, as a man who was okay, who would be cherished and loved and looked up to by others, but at one point took a wrong turn, didn’t find his way back, and continued down the path that doomed him, while his loved ones turned away from him, because they didn’t know how to help and he distanced himself from them by lashing out. It’s a tragic story arc. 

“But Redemption Anon!” I hear you say, “CC!Wilbur’s DnD Alignment Chart classifies him as Neutral Evil, bordering on Chaotic Evil!” The DnD Alignment Chart is a chart that while it helps to get the vibe of a character, it can be often arbitrary or can be blurred because characters fit in with characteristics of more than one alignment (see the debate from around that time surrounding Techno’s assigned alignment). Plus, if we look at Wilbur from the POV of most, if not all, characters, without reading into his reasonings, yeah, he looked evil. Even to himself, we see it from quotes like these: [“Here’s the thing, I genuinely think, if it weren’t for me and you dying right, the server would be in shambles. I know for a fact that if I come back, or if I’m brought back to life in some way it’s definitely gonna just go [shit again]” - (Tommy’s am i dead?: 10:10, 4th March)], [“I know what I’m like, that’s the issue.” - (Tommy’s am i dead?: 10:29, 4th March)]. Was he evil, though? I would say not, more misguided than anything. That doesn’t mean he was a saint, nor was he the devil. Of course, he did some wrongs, and me denying that would be weird, because that’s why I say he should get a redemption arc, if he had a clean record, he wouldn’t be in need of one. He’s hurt people, intentionally or not, and he has to make up for those actions, if he is to be redeemed, but that doesn’t make him evil or a villain.

“But Redemption Anon!” I hear you say again, “Ghostbur considers him a villain and the quote from Ghostbur says he was a villain that wasn’t convinced to be a hero!” Yes, true, but we’re forgetting here two things:

1. Ghostbur is biased against Alivebur because he remembers his death as a good thing, and people don’t like him, therefore he rationalises it as Alivebur being the villain of the story and Phil being the hero, pulling out a Christian story that blatantly, hard-line shows us who is the villain and who is the hero: [“I- I- I’ve read the history books, Phil. I’ve read the history books. You- You- You slayed the dragon, you slayed Alivebur. You were the- You- You are the St George of the Dream SMP. We understand, everyone understands that, Phil.” - Wilbur’s First Time Ghostbur Live: 17:58, 6th Jan)]. Honestly, if I was in his shoes and I was everyone hating my past self and I didn’t remember my actions, I would assume I was evil too, because that is easier to comprehend than the fact that they are hating a mentally ill person that didn’t get the help, support and guidance they needed while they had a paranoia-fueled spiral.

2. Ghostbur, when he said: [“But a villain is just a- Sometimes the line’s a little blurry, you could say, a little blurry. It’s a tiny bit. It’s like, a villain, a villain is just a hero you haven’t convinced yet.” - (Tommy’s The Plan To Kill Dream: 1:01:31, 14th Mar)] he was talking to people who considered Wilbur a villain, and he tried to make them consider another side. This context matters, if he dismissed that Wilbur was a villain, there was a risk of his point being dismissed completely. Tommy and Tubbo, while they knew Alivebur from the beginning, his later actions tainted their view of him, and he has caused them hurt, and Ranboo has never met him, only knows of him from word of mouth. It’s hard to make these three consider him from the angle that he was not a villain. The line is still very good, but, again, context matters.

“But Redemption Anon!” I hear you yet again, “Wilbur is even worse in the Void and Dream will be killed to prevent him from being ressurected!” Okay so I don’t think we can speak about the Void here, in this context. You see, all we got out of the Void was a 5 minute conversation that sounded more like snippets out of a longer conversation, or even multiple conversations, that took place over what Tommy perceived as 2 months. From that conversation, all we got is that Wilbur’s self-loathing worsened, he thinks he, and by projection, Tommy, are better off dead for the good of the server, he knows when the Universe will end and he plays solitaire. The rest of the information we got about him was from Tommy, who is, sadly, an unreliable source, because he is not disclosing what Wilbur told him he’d do, beside a general “it will be bad and we have to stop it”. Tommy was also dealing with the trauma of being brought back, and let’s not forget that the Void didn’t give him peace, he was essentially tortured constantly for what he felt were 2 months. To me, it feels like it’s an intentional lack of detail and information, with a lot of discrepancies (like, if Wilbur scared Tommy so much, it’s interesting he refused to talk to MD when offered the chance, and Schlatt mentioned both Wilbur and Tommy being together at the gym) to throw us off. For all we know, Wilbur could be planning the end of the world if he is resurrected, or, he could’ve been making empty threats, or, he was rambling with no thought of it being taken seriously, or, he intentionally scared Tommy into not bringing him back, because he wants to stay dead. All of those could be what happened, and we may not know until he gets resurrected. Until then, I can’t call him a villain, or evil, even if he thinks of himself as a hazard to others, or Tommy’s motive to kill Dream.

Also, don’t be surprised Wilbur’s mental health seemingly went downhill ever since he’s been there. It’s possible the feeling of being constantly pulled apart isn’t just a Tommy thing, Wilbur may feel it too, and he’s been in there for what he may feel as being 10 to 15 years. Add the fact he’s been in Schlatt’s presence for that time, don’t act surprised he’s gotten worse. He didn’t have the conditions to plateau, let’s not even talk about getting better.

I think I defended Wilbur’s honor long enough lol, now onto Puffy.

I am not as familiar with Puffy as I am with Wilbur, but I will try to present her side as best as I can. We all know that post-Doomsday, Puffy took on the knightly goal of protecting people, especially the minors of the server. Puffy had the misfortune, however, that her closest friends and allies turned to be at least antagonists and at most villains, their actions leaving her feeling hurt and betrayed.

If she tried her best to try to help Bad and Ant, her friends, with the Egg problem, the Banquet shattered the remaining trust she had in them because they killed Foolish, and whether her belief that they killed him first to hurt her is true or not, they did hurt her. She felt betrayed, and accusing her of being the reason her son was dead didn’t help.

The moment she got the axe from Quackity Ant’s fate was sealed, because in that moment of grief and anger, Puffy sought out a retribution, a revenge that went against her moral code. We can see this clearly affect her, because once she leaves the Banquet’s hall, she mourns the death of Foolish and the fact that she killed her best friend, when she swore to protect lives. The Banquet, overall, is a highly traumatic event for her.

No wonder that the next day, her outlook on things changed. She branded herself a villain. She started making vague references to what she can do as a villain, because no one would expect it from her, even name-dropping Doomsday, one of the worst events she witnessed, and the one that turned her to her knightly arc. For me it’s clear that what she said was out of trauma, out of shock and out of desperation.

If you think about it, the world of the DSMP is very bleak, canonical minors have heavy trauma and continue to pay for wrongs they did long ago or suffer because people think they need to learn something or because they are used by others. Puffy noted it herself, Doomsday came and went and the perpetrators were never punished for it. While Techno and Phil aren’t villains per se, they are antagonists in this situation, aiding the villain, Dream, neither of them has suffered any consequence for destroying L’Manberg. No, getting locked into Pandora does not count, because Dream was imprisoned just because he had the Revive Book and he was too dangerous to let loose. It would seem that you can perform evil acts without care or consequence half the time, so why not turn to what you perceive as villainy to exact your justice on those who wronged you?

As of me writing this, all Puffy has done so far is say that she will be a villain, yet I have seen some takes that treat her as if she has been pulling the strings all along. I have seen people claim she has the Nuke, that she, for some reason, controls Ranboo’s enderwalk and even that she will break out Dream. I think this is ridiculous, not only because some of those things happened before she even considered calling herself a villain, but also because she has yet to take action. This is another “Then let’s be the bad guys” situation, because we have a character, that, after getting their moral code flipped on them, in a moment of vulnerability, they see themselves as a villain, and being the villain is the way to resolve their problems.

With that said, is Puffy an antagonist? Surprisingly, I say she was one already. If you look at the story from the Eggpire’s perspective, she is an antagonist, because she wants to stop the Egg. From other POVs, she’s not, and she hasn’t done anything to cement her as an antagonist with bad intentions so far.

Is she a villain? No, and I think that call is too soon to make, regardless of what she says. Remember, she feels herself as a villain, she is an unreliable narrator for herself in this situation. All she did was make a promise, with no action or plan. She also doesn’t seem to want to cause mass harm on the server, rather concentrating on the Eggpire. Another thing to note, she sees her killing Ant still something bad she did, even if she doesn’t regret it, because she is open to receiving consequences for the kill.

Truly it’s a matter of time to see where Puffy will go with this promise, and I hope she doesn’t go down the same path Wilbur went, not only because of story purposes, but also meta purposes.

The Fandom-Appointed

Ah, Tommy, one of the most misunderstood characters on the DSMP. So, why am I discussing Tommy here? Because I saw an influx of people calling him a villain after the last lore stream, and I want to set the record straight, because, just like how the reaction to Puffy’s “I’m a villain now” moment are ridiculous, so are the reaction to Tommy’s… especially because Tommy didn’t have an “I’m a villain now” moment.

I have to say, since Season 2 started the parallels between Tommy and Wilbur and Tubbo and Schlatt, people, at the beginning of Exile, were rooting for “VillainInnit”. People seemingly wanted him to follow Wilbur’s path, but he didn’t. He saved himself and went to Techno’s. While at Techno’s, while he was attempting to heal from Exile, due to wanting to feel accepted and gain Techno’s friendship, he started making actions of violence, that painted him in an antagonistic light. He even quoted Wilbur, which, as I remember, sent the fandom in a panic, because people found this as confirmation for Tommy turning to villainy, history repeating itself.

… But it never happened, because Tommy realised at the Green Festival that what he’s doing is wrong, and set off to make up for his actions. Yet since then people have been dogpilling him and calling him a villain, for following his moral compass, finding his way back and trying to make things better. Every mistake he makes or flaw he has is highly scrutinized to a ridiculous level. At this point blaming Tommy for all the wars is a meme.

It’s funny, actually, that Tommy gets pushed into the hero archetype by the people on the server, and the moment he makes a wrong step, by accident or because he was messing around, he’s at best an antagonist and at worse a villain, proving a point I always make when talking about the archetype of the hero, in any media: the title of hero puts the character on a tiny pedestal, and if they make the smallest misstep, they will fall into the pit of being branded evil and a villain. And that pit, story-wise, is hard to climb, because characters forget easy the good someone does, and often remember the bad they did, because it’s easier to see someone in a black-and-white perspective. They did bad? Then, they must have always been bad. Tommy doesn’t even want to be a hero or a villain, he just wants to vibe, but external forces do not let him have peace, forcing him to act, for his and the server’s sake.

Now, I have seen people condemn Tommy and already trying to push the narrative that he’s bad for wanting to kill Dream. Let’s look at Tommy’s morals: he, before he visited Dream for a second time, told Sam that he believes no one deserves to die, not even Dream. We can say that this is a core part of his moral code, not killing people.

This belief, as far as I remember, has been contradicted twice, once when he was killing Dream in the Season 2 Finale, and now, as he plans to kill Dream. Tommy himself recognises that this isn’t the right thing to do, but it’s the only thing to do. Why isn’t he a villain or an antagonist then? Because the context of why he did and does this is important.

Dream was planning to kill his best friend right in front of him, lock him up in Pandora and use the attachments of everyone on the server to control them. Tommy, and everyone on the server, realised Dream was a serious threat then, someone too dangerous to wonder around. Tommy took to killing Dream as a necessity to protect himself and everyone else. The only reason Dream was put in Pandora is because he revealed he knows how to revive the dead, thus they can’t kill him without dooming everyone to being dead, forever. Pandora was the only solution they found to keep Dream alive while keeping him powerless.

Second, Dream killed him, and brought him back, telling him he can send him back and declaring himself a God. Whatever Tommy and Wilbur spoke about in the Void clearly marked him, because he was willing to forgive Dream, if he is to not bring Wilbur back. Dream refused, and Tommy realised Dream is too dangerous for everyone on the server to be kept alive, especially to the people that came to the Vault, thus, for everyone’s safety, he must kill him.

This is not an evil, villainous or antagonistic goal, it is quite stereotypically good, protagonistic and heroic (ironically it’s what Aang was advised to do in ATLA, kill Ozai for the good of the world, even if he betrays his pacifist beliefs). Tommy has been pushed in the role of a reluctant hero, and even if he fails his goal and Dream escapes, that will not make him a villain or evil.

At the same time, as I said, antagonists are POV-centric, so, of course, Tommy is an antagonist in certain POVs. The Egg dislikes him, Jack wants him dead, Dream and Tommy at the point are sworn enemies and Techno doesn’t like him. He is an antagonist with good intentions, and that is the final nail in the coffin that I do not see him as a villain. He never saw himself as in the right doing bad things, never tried to justify them as being the right thing, and has apologised for his actions. He’s not a saint, but he’s not the devil either, and neither is he evil or a villain.

The True One (Story-Appointed)

Okay, now we are talking business. Dream, flat out, is a both an antagonist and a villain. The classic combo people think of when they think of a bad guy in a story. I’ll be honest I like him as a villain. You know you wrote and acted a good villain when you cheer as they hit rock bottom, and you love to hate them. That’s exactly what Dream is.

What in my mind separates Dream from the rest of the characters I have discussed in this analysis so far is intent and moral code. Make no mistake, all the characters I mentioned up until now know they’ve done something bad, whether they doubled down, plan to, or made up for their actions. And all of them, Dream included, started out from the same slate: characters with intentions and goals that are neutral to good on the general morality scale. Yeah, that’s right, I don’t consider Dream to have been evil from the start. At the beginning and middle of Season 1, I would have put him in the trickster category because he seemed to vibe with whoever he wanted, as long as he came on top, but without too much malice. He fanned the flames (like lavacasting Sapnap’s Eiffel Tower and giving Tommy Mars) but nothing big enough to make him a definite villain.

It was at the end of Season 1 that I could see him slowly shaping up as the definite villain we will witness from Season 2 to possibly the end of the DSMP. Allying with Schlatt over the Revive Book, telling Eret he plans to bring every faction under him, the traitor deal and him cheering for L’Manberg’s death all pointed to him becoming the next big threat. Then Season 2 happened, Exile happened, and this cemented him as the villain of the DSMP.

Doomsday came and we finally got a window to see why Dream did what he did: “You’re too fun”. People may wonder why I don’t consider Techno and Phil as villains for participating in Doomsday. This is why. While Techno and Phil had reasons that, while controversial, could be understood as valid motives to do what they did, Phil saying they were sending a message when talking to Ghostbur, Dream did all of that, all of that destruction, because he found it fun. He found it fun to torment and tear down a nation, because it was standing in his way, and it was something Tommy cared about.

The Vault scene also shows that Dream was planning to backstab everyone, by stealing their pets or their valuable items, or, in Bad’s case, cage an entire sentient being, Skeppy, in a cell smaller than an animal’s pen. Not even Techno, a guy that owes him a favor, was going to be spared. Let’s not even talk about him wanting to kill Tubbo just so he can make Tommy a hero by giving him a tragic backstory. All of these, plus killing Tommy and threatening to send him back to the Void for more info and declaring himself a God, point to Dream being a villain.

And then we have the morality side. In the last visit, Dream told Tommy that everyone thinks they are in the right from their perspective, which Tommy immediately denied. Both Dream’s line and the reply he got are very important. Dream’s line establishes that, as far as we know, Dream sees himself as in the right. Everything he did, Exile, abusing Tommy to the point of the latter considering ending his life, Doomsday, the Vault, almost killing Tubbo? All of that seems to have been not bad or evil actions in his mind. He sees himself as in the right, and that makes him a great villain. Tommy’s reply, well, him denying it, I always saw it with double meaning. On a surface level, Tommy’s obviously talking about himself, he has said time and time again that he’s done wrong and he needs to right it. On a deeper level, however, I saw him referring to Wilbur with this line, too. Because, as established before, Wilbur chose to do bad, even if he knew it was bad. He wouldn’t have said “Then let’s be the bad guys” if he thought they were in the right, and that is the fundamental difference between Wilbur, Puffy, Tommy and Dream. The former three, as shown in the previous sections, know that they did bad things, even from their moral perspectives, while Dream thinks he is in the right.

This is why Dream is the villain, while the others are antagonists at best and conflicted, broken and forced to walk a certain path, at worst.

#dream smp #dsmp #wilbur soot #dsmp wilbur #captain puffy #dsmp puffy #tommyinnit #dsmp tommy #dreamwastaken #dsmp dream #dream smp analysis #dsmp analysis

[veeranger]

So you want to watch Precure!

Version 1.3

(Google Docs Vers & Changelog)

Maybe you follow people who like it, maybe you just love magical girls and never got into Precure, but there are over a dozen seasons and you don’t know how to jump in. Never fear, this masterpost is here to give you a rundown of Precure, and hopefully by the end you’ll have an idea of where you want to start. 

What Is Precure?

Precure (short for Pretty Cure) is a Toei Animation franchise started in 2004 and has been on the air nonstop since then. It’s a magical girl franchise, y’know like sailor moon or ojamajo doremi or other such shows. The main demographic is children so you don’t have to worry about any weird “fanservice” or panty shots or anything nasty like that, it’s very G rated. 

What Are The Shows About?

In a general sense, Precure is about a team of 2-6 middle school age magical girls fighting bad guys and giant monsters and saving the world on a weekly basis with pretty outfits and big flashy finishers and the power of love and friendship. Each season follows a pretty standard formula (toku fans should be pretty familiar with it for the most part), and each season is around 48-50 episodes long. 

In keeping with this toku-esque formula, most seasons will feature mid season additions to the cast, in the form of new precure heroes. For the sake of not spoiling these shows, these mid season cures will not be mentioned in our plot overviews unless they appear extremely early or something like that. Just know that almost every season will feature an additional cure joining the team later in the show. 

Additionally, every season has at least one movie, these days there’s usually two per season. Usually you’ll find the movies are a standalone self-contained romp, and a crossover movie with the preceding seasons, with a focus on the most recent 2-3 teams. These movies might as well exist in a continuity of their own, and have absolutely no bearing on the plot whatsoever, save for one except which I’ll mention when we get to that season. 

Why Should I Watch Precure?

Because it’s good. It’s a really stellar franchise with a ton of content and genuinely engaging characters and stories. Also this isn’t your mom’s magical girl show, these girls throw punches, and kicks, and big lasers. Precure is pretty well known for being extremely hands on with its combat compared to other magical girl shows, though don’t expect the same kind of fights you’d find in kamen rider or anything. Also a main draw for a lot of people is the amount of gay subtext in, frankly, every season. While there’s only one season with an explicitly confirmed gay relationship between two cures, every season has varying levels of subtext between cures, it’s pretty cool. We won’t discuss the subtext in every season overview but trust us, it’s in there. 

What Show Should I Start With?

It doesn’t actually matter which season you watch, every season is a new setting and with new characters and set in a new world (except for two sequel seasons i’ll explain later), so you’re free to watch whatever you want in any order! We’re going to spend the rest of this post talking about each season to give you, the beloved reader, a glimpse at what each season has to uniquely offer. Don’t worry, there’s no spoilers down there. 

Futari Wa Precure (We Are Pretty Cure) & Futari Wa Precure Max Heart

The original precure show that aired in 2004, and even received an english dub. Misumi Nagisa is a star lacrosse player living a normal life until one day a shooting star she wishes on turns out to be a fairy that careens right into her room, or rather, smacks her right in the face. The fairy, named Mepple, explains he comes from the Garden of Light, another world that’s been taken over by the evil Dark King and his Dark Zone in order to capture the Prism Stones, a number of heart shaped crystals that, if collected, could give Dark King the power to destroy not only the Garden of Light but also the Garden of Rainbows, Earth itself. Meanwhile, Yukishiro Honoka finds a box in her grandmother’s shed containing an item just like the one that smacked Nagisa in the face, and inside is the fairy Mipple, who explains the situation to Honoka. The two fairies, seeking to be reunited, drag Nagisa and Honoka along and the four of them end up meeting up, but are attacked by an emissary of the Dark Zone. Mepple and Mipple grant the confused duo the power to transform into the warriors of legend, Precure. As Cure Black and Cure White, Nagisa and Honoka manage to fight off their attacker and protect their new fairy partners. The girls are then more or less dragged into the battle against the Dark Zone, as the only hope for both Gardens, they fulfill their duty as legendary warriors despite their hesitations and desires to go back to being normal teenagers.

Futari Wa doesn’t exactly have any major themes to speak of, it’s just your standard magical girl vs evil bad guys kind of thing, forgive it for being the first season. What it does have to offer is the relationship between Nagisa and Honoka, as well as the action in fight scenes. The girls don’t start the season as best friends, in fact they barely even know each other’s names when they’re first flung together. It takes a few episodes and a major fight between the girls for them to really start opening up to each other, but soon enough they become inseparable and support each other in everything they do. It’s clear, especially near the end, that the girls cling to each other for support and strength in the face of the increasingly overwhelming odds they face as the Dark Zone gains strength. It’s very compelling to see their relationship deepen in the early season and see how deep their bonds truly go near the end. 

Futari Wa received a sequel show, Futari Wa Precure Max Heart, picking up the story where it left off in the first season’s finale. Honoka and Nagisa are still the main characters, and they’re still fighting the Dark Zone, but this time they’re joined by a mysterious girl named Hikari, who can transform into Shiny Luminous, not a precure but precure-ish. This time the girls are trying to recover the heart and soul of the Queen of the Garden of Light, before the Dark Zone can recover and destroy the queen in her weakened state. Also their precure costumes have changed slightly. 

The first season (that is to say, not max heart) is currently one of the few seasons available with official english subtitles on the streaming platform Crunchyroll

Futari Wa Precure Splash Star

Hyuuga Saki (Cure Bloom), a tomboy who loves playing softball, and Mishou Mai (Cure Egret), a quiet transfer student and aspiring artist, meet each other by chance one day under the Sky Tree, where they discover two creatures from the Land of Fountains named Flappy and Choppy. The two girls transform into the legendary Precure and are tasked with restoring Princess Filia and the Seven Holy Fountains, which were sapped of their power by the evil forces of Dark Fall.

Splash Star's main theme is the appreciation of nature. The main focus is on the girls rediscovering their relationships with their town and the nature and people in it. You get to meet a whole cast of characters in their community, who have a lot of heart and charm behind their writing and the show does a good job of getting you genuinely invested in their stories.

Unfortunately the romance in Splash Star isn’t much better than Futari Wa's (sorry to any Fujimura/Kazuya fans), but the main girls themselves are so engaging that it's easy to ignore. The villains are pretty goofy, but entertaining if you can accept that the show doesn’t take itself very seriously. There are two villains in the latter half of the season that really stand out, though. Without spoiling too much, I can promise you their character arcs will tear at your heartstrings in the best way.

If you've watched Futari wa Precure, Splash Star will probably feel familiar. Although it's the first "reboot" series in the franchise with completely new characters, Toei overall played it safe and Saki and Mai in many ways still feel like "Nagisa and Honoka 2.0". Splash Star is different in enough other ways to make the show stand on its own merits, but if you watch it immediately after Futari wa you might find yourself feeling some deja vu. Personally, I think it's interesting to see what Splash Star builds on and explores when compared to Futari wa, since it has many of the same themes and character archetypes but they play out quite differently.

Yes! Precure 5 & Yes! Precure 5 GoGo!

Nozomi is a cheerful, carefree girl, but she doesn’t have a dream. One day she meets a hot guy and finds a mysterious item called the Dream Collet, capable of granting any wish once all the fairies known as Pinkies are gathered inside it, in the school library. She discovers that the hot guy is actually a tanuki from Palmier Kingdom named Coco, and that the Kingdom has been destroyed by the Nightmare. Coco’s dream is to restore his kingdom using the Dream Collet, and Nozomi decides to make it hers as well. 

She’s joined by her jock friend Rin, Urara, an aspiring actress, Komachi, a writer, and the rich student council president Karen. Together they form Yes Sentai Fiveranger Yes Precure 5 and work together to prevent Nightmare from obtaining the Dream Collet before they can gather all the Pinkies. They also save Coco’s “”””””friend””””””” and fellow hot guy squirrel, Nuts, and he joins them as the second mascot/handsome love interest.

The theme of Yes is dreams and heterosexual furry romance. It pulls off the dreams part very nicely. The het furry romance is bad, mostly because Coco is Nozomi’s teacher at school and also her love interest. However, Coco and Nuts are fairly gay and if you look past the romance part they have very good dadly relationships with the rest of the team. 

Yespre, like Futari Wa, received a sequel show, Yes! Precure 5 GoGo!. After the defeat of Nightmare some time ago, a new faction called Eternal rises up and starts stealing treasures from various dimensions. When Eternal targets the Rose Pact belonging to the Cure Rose Garden, the precure are called back into action to fight against Eternal, with new cure outfits, a new fairy named Syrup, and a new cure-like teammate named Milky Rose.

Fresh Precure!

Fresh is sort of the defining series for modern Precure, introducing a lot of plot and thematic elements to the franchise that would be used repeatedly later on. 

A concert Momozono Love attends is attacked by a monster called a Nakewameke. When Love stands up to it, she is nearly killed, but is saved when she is chosen by a mysterious power to become Cure Peach. She is joined by Inori and Miki as Cure Pine and Cure Berry, and, together with the talking ferret from the Kingdom of Sweets, Tarte, they have to prevent Labyrinth, a grey world led by Mobius, from taking over the Parallel Worlds and transforming them into identical, machine-like dictatorships, and also figure out the secret behind the Magic Baby, Chiffon, that Tarte is entrusted with. 

Fresh’s themes are happiness and nature/technology and donuts. The donuts are important. Labyrinth operates by gathering misery; the Nakewameke are created from it and their function is to create more of it and fill the Sorrow Gauge. All the girls (and the mascot) have love interests and their familial relationships are explored a lot to bring out the general stakes and emphasise what they’re fighting for.

While Fresh is very strong in characters, plot, and thematics, its lack of budget is very apparent. It looks terrible. Fortunately, it isn’t that difficult to get used to the bad animation once you get into the show, although the lack of means tends to show up at inopportune moments, like new powerups.

Heartcatch Precure!

Featuring character designs and art direction from Ojamajo Doremi’s character designer Umakoshi Yoshihiko, and written by Ojamajo Doremi and Onegai My Melody writer Yamada Takashi, Heartcatch should look and feel familiar to fans of either franchise, especially Doremi.

After having a reoccurring dream about someone called Cure Moonlight being defeated trying to defend the “Great Heart Tree”, the shy and reserved Hanasaki Tsubomi moves in with her grandmother and ends up inheriting the will of Cure Moonlight and becomes the newest precure, Cure Blossom. Finding out her grandmother used to be the legendary Cure Flower, Tsubomi vows to protect the world as a precure and learn to change herself for the better. She’s joined by her new friend and the first person she saved as a precure, Kurumi Erika, a loud girl with a big heart who means well, but doesn’t hesitate to speak her mind. Erika becomes Cure Marine and the two become Heartcatch Precure, the newest precure in the long legacy of those who have stood up to the evil Dune, a mysterious invader who destroys planets and turns them into lifeless deserts. Heartcatch Precure fights against Dune’s minions: the mask wearing Professor Sabaku, his Desert Apostles, and the mysterious Dark Precure. Along the way they meet the former Cure Moonlight, now stripped of her power, and try to help her cope with her defeat.

Heartcatch Precure’s main theme is flowers and flower language. Everyone has a “heart flower” that the Desert Apostles take and use to create their monsters every week. As an interesting result of this, the monster of the week will be the main character in the plot of the week and often their big monster form will vent about their issues which will usually lead to a resolution when the precure return them to their regular bodies. Heartcatch also has a very nice backstory and lore to it. Unlike most iterations of precure, the Heartcatch girls are not the first precure to exist in their world, there are dozens maybe hundreds of precure that came before them, fighting against Dune and his forces for hundreds of years. It adds a lot to the narrative in small ways, especially later on in the season. Also the fight scenes are extremely excellent, especially when Moonlight is involved. 

Suite Precure♪

The musical paradise of Major Land falls under siege by the forces of Minor Land, led by King Mephisto. His goal is to steal the living notes of the “Melody of Happiness” and remake them into the “Melody of Sorrow”, throwing the world into a permanent depressive state. As a last resort, Queen Aphrodite scatters the notes into the human world and tasks Hummy, the cat-like fairy, and the Fairy Tones, to find the notes before the forces of Minor Lands can capture them. In the human world, Hummy meets Hojo Hibiki and Minamino Kanade, two girls who were best friends as children, but drifted apart as teenagers because of their tendency to bicker with each other. The two find themselves thrown together again by fate and transform into Cure Melody and Cure Rhythm to protect the things they hold dear. Not long after, the two rekindle their relationship and become closer than before, despite their bickering. Soon the girls run into the mysterious Cure Muse, a girl who appears to be a precure like them, but hides her face with a mask and refuses to join in their fight, claiming to be neither friend nor enemy. Melody and Rhythm battle against Minor Land and the giant Negatones they create from the notes they gather, as well as Siren, another cat-like fairy who used to be Hummy’s best friend before turning to evil and joining Minor Land. 

Suite Precure’s main theme is music, and it is a very encompassing theme. Hibiki and Kanade bond over their piano practice, the town they live in celebrates music frequently and is aesthetically music themed, and their powers take the form of musical instruments. Harmony is also a large theme for the two girls. Their precure power increases as they harmonize with each other, and the early season is very much about them learning to harmonize with each other. Suite also features several extremely well done mystery arcs, about the identity of Cure Muse, and various other things that I can’t very well talk about without risking spoiling things myself. If you manage to go into Suite not knowing anything consider yourself extremely lucky and be super sure not to get spoiled. The show staff went to great lengths to hide certain things, including leaking fake cure designs, and creating a second version of the second dance ending to further mask the identity of Cure Muse until her true reveal. 

Also something to note, usually precure movies have nothing to do with the plot of the show itself and can be watched whenever but the Suite movie is best enjoyed right after the arc revealing Cure Muse’s identity is concluded, it has a nice resolution to plot elements in that arc and sets the stage for the last few arcs of the show, so be sure to watch it then.

Smile Precure!

Written by Kamen Rider Kabuto head writer Yonemura Shoji, Smile Precure is the second season to feature a 5 girl team after Yes! Precure 5 Gogo!. Running late to her first day of school, resident happy-go-lucky klutz Hoshizora Miyuki runs face first into a small creature called Candy, a fairy from a place called Märchenland. The two are attacked by an anthropomorphic wolf named Wolfrun, and Miyuki transforms into Cure Happy to fight against Wolfrun and the big clown faced monster he summons called an Akanbe. After Candy explains that the legends say there are five precure, Miyuki recruits four new friends: the hot blooded Akane (Cure Sunny), shy artist Yayoi (Cure Peace), responsible older sister Nao (Cure March), and refined student council vice-president Reika (Cure Beauty). The five of them become Smile Precure and fight against Wolfrun and his allies in the Bad End Kingdom, who attempt to revive the slumbering Pierrot by trying to put the world in a “Bad End”. 

Smile Precure’s main theme is fairy tales, in a general sense. The Bad End trio are based off of the big bad wolf (Wolfrun), the oni from Momotaro (Akaoni), and the witch from Snow White (Majorina), and Miyuki herself is utterly captivated by fairy tales. The secondary theme is happiness, and the happy go lucky tone of the series often turns on its head during serious arcs to deliver extremely powerful emotional moments. Smile Precure is light on plot, and most episodes are an ultra happy experience, but the show knows how to get serious when it needs to and Smile is exceedingly competent at pulling off drama when the time comes. Smile knows how to get you invested in its characters and use that to pull on your heartstrings during the big moments. The last 10 episodes of the show are the absolute pinnacle of the show’s emotional drama, and each cure gets her own episode for closure before the finale sets in and emotionally destroys you. Also you get to play rock paper scissors with Cure Peace during her roll call so that’s always fun.

Doki Doki! Precure

Doki opens with Trump Kingdom’s destruction by the Selfishness as Cure Sword looks on, helpless. Switching to our world and brighter topics, we meet Aida Mana, Student Council President of Oogai Middle School, whose dream is to become the Prime Minister of Japan. Whenever Mana sees someone in trouble, she’ll help them out, so when a monster attacks the city, Mana does the obvious and tries to stop it. And when, chosen by the fairy Charuru (Charles? Cheryle? Cherry?) to become a Precure and defend the world, she meets Cure Sword, she has to befriend her and help her restore Trump Kingdom and find her happiness. 

Mana (Cure Heart) is joined by Rikka (Cure Diamond), her studious companion and supporter, and also the immeasurably powerful and rich (in that order) Alice (Cure Rosetta). Together they have to unravel the mystery of the man who gave them their transformation items, the missing princess of Trump Kingdom, the strange, evil girl called Regina, and Ai, the chaotic neutral baby who hatches out of an egg. 

Dokipre’s theme is love and selflessness. It also has Deep Lore, a lot of which is established in extra-series material. The show does try to explore concepts like past cures and manages a very nice repeating pattern effect with the plot, in terms of past and future happenings. There’s a lot of foreshadowing. Compared to most Precure seasons it’s very plot-heavy and even the filler usually ends up being plot-relevant. 

Happiness Charge Precure!

The 10th anniversary of Precure! The Phantom Empire is spreading across the world, and Precure are rising up all over the globe to fight them off. In Japan there are two active cures, Cure Fortune, strong and capable, and Cure Princess, scared and unsure of herself. As Cure Princess, Shirayuki Hime, struggles desperately to do her duty as precure, Cure Fortune refuses to work with her for reasons Hime doesn’t fully understand. Realizing her only hope is to find a partner to work with, Hime bumps into Aino Megumi, a super friendly girl who has a tendency to drop everything and help others any time she sees someone in need. Megumi becomes Cure Lovely, and bolstering Hime’s confidence, the two of them become Happiness Charge Precure, tasked with protecting Japan from Queen Mirage and her Phantom Empire. The two are joined by Cure Honey, and eventually Cure Fortune, and the four of them receive support from Blue, the God of Planet Earth. As the girls continue to fight and defend Japan, they are assaulted by Phantom, the ruthless Precure Hunter who has defeated and trapped countless Precure in his Precure Graveyard, and the Oresky Trio, the Phantom Empire generals who oversee the invasion of Japan. 

Happiness Charge Precure’s themes are romance and happiness. There are several arcs dedicated to the budding romances of the cures, and the backstory of the show is heavily tied to romance. Happiness might as well be Megumi’s middle name, she makes it her business to spread happiness to as many people as she can, and takes every chance she can to help others. Happiness Charge is also the first season to have form changes for the precure, each cure has a small selection of forms they can change to for different big attacks, and this concept would later be expanded and used as a core concept in Maho Girls Precure. Like Heartcatch before it, Happiness Charge exists in a world where multiple precure exist, but unlike Heartcatch all those precure exist at the same time in the present day. Other precure teams make cameos every so often and the concept creates a great world in which the whole planet is being protected by teenage girls with superpowers, creating a wonderful sense of scale that really makes the big victories of Happiness Charge Precure feel even bigger. 

Go! Princess Precure

The first precure series to take place at a boarding school! Years ago, a young girl named Haruno Haruka meets a very royal looking person named Kanata who gives her a Dress-Up Key, a big key shaped like a dress. A teenager now, Haruka starts attending Noble Academy, a prestigious boarding school, all the while holding tight to her dream of becoming a true princess, in a quasi-literal sense. Not long after starting the school year, Haruka meets Pafu and Aroma, two fairies from the Hope Kingdom desperate to revive the legendary precure to fight back against Dyspear and her minions who steal dreams to create their giant Zetsuborgs. Realizing what her Dress-Up Key is meant for, Haruka uses it and the Princess Perfume to become Cure Flora. Together with student council president Kaido Minami (Cure Mermaid), and Amanogawa Kirara (Cure Twinkle) a fashion model with huge aspirations, they become the new Princess Precure, tasked with learning to become true princesses along with protecting the Dress-Up Keys from Dyspear’s forces. 

Go! Princess Precure’s main themes are princesses (duh) and dreams. Dreams are a driving force behind all of the cures, and most of the plot of the week characters. Dyspear steals dreams to make monsters, and the precure fight to return those dreams. Characters follow their dreams with conviction, pride, and full commitment. This is also where the princess theme intersects, since it’s Haruka’s dream to become a true princess. One should note that princess is used sort of liberally in this series, it’s not that Haruka wants to somehow become someone of noble birth or have political power, she just wants to be strong, kind, and beautiful, the traits of a true princess in Princess Precure’s own terms. Also she wants to wear pretty dresses and such but who can blame her really. 

Mahou Tsukai Precure! (Maho Girls Precure!)

Quite literally putting the magic in magical girls for the first time in the franchise, Mahou Tsukai Precure was the first season to have its cures be actual magicians. Izumi Riko lives in the magical world, a world where magic is real and she attends a magical academy to hone her craft. She leaves the magical world to travel to the “non-magic” world, to search for a legendary item called the Linkle Stone Emerald. In the non-magic world she ends up catching the attention of another girl, Asahina Mirai, who sees her using magic. After trying to show off some magic and messing it up, Riko is attacked by Batty, a servant of the dark wizard Dokurokushe, who is seeking the Linkle Stone Emerald as well. As fate would have it, both Mirai and Riko carry stones that turn out to be the Linkle Stones Diamond, and the two of them use them to become Cure Miracle and Cure Magical, the legendary Mahou Tsukai Precure. Additionally, the power of the Linkle Stones grants life to Mirai’s lifelong companion, a teddy bear named Mofurun. Having discovered the world of magic and become a precure, Mirai is invited to spend time in the magical world learning magic alongside Riko, before the two, joined by Mofurun and a baby fairy named Ha, return to the non-magical world to search for the Emerald and protect it from Dokurokushe and his minions.

Mahou Tsukai Precure’s main themes are bonds and separation. It’s strengths lie in how it shows the relationship between Mirai and Riko. The show takes its time building their relationship in the first dozen or so episodes of their adventures in the magic world, highlighting their similarities and differences as they grow closer and learn to live with each other and fight as precure together. Well before the halfway mark it’s clear how strong their bond is and how deeply they care for each other, and the lengths they would go to for one another. Mahou Tsukai is an emotional ride in so many ways, every emotional moment hits its mark and the more you get attached to the characters the more the show will hit harder and harder with its moments, both sad and happy. Even side characters get satisfying and emotional conclusions to their storylines outside of the episodes they’re introduced in, it’s all wonderfully crafted.

KiraKira☆Precure A La Mode

Another return to the five cure format, Kirapre is also the second season to feature a sixth team member after Yes! Precure 5 Gogo!, as well as the second season to feature high school age precure after Heartcatch Precure. Usami Ichika is in her second year of middle school and loves sweets, especially making sweets. One day a hungry fairy named Pekorin finds her way into Ichika’s kitchen, and after being fed teaches Ichika about Kirakiraru, an energy source that exists in all sweets, and something that can be stolen and used for evil, leaving the sweets gray and tasteless. Utilizing the power of kirakraru in the shortcake she baked for her mother, Ichika becomes Cure Whip, one of the legendary patissiers, Precure. One by one other precure appear, the smart but shy Arisugawa Himari (Cure Custard), the rock band headliner Tategami Aoi (Cure Gelato), the fickle catlike Kotozume Yukari (Cure Macaron), and the responsible and helpful Kenjou Akira (Cure Chocolat). The five of them fight against the evils of Noir and those he has influenced: Julio, the mysterious masked boy who runs “experiments'' using kirakiraru, and Bibury, a mean spirited girl who uses her talking doll to steal kirakiraru and create monsters.

Kirapre’s main motifs are sweets and animals, and it has a pretty general togetherness and happiness theme going on, the standard precure stuff, mostly viewed through the lense of sweets and sweets-making. All the precure work as patissiers for one reason or another and it’s the main way the team bonds early on. The team, as well as the people of their small town, love sweets as a part of their culture and sweets maintain an important role as the emotional tie that binds most things together in the story. Overall Kirapre is a wonderful show with a great cast on both sides of the conflict, and a lot of care has been put into the show to make sure characters have their moments to interact with each other as well as have their own stories , even on a team of six every precure gets more than enough time to shine on her own. Kirapre is at it’s best when it takes two girls and puts them together for an episode, letting each unique dynamic play out in a fun and satisfying way. Kirapre is also noteworthy for the almost inarguably canonical relationship between two of the cures. It's not exactly explicit and it does leave something to be desired, since this is a Toei children's show, but there’s not really any other way to read the evolution of their relationship or their duet song, so I’m more than satisfied calling it canon.

This season is currently one of the few seasons available with official english subtitles on the streaming platform Crunchyroll 

HUGtto! Precure

Precure’s 15th anniversary! This season is in many ways a celebration of all things Precure, bringing together a lot of familiar elements from past shows into one. Hugtto! is another five cure season whose main themes are destiny and future. Nono Hana (Cure Yell) is a thirteen-year-old girl whose dream is to be a "cool and stylish woman," although she worries that others see her as childish. One day, a hamster named Harryham Harry and a magical baby named Hugtan fall out of the sky into Hana's house. They're being chased from the future by an evil organization called Criasu Corporation, who are trying to use Hugtan's power to freeze time forever. Hana makes friends with two of her classmates: the responsible class representative Yakushiji Saaya (Cure Ange) and the reclusive ex-figure skater Kagayaki Homare (Cure Etoile), and together they fight Criasu while taking care of Hugtan and figuring out the many mysteries surrounding her. Expect some light sc-fi elements and an emphasis on modern technology/social media.

Hugtto! explores its themes primarily through the lenses of childcare and the workplace, giving us a look at how each girl comes to terms with the transition from childhood to adulthood. This season does a good job of letting each member of the team shine; you spend several episodes with each girl (or duo of girls) and there's a real sense of a complete character arc for all of them. The romance aspect is, unfortunately, pretty bad: there’s a return of hetero furry romance between Harry and Homare, and Hana’s love interest exhibits some really creepy behavior towards her. There’s uncomfortable age gaps in both of these relationships too so it’s a just a bit…. Yikes. Thankfully, it’s fairly easy to ignore like past seasons, but a warning for it nonetheless.

Something that makes this season stand out is its LGBT subtext; there's a TON of it even compared to the normal amount that Precure is known for. Without giving away too much, two of the cures this season are heavily coded as lesbians (though not with each other per se), and there's a subplot concerning a side character who is pretty explicitly (well, as explicit as Toei dares to be) a gender non-conforming man/nonbinary person in love with another man, and it's all very wholesome and presented in a positive light. Again, this is Toei, so don't expect anything too radical, but I have to admit I was pleasantly surprised with how Hugpre handles it.

Finally I'll just say that while Hugpre is a fantastic season on its own, I would personally recommend waiting to watch it after you've seen some other seasons (notably Futari wa). It's not required, but since Hugpre is an anniversary season, there are a few episodes (especially near the end) that will really hit different if you have an emotional connection to the franchise already. Ultimately though this is a fairly minor part of the show, so watching this season first won’t ruin it or anything like that, it’s just something to keep in mind.

Star☆Twinkle Precure

Precure… in space! Our protagonist, Hoshina Hikaru (Cure Star) loves space and cryptids, to the point of drawing her own constellations. One of her constellations is an adorable alien puffball, who warps into Hikaru’s room almost immediately after she draws it. The puffball quickly befriends Hikaru, who names her Fuwa. They are later joined by Prunce, the team dad friend/alien mascot, and Lala (Cure Milky), a humanoid alien who is an adult in her own culture. After our initial duo gets off to a bit of a rocky start, they are joined by the student council president, Kaguya Madoka  (Cure Selene) and a biracial upperclassman who is considered to be the “sun” of the school, Amamiya Elena (Cure Soleil). Together, they explore the universe and befriend all sorts of aliens, while also defending them from the Notraiders, who want to rid the universe of all imagination. On top of that, the universe is dying and the cures need to find the 12 astrologically themed Star Pens to save it and the 12 Star Princesses. This series is notable for attempting to break the “monster of the week” format, instead making it a “fight of the week”.

The major themes of Star Twinkle are space, imagination, and maturity. The cures have to explore the universe to find the Star Pens, and in doing so, visit a bunch of different planets. About half the series is spent on Earth, but the world still feels developed! Honestly speaking, the theme of imagination is forgotten pretty quickly and I’d refer to it more as free will. The theme of maturity is where Star Twinkle really shines. All of the cures have had to grow up too fast in some way, and the series is partially about just allowing them to goof off. Lala is considered an adult on her planet, and this plot point is treated realistically. Well, as realistically as it can be. This is one series I’d recommend avoiding spoilers like the plague for, because part of the fun is in how the plot twists are pulled off. Also Star Twinkle is notable for featuring the first ever dark skinned precure, as Elena is half-hispanic. 

Healin’ Good Precure

The currently airing Precure season, as of this writing. The Byogens seek to revive their king by inflicting viruses on Earth, the Healing Garden sends three medical interns to combat them. These interns, fairies named Rabirin, Pegitan, and Nyatoran, along with a baby fairy princess named Latte, journey to Earth to find partners to become Precure. They end up meeting Hanadera Nodoka, a kindhearted girl who was hospitalized for most of her young childhood. After Nodoka risks her life to protect Latte, Rabirin chooses her to become Cure Grace. Joined by older sister type Sawaizumi Chiyu (Cure Fontaine) and the outgoing Hiramitsu Hinata (Cure Sparkle), they form Healin’ Good Precure, and defend their friends and the Earth from the Byogen’s newest wave of attacks. 

This season is currently one of the few seasons available with official english subtitles on the streaming platform Crunchyroll.

Where To Watch Precure Online

Unfortunately for us, Precure isn’t really a thing in the west. There was a dub of Futari Wa back in the early 2000’s and Smile and Doki both got “adapted” into Glitter Force over on netflix (I don’t really recommend checking those out), but really Precure just doesn’t exist over here.

However, as mentioned above, there are currently three seasons avalible for streaming on crunchyroll. The original Futari Wa Precure, Kira Kira Precure A La Mode, and the current season, Healin’ Good Precure.

Beyond these isolated examples of official releases, you can really only watch precure online on streaming sites or through torrents. You can find precure pretty much on any major anime streaming site, kissanime, gogoanime, the works. You can also try your luck torrenting the seasons, i’ve found that pretty much every season has a working torrent you can find on sites like nyaa.si or the like. For more recent seasons you should have little difficulty getting torrents, and last time i checked every season was on one of the aforementioned streaming sites. What I’m saying really is there’s no single place to find precure, but it’s not impossible to find for sure.

Thanks for reading this post, I hope you decide to check out precure and I really hope you end up loving it.Thanks to my wonderful friend @meltorights​ for writing the sections on Yespre, Fresh, and Dokipre, to @wonderlilane​ for writing the sections on Splash Star and Huggto, and @cure-cosmo​ for writing the segment on Starpre. 

If you have questions feel free to drop me an ask I’d be happy to help. I will literally go out of my way to help you if it means getting someone new into precure so please do not hesitate by any means. 

#Apple Post #precure #pretty cure #magical girl #anime #toei animation

[dracoconcordia]

I feel like people don't look at Technoblade's side of the story close enough sometimes. The execution for example, yes being peer pressured is normally a paper thin excuse but Techno (in the lore) has hundreds of thousands of voices in his head at all times, all could take is a single push and things could go very wrong. I believe before the 16th Techno had poor control over them, I mean, look how bloodthirsty he was. His short-lived retired and the destruction of L'Manberg seemed to really calmed him down. He's character motivation also changed, though that's hard to see. Technoblade still wants anarchy but not for the same reason as before. At first is was about the strong thriving while the weak wasted away, now it's only about freedom. He wants to take down the dictators so his friends can live free, peaceful lives. He doesn't want to kill Dream for trying control everything and everyone because he doesn't know about that. To him, he's just a guy that also wanted to take out the country they both hated

And I can't be the only one who absolutely hates the "Ranboo finds out that Technoblade killed Tubbo and hates the pig's guts" archetype in fanfiction. It does does characters a disservice. Ranboo doesn't get mad easily and would probably try to ask want happened, not to mention both men know how bad peer pressure can feel. And Technoblade isn't some jerk that doesn't care about others feels (though it may look like it at times) he's just really, really bad at socializing and conversation. What I'm saying is that is wouldn't go down in one big argument, Ranboo can't get too angry at Technoblade without looking like a major hypocrite and Techno might actually care about Ranboo (I mean come on, he went to save the kid for BBH and the egg).

I guess what I'm saying is that everyone seems to jump in the defense of every minor on the server and most of them are not innocent people. Tommy instigates fights, steals, and destroys property. Tubbo sentenced at man to death without fair trial, Purpled is a hitman for hire. Yes, they are young but not too young to know right from wrong. (But they do need therapy, lots of therapy. And positive role models.)

So in conclusion look at both sides of the story before making judgements about any said character. The Dream smp isn't a story of black and white. It is a world of numerous shades of grey where a person and the both good and bad. Where people will do the wrong this for the right reason and the right thing for the wrong reasons. It's not a story about good vs evil, it is, at its core, a story about very flowed people trying to live their lives.

#dream smp #Technoblade #Ranboo #critisism

[itsclydebitches]

What has Ironwood done that's objectively wrong? Bringing the fleet to Beacon makes sense with 1) Qrow's warning, 2) the presence of Grimm in general, 3) we have security forces for major events on Earth. Blake's trailer shows her & WF stealing dust for terrorist acts used at Beacon and Haven. His embargo makes sense. Penny & co. were fighting grimm in Mantle in vol. 7. Amity was used in vol. 8. I keep seeing people call him a Greek tragic hero and characters keep calling him misguided but why??

Personally, the only thing I think Ironwood has done objectively wrong is shooting Oscar and the Councilman, which is why those actions feels so far removed from the rest of his character — an attempt on the writers’ part to make him really evil when the story started insisting he’s an antagonist. RWBY isn’t interested in portraying Ironwood and Ruby as two heroes who go about saving people in different ways, like it was for Yang and Ruby: “You go save individuals and I’ll tell the world about Salem. We might disagree about how to help, but the narrative presents both actions as helping” (stupidity of the Amity plan aside). We could have easily gotten that with, “You go make a suicidal stand against Salem in an effort to save more people and I’ll take the risk of trying to escape with the people we have” but the show just... didn’t. Nor is the story interested in saying that Ruby was wrong, so the moment she took a firm stance against Ironwood he had to become the objective bad guy. If your story refuses to acknowledge that the hero is in any way flawed, then their opponents can’t have redeeming features that reflect badly on the hero. Which is what we had with Ironwood prior to the Oscar shooting, standing in contrast to Ruby with his practical approach that actually had a chance of saving some vs. her idealism that was going to get everyone killed (and still might). Everything Ironwood did was ABSOLUTELY iffy... but never objectively wrong. He had justified reasons for everything he did and only the best of intentions. Does that mean he was right every time? Wrong? It’s debatable and straddling that line was always the point. But once the story pit Ironwood against Ruby, a Ruby the story refuses to acknowledge as anything other than Pure and Good, that line could not longer exist. He HAD to be villainous in order to exist as her contrast, yet hadn’t acted in a villainous manner. So what do you do? Have him randomly shoot people to establish how evil he is.

As for the tragic hero aspect, I’d say it’s an easy claim to make if you don’t dive too deep into the story. Meaning, we can see a lot of similarities on the surface of Ironwood’s character, yet the actual meat of the story doesn’t support this reading very well. Ironwood is indeed a moral person of good standing whose misfortune stems from some bad luck/mistakes (army getting hacked is the best example), but that’s it. A great deal more of his misfortune stems from deliberate acts against him, both by Salem and (to a lesser extent) by Ruby. Ironwood’s supposed fatal flaw — the hamartia, usually hubris/pride — is not seen throughout the story, despite how much the fandom insists that he seizes power because he believes he’s Remnant’s savior. Throughout the whole series Ironwood continually eschews pride in favor of leaning on others: Let’s listen to Ozpin, let’s welcome new allies, let’s align ourselves with old enemies. It’s just that every time he reaches out, his allies fail him: Ozpin was keeping secrets (I love the guy and support most of his decisions, but I get why Ironwood's trust faltered, far more-so than I understand the group’s), Ruby lies and betrayed him, Robyn likewise betrayed him and helped get Clover killed. Pride is not his downfall, bad allies and an evil witch are! 

Perhaps most importantly, the tragic hero is meant to elicit pity. Sometimes fear too, but mostly pity. The story should be cathartic for the viewer because they’re watching a good person meet a bad end, largely due to what we recognize as inevitable, human error. That’s not who the story now insists Ironwood is. The story wants us to hate him, hence the above paragraph about “He’s evil now and shoots people for no reason.” This isn’t to say that the tragic hero never does things/has characteristics that the audience dislikes — they are still meant to be very flawed — but those aspects should not outweigh our ability to connect with the character and understand them. The emotional foundation here is regret that things turned out this way when they didn’t have to and the character (or at least who the character started out as) didn’t deserve this fate. Is that what RWBY is aiming for with Ironwood? I wouldn’t say so. We, as individual fans, might feel sympathy for him —  largely due to what we recognize as bad writing choices changing our perspective  — but that doesn’t mean the story is actively angling for that response. I’d say RWBY wants us to despise Ironwood and root for his downfall, which flies in the face of the tragic hero. He’s moved into the category of a much more clear-cut villain: a killer, a contrast to the heroes, our protagonist tells the whole world not to trust him. It’s possible that Ironwood may circle back to a tragic hero, but again, I doubt RWBY will succeed in making that move in a persuasive manner. I think they’ll just kill Ironwood off and people will go, “See, that’s what happens to tragic heroes!” ignoring both what the story wanted us to feel for Ironwood this last volume (he’s villainous) and how it failed to get us there in a believable manner (he was a good guy who just inexplicably started shooting when the story needed him to). 

These archetypes are complex and require that they be written with intent and, to be frank, skill. Compare Ironwood to someone like Walter White. Breaking Bad ensure we see from Episode One how Walter’s pride continually leads him down a dark path. His inability to lean on/trust others means that he goes to extreme lengths to do everything on his own, like making drugs to pay for his own cancer treatments. In time this leads to a more overt desire for power and his eventual downfall, wherein the audience recognizes the need for his punishment, yet still aches for the good man besieged by bad luck (cancer) that he once was. Ironwood’s fatal flaw is that he... wants to use military force against an endless army of literal monsters? That he doesn’t want to do everything on his own? Ironwood’s flaw is only a flaw in our world, not the world where magical monsters are eating people, and 99% of his misfortune stems not from his own actions coming about due to a different flaw, but because others are actively working against him. We can’t make broad-sweeping claims about Ironwood’s actions without first considering the actions of the characters around him. Oedipus is a tragic hero because he kills a man (action), ignorant that this is his father and thus fulfilling part of his prophecy. All of Ironwood’s recent, intended actions  — tell the world about Salem, leaving with Amity, etc. — have not come about and his ignorance only existed because others deliberately kept that information from him. It’s like if a friend of Oedipus’ knew all along that Laius was his father but refused to tell him, then stopped him from killing Laius because that’s bad... but then blamed him when someone else killed him instead? I think the fandom forgets that things are #bad right now because Salem is attacking the kingdom with, like, five different evil weapons. The kingdom is falling mostly because Salem is an asshole and a little because Ruby has made awful choices lately. Ironwood’s supposed pride didn’t bring Salem here, didn’t keep people from surviving, is not stopping the group from winning their battle. The tragedies we see in the story right now are not on him. 

#rwby #rwby spoilers #rwby volume 8 #mymetas #Anonymous