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humanwheatleyslefttoenail · 3 years

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why do you ship chell and glados if glados is basically her mom

Okay this is actually a pretty common misconception in the fandom that unfortunately a lot of people have taken as canon, but I’m feeling nice so I’ll answer your question.

Basically, anon is referencing a theory from around 2012 that Caroline is Chell’s mom. The evidence for the theory is as follows:

- The turret opera calls Chell “bambina”, which means “little girl” in Italian

- Chell’s name can be found on a Bring Your Daughter To Work Day science project

- GLaDOS references the possibility of Chell being adopted multiple times

- GLaDOS is significantly nicer to Chell after discovering she’s Caroline

And, anon, you’re right, it does sound like a pretty good argument at first glance. The problem is that a lot of these points don’t actually hold up to scrutiny.

For example, although “bambina” literally translates to “little girl,” it’s often used in the same way “baby girl” is used in English - it can mean child, but contextually it’s usually a flirtatious term. (Source: Cambridge Dictionary)

For Chell’s science project, it doesn’t work as evidence for the theory because GLaDOS killed the scientists around 1998-ish, when Caroline had presumably been uploaded several years earlier and Cave was already dead. Also, Chell’s in her 20′s, and since we know from Lab Rat/Portal 2 that people don’t age in stasis, and that Doug put Chell at the top of the test subject list only weeks after the takeover, Chell was 28 at the time of the takeover. The science project is really only an Easter egg and doesn’t actually fit into the canon timeline let alone prove anything about Caroline and Cave.

GLaDOS talking about Chell being adopted is a pretty strong point, I’ll admit, but also it’s important to remember that maybe half of what GLaDOS says is true. And even if we take what she says at face value, she also says there’s a man and a woman in stasis with Chell’s last name, which could not have been Cave and Caroline because they were already dead at that point. And the official book Final Hours Of Portal 2 confirms Cave and Caroline were not married and could not have shared the same name anyway. It was also the 50′s, an an unmarried couple of two likely famous people having a child would’ve been scandalous, and yet we see no hint of something like this affecting their company.

Also, although GLaDOS is nicer to Chell after the Caroline reveal, that’s not necessarily indicative of a mother-daughter relationship, and neither is any of their interactions. It’s just. GLaDOS being friendlier.

Finally, when this theory was made (and let’s be honest - it still is happening) Chell was constantly whitewashed to hell and back.

Chell is Japanese-Brazilian, and Cave and Caroline are white, so it would be a near impossibility for her to be their biological child (and insisting otherwise is kinda. just. whitewashing). And although people will cry “adoption!”, based on what I’ve previously proven, that’s pretty much impossible. This theory that somehow she’s Cave and Caroline’s daughter erases an important part of her identity. [Disclaimer, I am white, but this is what I’ve heard from around the fandom]

With all that said, the idea that she’s the daughter of Cave and Caroline really doesn’t hold weight when you really analyze the canon. It’s surface level analysis that doesn’t hold up. And honestly? The idea kinda cheapens the story. It’s much more powerful that GLaDOS learns to care about Chell and becomes kinder than just. Oh, she remembered she’s related to Chell.

But to actually answer your ask.

Why do I ship them?

Well, they aren’t mother and daughter, I think that’s pretty obvious now. But if you actually look at a lot of subtext in Portal 2, without the lens of the mother theory, it’s actually pretty romantic!

I know that sounds ridiculous, but bear with me!

Now - it’s totally okay if you don’t ship them. I get it. Their interactions in Portal 1 and the first half of Portal 2 are toxic if not outright well. Y’know. Murderous. I completely understand why that turns people off from shipping them, and ultimately, shipping is a personal thing. To each his own.

But before you judge me, let me present my case.

Exhibit A: Portal

Portal is kinda gay. No, really. Chell and GLaDOS are enemies in this game, but the entire focus is on their relationship (good or not) and the power struggle between them. They are opposites, two sides of the same coin, different representations of opposite ideologies. People have analyzed Portal as a relationship metaphor, or as a metaphor about women’s role in society - either way, the heart of Portal is the complicated dynamic between Chell and GLaDOS.

That’s not necessarily enough to code a romance, but a lot of popular (and especially popular queer ones) ships begin with opposite ideologies, symbolic powers colliding. Portal cements their relationship as a toxic one, something on the verge of falling apart and hurting both parties in the end. The ending image, of Chell and GLaDOS side by side after the battle, reinforces the symbolic parallels between the two.

The companion cube is also pretty symbolically important to this interpretation. It’s literally a representation of someone’s heart, and you are told to protect it and preserve it under GLaDOS’ orders, and then you have to destroy it regardless of how you actually feel about doing that. You are destroying GLaDOS’ heart, so to speak.

There’s also the ending song, Still Alive. The lyrics speak for themselves.

They hint that GLaDOS’ feelings about Chell are more complicated than they may appear (if she’s not being sarcastic...) and she literally talks about Chell breaking her heart (also, think back to the companion cube. Yeah.). The entire song is structurally similar to many a breakup number, with the laments of “I’m glad it happened, but also leave.”

At the end, we also see that the long promised cake GLaDOS was supposedly lying about was real the whole time. Before Portal 2 came out, it was mostly interpreted as a stinger ending (along with the nicer lyrics of Still Alive) to make you question GLaDOS’ true motives and intentions.

She actually did have a real cake waiting for you. (Side note - not really evidence, but in Argentina, “torta” means cake in Spanish. It’s also a slang term for lesbians. So. Do with that what you will). The cake is what GLaDOS offers you to lull you into the sense that she cares about you, so discovering that “the cake is a lie” wakes you up to the realization that she doesn’t. Except then the idea is subverted one last time, at the very end, showing that the cake is real and at least some of what she said she meant.

You also see the companion cube. You know, GLaDOS’ symbolic heart?

Now, okay, you might be thinking I’m extrapolating a bit too much. And you might be right. But Portal is not the only game in the series, and if you’re asking me about Cave and Caroline you obviously know about Portal 2.

Exhibit B: Portal 2

If you thought Portal was gay, Portal 2 turns that up to 11.

Even before GLaDOS wakes up, you’re treated to some visual subtext. A few of Rattmann’s drawings representing the events of Portal 2 focus a lot on the relationship between GLaDOS and Chell, with more of the cake symbolism.

In this, you can see a face layered on top of GLaDOS. This could be foreshadowing about Caroline, and likely is, but also resembles his other drawing of Chell. It insists that Chell is a part of GLaDOS, or reinforces parallels between Chell and Caroline, hinting at something either way.

In this picture, we also see Chell standing on top of GLaDOS, in the same position where the overlay of the feminine face was, again referencing the parallel. It also presents them as opposites, fundamental parts of the same thing and both connected to the same basis, but on opposing sides.

When GLaDOS wakes up, she returns to her antagonistic role, but there are more hints to something deeper just like in Portal.

Here, in her awakening lines, she references Chell not unlike an estranged ex. Also worth noting that GLaDOS is pretty much the personification of testing (in a sense, she is testing since she can control all of Aperture like an extension of her body), and insinuates that Chell loves to test. And that she reciprocates that feeling.

In test chamber 10, she says this:

It’s supposed to be threatening, but it does read as almost... sentimental.

There’s also another chamber with companion cubes in Portal 2. I already talked about their symbolism in Portal, and the same pretty much applies to them here. However, GLaDOS says something interesting about them during this level:

Once again, meant to be intimidating, ends up coming off as “well, GLaDOS, why were you going to give Chell a heart shaped representation of yourself that says ‘I love you?’” And you might think I’m stretching the GLaDOS’ heart metaphor thing a little far here, and I might agree, if the companion cubes didn’t literally sing Cara Mia for you.

Cara Mia is the turret opera from the end of the game, which is all about how much GLaDOS cares about Chell. More on that later. But the companion cubes play a song called Love as A Construct, and when you get close to them, they sing a specific part of the song that has the tune of Cara Mia. These things literally exist to sing about GLaDOS’ feelings.

Which makes this line a lot more. For lack of a better term. Tsundere-ish.

Then, right before the escape, she starts talking about the confetti from her fake surprise.

I really don’t have to explain this one. What else does GLaDOS consider an inconvenience but might miss anyway? Or, more aptly, who else?

Then, during the escape, she teases a (fake) final test chamber in front of you, and forms the panels in the shape of a heart. No, really.

Up to this point, a lot of the points I’ve presented are interspersed with a fair amount of antagonization on GLaDOS’ behalf, more Foe Yay than anything actually hinting at something deeper than GLaDOS being conflicted about whether she loves or hates Chell. But things really ramp up after Wheatley’s betrayal, when the two of them are forced to team up. (I should also note here that “enemies to lovers” is a pretty classic queer romance trope.)

Here, GLaDOS is put on an equal level with Chell and they have to rely on each other if they want to survive. For the rest of the singleplayer campaign, GLaDOS becomes a lot nicer and even friendly to Chell. There comes a point where she starts referring to Chell as a teammate, calling them “we.” She begins to consider them one unit, two opposites unified. Here’s what she says after the lemon rant:

You can not only see her using we, but actively talking about how her and Chell are going to fight Wheatley together. There’s also that last line - “let’s explode with some dignity.” GLaDOS has fully accepted the very likely possibility that she and Chell might die together. That she might die on the same level, and the same team as Chell. And she seems... surprisingly okay with that, as long as she and Chell go together.

It’s during the Old Aperture levels that Chell and GLaDOS also discover that they have a lot in common. This is the part of the game where GLaDOS figures out she’s Caroline, that she’s human. Or, that she’s like Chell. And Chell discovers (from what we can tell anyway) that Caroline is kind, that she’s funny and smart and so many of these things she never noticed about GLaDOS before. Now also with the knowledge she is fighting alongside another human being.

You can also draw parallels between Chell and Caroline, both intelligent women ultimately betrayed by their seemingly innocuous male friends before being trapped in Aperture and forced to team up with one another in a way that will free both of them. We see that really, GLaDOS isn’t that different from Chell - she too has been imprisoned in this place against her will, but in a completely different way. Once again, the idea of two sides of the same coin applies here.

I’ve written another meta about this before, but I also think the whole idea of repressing a part of your identity and hating it, before bonding with another woman and then realizing that it’s okay to be like her and to be on her side. It’s okay to be yourself and meeting her is what helps you discover this new part of yourself. Is kinda inherently gay. GLaDOS’ discovery of her own humanity just fits so well into a queer realization narrative, to me at least.

Then, Chell and GLaDOS escape Old Aperture and have to get through Wheatley’s tests.

Here, GLaDOS isn’t just begrudgingly on Chell’s team. She’s actively helpful. She wants to help Chell solve tests, defends her from Wheatley’s insults, and makes jokes to lighten the mood. Things that can really only be explained by her caring about Chell, especially the part about the insults. See below.

After the two escape Wheatley’s testing track, right before the boss fight GLaDOS has a few other things to say.

GLaDOS is not going to betray Chell, because of some kind of conscience. But she could easily ignore that back in her body, and yet? Here she’s deciding not to, and for no good reason. She didn’t have to say that to Chell, but she did, because she cares and she wants Chell to live.

And then, moments before the fight:

The final lines imply that GLaDOS does not think of Chell as an enemy anymore, and that it doesn’t matter what Chell thinks because they are in this together and they are getting revenge together. It’s pretty heartwarming to be honest, to know that even in a fight that will almost certainly kill you, she is there rooting for you and caring about you, even if you don’t feel the same way about her. It no longer matters to GLaDOS whether you even reciprocate - you staying alive, you making it through is enough for her.

So Chell fights Wheatley and sends him into space, all well and good, and at this point, GLaDOS has the option to kill Chell. But not only does she not, she actively saves Chell, and holds her hand in the process. If you don’t believe me:

And not only that, but when Chell goes unconscious from her injuries, GLaDOS sits and waits for her to wake up. It’s also implied that GLaDOS carries her to the elevator, since it’s where she wakes up but not where she passed out. In the scene where Chell blacks out, you can also hear the part of Love As A Construct that sounds like Cara Mia. Yeah. Yeah.

If you think that this cannot possibly get any gayer, you are wrong again, because then GLaDOS makes her final speech. Which is really just a love confession, let’s be honest.

The “surge of emotion?” Do you mean love, GLaDOS? And the idea of GLaDOS considering Chell her best friend, despite everything these two have done to each other? The idea that GLaDOS, out of all people, forgives someone?

Except this isn’t even Chell’s final send-off. GLaDOS writes her an entire opera of turrets, that sing a literal love song. (Note what I said earlier about the use of the word “bambina”).

It really can’t get any more obvious than that. “My (affectionate romantic term here), my dear, I adore you.” How. Is. That. Heterosexual. In. Any. Way.

So Chell goes to the surface, set free by GLaDOS (think of the saying “if you love something, set it free), and you think that’s the end. Until GLaDOS gives you a companion cube so you aren’t alone on the journey, and from the burn marks, you know it’s your first companion cube. Her original heart, her first gift to you, a piece of her that she wants you to carry with you to remind you that she does care about you after everything. It also gives the lyrics to Still Alive a much more genuine meaning.

Portal 2 ends, and then the ending song, another GLaDOS number plays. Just like Still Alive, Want You Gone is structurally a break up song and very obviously about GLaDOS missing Chell and “counting on” (read: caring about/loving) Chell’s tendencies and quirks.

She’s accepted Chell completely, and yet also given Chell the one thing she wants most. Only wanting Chell gone can mean GLaDOS not wanting Chell in her life anymore, but can also mean she wants to give Chell the freedom she’s wanted for so, so long. It’s the best thing she can give.

In the co-op campaign, GLaDOS also references still caring about Chell.

And that’s the end of the Portal series. Except. Brace yourself. Despite the games being over, there is STILL more subtext somehow. It gets. Even gayer.

Exhibit C: Supplemental Evidence

Valve has made a lot of extra/cut content for the Portal series, and I’ll be looking at some of it below.

This official valentine from Valve shows GLaDOS offering a romantic partner cake, which as we’ve established before, is very symbolic of GLaDOS’ feelings about and/or relationship with Chell.

There’s a lot of other concept art and official art that emphasizes their relationship too. See below.

There’s also some cut GLaDOS lines that are even gayer than the source material and again, sound like confessions or references to a breakup:

The idea of “discovering things about someone”... how much more obvious can it get?

The developers have even confirmed a lot of my commentary on Chell and GLaDOS’ relationship in The Final Hours Of Portal 2. See these quotes from the book/this post:

The devs literally describe it as a romance. They use terms like “cheating,” they wanted to write a romantic duet, JoCo purposefully wrote the endings like love songs. It is literally, blatantly said by the creators of the game that their relationship is interpreted romantically. By the creators of the game.

And if Word of God confirmation isn’t enough for you, have a song written for a cut alternate ending by GLaDOS’ voice actress, Ellen McClain. The song is literally nothing but GLaDOS talking about caring about Chell, about not wanting her to die/leave GLaDOS alone, about wanting to bake a cake with Chell, about waiting for Chell to wake her up. It’s so genuinely sweet and sad, and really, really romantic in the most heartwrenching way possible.

JoCo also came back for the Portal levels in Lego Dimensions, writing one final breakup song for GLaDOS to sing about Chell. It comes off as GLaDOS not wanting to admit she misses Chell even though she obviously does, trying to replace their relationship but failing, and even explicitly forgiving Chell/wanting her to come back.

Also, the “finally I understand,” as if only now GLaDOS understands just how deep her feelings for Chell are... What else can I say?

In Lego Dimensions, GLaDOS also outright rejects anyone who isn’t Chell.

In Conclusion:

Why do I ship Chell and GLaDOS?

Well, ultimately, it doesn’t matter whether I ship them.

Because I think it’s glaringly obvious Portal does.

#chelldos #chell #glados #portal #portal 2 #tw fatphobia #whitewashing #fandom racism #long post

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ryukyuan-sunflower · 3 years

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Romance in Samurai Champloo: The Mirror Reflection of Jin and Shino and Mugen and Fuu

Upon re-watching Episode 11, I was utterly shocked by how many parallels exist between Mugen and Jin as characters, in regards to their relationship with the most important women of their journey. The interactions and concepts are near identical. These specific themes and interactions were only exhibited with two specific women, and no other characters in the series.

In episode 11, Jin falls in love with Shino: a courtesan who was forced into prostitution due to her lousy, abusive husband's gambling debt. Jin later saves Shino from this brothel, and helps her escape to a divorce temple.

Canonically, it was stated in the Samurai Champloo Roman Album by Shino’s character designer that Jin does indeed "fall for" her, so it was not simply chivalry that led him to help her. This echoes his actual dialogue in episode 11:

Fuu: I understand why you pity her but-

Jin: It’s not pity.

It is not pity, because it is love.

So, here is the INSANE number of ways Jin's confirmed romantic dynamic with Shino is an uncanny mirror to Mugen's subtle romantic dynamic with Fuu.

Warning: There is a LOT of comparisons. I was honestly so surprised and have a whole new level of respect for this anime now, and specifically Episode 11.

Enjoy the read!

The First Meeting: Saving the Girl and Reading Her Mind

Both Mugen and Jin save a woman’s life at their first encounter. Both also know the girl is in trouble without ever being told.

Both Fuu and Shino reject the notion that they need help. But it is revealed later that they do.

Jin meets Shino on a bridge and saves her life. She confesses much later, that she had been contemplating suicide, but because he stopped to talk with her, she did not go through with it.

Never did Shino ever show any indication she wanted to drown herself, other than looking at the canal. Jin just knew the moment he walked by.

Mugen meets Fuu in the tea house and saves her life. The magistrate's son was going to have her mutilated and killed. But because Mugen talked with her, she was able to strike a deal of killing them for 100 dumplings.

Never did Fuu tell Mugen that the guys were giving her trouble. Mugen just knew the moment he walked in.

In addition to this first meeting, Jin also stops Shino’s husband from beating her. Mugen also stops Umanousuke from beating Fuu in Episode 25.

Thinking in the Rain: Love Interest Trapped in a Brothel

Previously, in Episodes 3+4, Fuu was thrown into a brothel, just like Shino's predicament in episode 11.

After Mugen skips town and ditches the Yakuza, the thought of Fuu stuck in the brothel invades his mind, and compels him to turn back.

Note: Jin never thinks about Fuu stuck in the brothel.

After being unable to afford Shino, Jin is beaten by bouncers and trudges away, thinking about how Shino is sleeping with another man.

Both of these incidences occur during heavy rain.

Both think about their love interests trapped in the brothel which leads them to return to save them.

The Brothel Escape.

Both Mugen and Jin attempt to break their love interests out of a brothel.

On the second night they spend together, Jin concocts a plan to sneak Shino out of the brothel.

Never one to be discrete, Mugen’s plan to save Fuu involves breaking into the brothel, kicking open the cage doors, and pulling her out. However, to keep the MugenxFuu romance subtle and to have shippers rip their hair out Fuu escapes alone, and she never finds out about Mugen’s wild attempt to get her back. So, we never get the obviously romantic scene of him grabbing her arm and whisking her away. We just know that poor Mugen tried.

There is evident blood on his sword. He killed a person or multiple people to get back to her.

Mugen could have taken and freed any of these lovely ladies. But no.

Note: Jin is seen putting no effort into saving Fuu at all. When Jin initially sneaks into the brothel of Episode 3+4 disguised as a woman, he had no idea Fuu was there at the time. He was just helping the boy Sousuke save Osuzu. Later, even when he sees Fuu there, Jin never is shown putting in any effort to rescue her, nor thinking about it. If we assume he intended to, with his roundabout way of being involved with the Kawara gang, (who he was already helping anyway), Fuu would have already been bought by a client, because she was. (luckily the client did not have sex with her).

If this isn't enough of a mirror, Fuu and Shino escape the brothel in the exact same way: tying a series of clothes to the porch and sliding out the window.

Giving Up One’s Sword For a Woman

Shown in both episodes 6 and 8, Jin is extremely protective of his katana, saying that his swords are the equivalent of his soul as a samurai.

He adamantly refuses to part with them for any reason. He is also shown in episodes 14, 16 and 20 diligently polishing them.

On a different note, Mugen is not shown taking care of his swords as meticulously as Jin, nor as protectively. He is willing to pawn them off if it means being able to eat: shown in episode 6 and episode 8.

But his sword is no less important to Mugen, as he is shown carrying the same sai handled tsurugi in his flashbacks in the Ryukyuan Islands, implying he had carried it for a long time. For Mugen, the sword has nothing to do with some code of bushido, or philosophy. It serves the fundamental purpose of keeping him alive, which is something Mugen constantly struggles with.

In a brothel, swords are not allowed, as it is unsafe for the courtesans if there happened to be a violent client.

In Episode 25, Umanousuke is about to kill Fuu when Mugen arrives.

To spend time with Shino and free her, Jin willingly gives up his swords.

To save Fuu’s life and free her, Mugen gives up his sword in Episode 25.

Note: The only other example we have of Jin “giving up his swords” is comedy when Mugen and Fuu confiscates his swords against his will, so they can enter an eating contest in Episode 6.

Interestingly, the two men gave up their swords under reversed circumstances, yet with the same intentions.

Jin, who has always cherished his katana, ends up giving them up in a moment that he logically "shouldn't". He does what could be considered a frivolous activity of spending time with a prostitute, which completely goes against his personal code as a samurai.

Mugen, who had always been willing to give up his sword for the sake of survival, finally needs to keep his sword, or he will be brutally tortured and killed by Umanousuke. But instead, he gives it up anyway in this extremely critical moment, to save Fuu's life.

In the end, both men resorted to giving up their swords for one simple reason: love.

Red and Pink Color Composition

This one was very surprising for me, and the reason I ended up writing this entire post. The other examples until now are more obvious. But this? Mugen and Fuu's main colors are obviously red and pink. But...Jin and Shino?

Shino’s kimono color is light green, with a dark green collar. Jin’s color is dark blue.

However, when Shino is put in the brothel and takes on the name “Kohana”, she is seen throughout the majority of the episode wearing pink, with a burgundy collar. This is exactly Fuu’s kimono colors, and no other character in the series wears these colors that I can recall.

More interesting, is Shino’s brothel name becomes “Kohana”.

Kohana means “Flower Child”.

Fuu is the child of the “Sunflower Samurai”.

For the first time, I was suddenly faced with a serious question of "Was this name choice and kimono color put as a symbolism of Jin choosing to buy a woman that resembled Fuu?" And in turn, would this be one solid way to disprove so much that I've always thought and written about Jin being the father figure to Fuu?

But, then I noticed something else.

Shino only wears this pink and burgundy kimono in the brothel. It is not her true outfit.

And it is not only her who gets a "change" in appearance. Jin does too, in a sense. He gets an addition to his ensemble, only for this particular episode.

Every time Jin visits Shino in pink, he carries a bright red umbrella. Whenever she is in green, he does not have the umbrella. He visits her on four separate occasions when she’s a courtesan, always with the umbrella in tow.

The red umbrella is visually striking, as the atmosphere of this episode is particularly drab due to the rainfall.

The red umbrella becomes the connection between Jin and Shino during her stay in the brothel. It is significant, because it was initially hers, and was a gift to him since she had no use for it in the brothel anymore.

One can argue, “It’s raining and he just needed an umbrella.” But during his depressing walk, he carries it, but doesn't even use it, and we don’t even get to see it or its striking red color. (Which I will explain my interpretation as to why shortly).

We only know he’s holding it, because he continues to have it afterwards.

It is far more a symbol of his connection to her, than for practical use. Watching the episode, everyone else has drab brown and gray umbrellas. Even in Episode 4, Jin donned a drab brown umbrella.

In Japanese culture, red is famously the color that represents the “main character”. This is extremely common in many anime and video games, and particularly shown in the Super Sentai genre, in which every season since 1975 to present, the main character always dons red.

In the case of Samurai Champloo as well, Mugen is confirmed to be the “main character”, first developed by Shinichiro Watanabe, with Jin created later as his foil so the story did not become “one dimensional”, as he said. This is why most episodes focus on Mugen.

Episode 11 is the very first episode that focuses on Jin. Up until this point, Jin was never a rescuer. (He doesn’t even rescue Fuu until Episode 26).

With Shino, he finally fulfills the "noble hero saving the maiden" role.

More interesting, is the scene where the brothel bouncers attack Jin, who intentionally decides not to fight back. Jin loses his grip on the umbrella. This is my personal interpretation, but I think this could be a representation that Jin could not protect Shino, as she is forced to have sex moments later.

If it were Mugen being attacked, he would kill the men, repercussions or not, just as he did to the Yakuza in Episode 4. Mugen will always embody the “passionate red” that he wears.

But it does not suit Jin. He has chosen the lawful path, unlike Mugen’s chaotic nature of killing whoever stands in his way. Jin does not kill these men, since he has no reasonable cause, and does not risk the repercussions. It is his own fault, not theirs, that he can’t purchase or protect Shino.

In this scene, he not only drops the red umbrella, but Shino also drops her pink robes when she is undressed. They are not red and pink: they are not Mugen and Fuu. They are back to the cruel reality of being a different, more tragic tale of love in which he can’t protect her.

One of the attackers even picks up the umbrella, and throws it at him, as if to add more injury to insult in his failure.

In the ending of the episode, Shino no longer wears pink and burgundy, and is back in her original green kimono. Interestingly, Jin stops using this red umbrella at the exact same point she is back in green.

Since Shino is no longer a “maiden in distress in pink”, Jin no longer needs to be the “hero in red”. They no longer have to play this role. Their episode is at its close. The anime will return to Mugen and Fuu carrying out the dynamic of “hero and maiden”.

Jin will once again, play the role as the cool and collected “rival in blue” that foils the main protagonist.

One could still argue these color choices of red and pink were random and thoughtless. They very well could be. But, this is a Watanabe work, and colors often hold surprising symbolism in the anime he directs.

As a more solid example of color symbolism: here is a link to a fascinating video that reveals just how intentional the color palette is in Samurai Champloo's Episode 14. The choice of Mukuro's yellow versus Mugen's red and the episode ending on Koza in gray was all deliberate and was repeatedly shown in the episode's composition through various means, to subtly convey the story.

Flashing the Coin and “Buying”a Woman

Jin is shown to be the character who makes/finds money for the group the most. Even in this episode, he was working for the eel stand. Mugen meanwhile, makes money and spends it selfishly. But in this episode, it is Mugen making the money and Jin demanding it for a selfish purpose, reversing their roles once again. Jin is the main character now, and Mugen the foil.

Mugen flaunts the coin he made to impress Fuu, demanding her validation by tapping her head.

Jin flaunts the same exact coin (Mugen gave it to him), in a very similar way, to show he’s buying Shino.

Both men, in essence, are "buying time with a woman".

While Jin is, in a literal sense, using the money to purchase a prostitute, Mugen's is more figurative.

Mugen gives the money to Jin, causing him to go away, and leaving him and Fuu alone. Once Jin is back, they will once again be a trio, and the “pairing dynamic” between them will be shattered. But for that brief night, Mugen got time with Fuu.

Mugen, despite acting like he detests Fuu's company, does some very strange and completely uncharacteristic things in this episode. For one...he is the one to bring Fuu to the beetle wrestling match. Her dialogue implies she didn't want to go and Mugen dragged her along.

Then, despite being all stingy about the money with Fuu, he willingly gives the money to Jin to send him away to go to a brothel. For a man Mugen claims to despise, this is a remarkably thoughtful act. Especially when he said he was going to use the money to buy seeds to make more in beetle wrestling. Strangest of all, Mugen doesn't use the money himself for a prostitute. He chooses to stay at an inn, alone with Fuu, rather than the prospect of going to the brothel in town, even when he’s repeatedly shown being a womanizer.

I think this act shows both his selfish desire to spend time with Fuu alone, but also his selfless care for Jin as a friend. He killed two birds with one stone. In both cases, these are things Mugen would never admit to his companions.

With the exchange of that on koban coin between them, both Mugen and Jin have "bought time" with their respective love interests.

Helping to Save Each Other's Love Interest.

In every episode Fuu gets into trouble, Mugen is the one who saves Fuu, if she isn’t saving herself. Jin does not. But there is one exception to this: Episode 26. Jin saves Fuu for the first time, in the one moment Mugen can't, while also simultaneously avenging his father figure Mariya Enshirou.

In episode 11, Jin does not have his swords on him. But Mugen and Fuu arrive. Mugen cuts down many men to help them escape. And in addition, he knocks down a man right in front of Shino that Jin failed to incapacitate, before telling Jin “You’re pathetic!”

The Windowsill and the Mirror in the Same Room

This one is a very, VERY minor comparison, so don’t take this one seriously. I just thought the imagery was similar.

In Episode 18, where Mugen attempts to win Fuu in a tagging contest (yes, that was actually the plot: Here's a Post About It), Mugen and Fuu spend a small moment in the inn room alone.

In this inn room, Fuu is looking at herself in the mirror, when Mugen appears behind her.

Their faces are wonderful.

In the brothel room, Shino also looks in the mirror, when Jin is shown behind her.

Alone with their love interests, they sit on windowsills.

Again, very, very minor and I highly doubt it was intentional. But there is no other moment of window sill sitting that I can recall.

There is one other gazing into a mirror though: the end credits of Fuu and her mother. This relates her mother to Shino, aside from the fact that they have the same exact hair and wear green kimonos, and who are in love with a poor samurai who ends up wearing gray.

Parting Ways

In the defining moment of Jin and Shino parting, there is a distance of water separating them. But Jin must let her go to the temple to be free of the marriage: her final goal.

In the defining moment of Mugen and Fuu parting, a distance of the Church with Umanousuke is in the way, separating them. But Mugen tells her to go see her Sunflower Samurai: her final goal.

Neither Jin and Shino or Mugen and Fuu are allowed to touch or to embrace before this forced goodbye.

Jin is the one to push the boat away, even when Shino tries to reach out to him.

Mugen is the one who urges Fuu to run, even when Fuu hesitates and wants to stay.

Both Shino and Fuu are reluctant to leave Jin and Mugen behind.

Mugen and Jin remain stoic, even when their emotions must be running wild.

Fuu and Shino’s eyes well up, until they are unable to hold in the tears.

“The Love Triangle” Dilemma: A Lousy Gambler, A Noble Samurai and a Pure Maiden

Now, I am not saying that Mugen, Fuu and Jin is an actual love triangle. I firmly believe it isn't, as I have shown the evidence of the two romances above.

But I believe in Mugen's mind, there is a love triangle, and he’s the odd one out.

Yes, there is a sense that Fuu has insecurity about Jin's abandonment and is jealous of his attention to Shino. Personally though, I think this is in more relation to her father's abandonment, as Jin and Shino strikingly resemble Fuu's father and mother. Jin even gets Fuu’s father’s kimono in Episode 26, and likely his katana too, as his were broken.

But that aside, the relationship dynamics going on in Episode 11 are painfully satirical.

Shino, her husband, and Jin are an ugly representation of Fuu, Mugen, and Jin.

Jin is interfering with both of these "couples".

Shino's husband is an avid gambler, who fell into debt, causing her to be thrown into prostitution. It is no coincidence that Mugen is avidly gambling throughout this episode, and being chastised by Fuu.

Fuu’s words to Mugen are Shino’s words to her husband.

Mugen is being portrayed as the "lesser man", lacking in morals, while Jin takes on the mantle of the “gallant knight”. This again relates to the earlier concept that Jin has for the first time assumed the position as the “main character”.

This is likely why they chose “Gamblers and Gallantry” as the English title for Episode 11. Note that Gamblers is plural. (Also, the original Japanese title is Fallen Angel).

Fuu’s “jealousy” in this episode is used in the narrative to make Mugen believe she loves Jin, and not him. We see this again, in Episode 20. The one and only time Fuu cries for Jin is comical, compared to her over five emotional times for Mugen, still causes Mugen to stomp off with jealousy and annoyance.

Our first indicator of Mugen harboring jealousy of Jin stems from Episode 11 and piles up more as the show goes on.

There is three separate implied occasions in this specific episode 11.

1. Mugen states that Fuu is jealous that Jin is seeing Shino. But when he says this, it is him to roll over away from her. It is almost a blatant indicator that he is sulking. Then, he feigns sleeping and snoring.

We know his sleeping is fake because upon closer inspection....

His eyes are open and his eyebrows are furled angrily. This “faking sleep” is a trick he repeats three times total in the anime, always concerning Jin and Fuu.

2. When Fuu gets upset at Jin about leaving the group for good, Mugen pretends to sleep yet again, but was listening to the whole thing.

His facial expression is almost sad looking here. Very uncharacteristic indeed.

Note: The very last time Mugen pretends to sleep, is Episode 24, when Fuu hugs Jin on the riverbank. It appears here, that Mugen didn't hear or understand what they were talking quietly about. The dialogue is hard to interpret but it seems Fuu rejected Jin’s dutiful offer to stay with her after the journey close. She seems to confide her feelings for Mugen to Jin in this extremely subtle scene, by mentioning him out of the blue, crying, and then apologizing to Jin for it. Rather than embrace Fuu romantically, Jin comforts her with a hand upon her shoulder, in an understanding that is, by my interpretation, very fatherly.

3. Back to Episode 11, when Fuu decides to help Jin, despite being angry at him for abandoning them, Mugen says some telling dialogue. This scene, Mugen and Fuu are running through town together, just as Jin and Shino are.

If Mugen only stuck around solely to kill Jin, then this exchange makes one question why is he still hanging around Fuu. We also know Mugen was listening the whole time when Jin states "If I don’t return, I want you two to continue your journey without me." It is as if he's trying to convince Fuu to be "over" with Jin.

But this isn't the only time Mugen is fine with taking Fuu to find the sunflower samurai alone. Mugen also agrees to travel with Fuu in ep 21 alone, when they think Jin is leaving for good with Sara, and makes no indication of leaving her to do battle with Jin.

Despite all the jealousy of Jin, and all the intentional comparison that Mugen bears with Shino's husband, we know Mugen is not actually like Shino's husband at all.

On the surface, perhaps, he seemed like an irresponsible, lawless lecher who frivolously wastes money. But in actuality, he is honorable and deeply cares about Fuu, saving her and worrying about her in every single episode something bad befalls her.. Mugen does more noble deeds for Fuu than Jin ever does.

While “Gamblers” apply to Mugen and Shino’s husband, the “Gallantry” applies to Mugen and Jin just as much.

That is why, unlike Shino’s husband, Mugen wins in gambling. And that is why, despite making money gambling, he generously gave it all to Jin.

The secretly gallant character of this episode was Mugen. Had he not given/borrowed this money to Jin, Jin would have never been able to save Shino at all.

How the Relationships Differ

While these comparisons highlight that Jin and Shino is equivalent to Mugen and Fuu, there are some directly opposite characteristics as well. Just as Mugen and Jin are opposite.

Jin and Shino are calm and quiet. Mugen and Fuu are passionate and loud.

Jin and Shino wear cold colors of green and blue, while Mugen and Fuu don warm colors of red and pink.

Shino is older than Jin. Fuu is younger than Mugen.

While Shino is forced to give herself to men and Jin can’t save her, Fuu is saved from this fate many times by Mugen.

Mugen and Fuu spend an entire, long journey together. Jin and Shino’s time together is fleeting. Mugen and Fuu appear together every episode. Jin and Shino only get one.

Ironically, Jin and Shino consummate their love in this short time, while Mugen and Fuu do not.

The relationships are remarkably the same story but from opposite ends of a spectrum.

Conclusion

Mugen and Jin may be opposites, but they are also like Yin and Yang. Both characters are a duality of one another, possessing opposite traits in their appearances and attitudes, and yet bearing similar beliefs and morals. In the love department, it turns out that they are also two sides of the very same coin.

After discovering the parallels between these two romances, I was utterly blown away. This concept of duality is the entire point of Mugen and Jin’s dynamic in every other sense.

The love they bore for Fuu and Shino highlighted this concept in another new, astonishing way.

Mugen and Jin both bear something else in common. Even though Jin and Shino is far more an obvious romance due to the sexual consummation of the coupling, Jin and Mugen still relate in one way: they never directly express their love for Shino or Fuu words.

Jin comes off as “old fashioned” with his “I hope that the rain will never stop so I can stay here forever.”, Mugen comes off as “unromantic” by never saying kind and romantic words to Fuu. Their love was wholly expressed through action. Words are unneeded.

Finally, even though Jin and Shino part ways, and even though Mugen and Fuu (and Jin) part in the finale, hope still exists that they will meet again someday.

Both tales of love do not have tragic endings, but neither does either obtain closure. Their hopeful future is left up to you, the viewer, to determine.

Perhaps, their reunions with their loved one, will be a mirror too.

#samurai champloo #fuugen #jin samurai champloo #mugen samurai champloo #fuu samurai champloo

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andypantsx3 · 4 years

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war paint | 9 | thief

pairing: Bakugou Katsuki / Reader

length: 27,765 words / 10 chapters

summary: Desperate times force you to disguise yourself and join the kingsguard. When a suspicious string of crimes strike the palace, however, Captain Katsuki Bakugou starts paying extra close attention. (spin off of in cinders)

tags: mulan AU, secret identity, romance, reader-insert

warnings: aged up characters, some violence, eventual smut

“You look far too happy this early in the morning,” Kaminari commented sourly over breakfast, spooning aimlessly around in his bowl. His hair was a mess as it was most mornings, standing up on end like he’d been struck by lightning, and there were deep shadows under his eyes. He looked like he’d just rolled out of bed.

Sero took a seat at his elbow, looking you over in bemusement. “Yeah, normally you’re asleep in your porridge, L/N. What gives?”

You hid a private smile. For the last week or so, you’d been kept thoroughly occupied by your captain and hadn’t seen much of your two friends, but the week had been something like the happiest of your life. You'd spent every day tangled up in Bakugou, training, talking, teasing. It seemed right that Sero and Kaminari would comment on your mood, since you also felt like satisfaction was spilling out of you, bursting through cracks in your skin like sunlight.

Maybe it was. Maybe they could really see it.

“Just in a good mood,” you hummed, shoveling porridge into your mouth so you didn’t have to follow up.

Kaminari eyed you suspiciously. “You do something to Nishimura? Put a cow pie in his bed?”

That wrenched a laugh out of you. “No, why would I?”

“Uh, maybe because he’s a shit to you,” Kaminari replied through a mouthful of his breakfast.

“Tit for tat,” Sero mused thoughtfully, chuckling.

You made a face. You’d quite honestly been too occupied with Bakugou over the last week to give much thought to Nishimura, though you certainly couldn’t admit as much to Kaminari and Sero. Nishimura hadn’t ceased his bad behavior, but you’d been spending so much time away from him, either on the training field for extra practice, or practicing something altogether different over the top of Bakugou’s desk. Or up against the wall. Or -- one memorable midnight -- back in the baths where the captain demonstrated very thoroughly what he’d wanted with you the night he’d caught you sneaking around.

You’d pretty much forgotten all about Nishimura.

You listened with half an ear as the conversation wandered away from your good mood, shifting to the subject of Lord Jiro’s daughter. Kaminari had tripped over her in the hall earlier this week, and he was now given to waxing poetic whenever she came up. You finished up breakfast as he practically spouted sonnets over the shapes of her earlobes, leaving him with a comment of encouragement as you set back off for the barracks to fetch your sword belt before drills.

As you turned the corner into your room, however, you collided with what felt like a boulder rolling out from within. You jerked backwards clutching your nose where you'd crunched it against the stone, winded by the impact. You looked up in surprise, finding Hasumi, Nishimura's idiot friend, instead. His tall frame filled the doorway to your quarters, broad shoulders thick with impossible muscle, and his eyes widened a little as he caught sight of you.

You looked up at him in question, but he merely grunted something offensive and sidestepped you, making sure to knock one brawny shoulder into yours as he did. He was large, even taller than the captain, and he nearly bowled you over with the force of it.

You stumbled back into the wall, biting down on a swear. That was going to leave a bruise.

Hasumi swept quickly down the hall, not waiting to hear anything you might have to say about his rough treatment. Your temper boiled, and thought about calling after him as you watched him irritably, but thought better of it. If he was here in your building, then that meant Nishimura was back in your room and you would need all the energy you possessed to deal with that. You took a steadying breath, resigning yourself to at least thirty seconds of similar unpleasantries. You wondered if Hasumi’s aggression was any indication of the kind of mood Nishimura was in.

To your surprise, however, the room was completely empty as you stepped inside. Had Hasumi been here to sneak another animal into your bed? You whipped your sheets from your mattress, but found no trace of anything inside, just the worn gray cotton of your pallet cover.

You felt your eyebrows draw together, but you remade your bed, then retrieved your sword and belt, buckling it around your waist. Maybe Nishimura had sent him in to fetch something. At times, Hasumi seemed more like Nishimura’s little peon and less like his friend. You often wondered if Nishimura was even capable of making friends without a shred of human decency in his body.

You thought on it as you walked to the training pitch for morning drills, something about the interaction with Hasumi niggling at the back of your mind. Had he seemed a little flustered when he’d seen you?

The thought was wiped clean from your mind when you arrived at the training field, however, as Bakugou appeared to have replaced your usual morning instructor. The sight of him this early, hair still a little rumpled from evening activities that you may or may not have had something to do with, filled your brain with a satisfied buzz that overrode all capacity for other thought.

Bakugou furthered your distraction with his usual merciless direction, running the battalion through a series of exercises worse than Ojiro had ever set you to. Your focus narrowed only to breathing and keeping upright as he pushed your battalion to your limits. He seemed to enjoy the sight of your suffering especially, red eyes following you around the training field, hungrily tracing the droplets of sweat down your neck where they disappeared into your collar.

By the lunch bell, you could swear you would be feeling the effects of the grain bags you’d hefted in your shoulders for weeks, would be running laps in your sleep for days afterwards. You collapsed in a pile with Sero and Kaminari as soon as drills ended.

“He’s a demon,” Kaminari whined, a tangled heap in the grass. “Why is he like this?”

Sero panted quietly, chest rising and falling in quick little huffs. “He needs to get laid or something.”

You choked. Instantly, Kaminari and Sero’s heads whipped around to stare at you.

“Uh, choked on my own spit,” you coughed out quickly, panicking. “Can’t breathe after all that.”

They seemed to buy it, relaxing back into the prickly grass. You flopped back as well, hating the way your sweat seemed to pool in the band of your chest bindings. Tonight was definitely a bath night; Bakugou would have to be left to his own devices for an evening. He deserved it after the hell he’d just put you through.

You barely roused yourself in time to make it to lunch before the mess hall closed, then swept off to patrol. You were paired with Nishimura again and the evening was expectedly unpleasant. Nishimura seemed more aggressive than usual, needling you with an abandon that was frankly alarming. Now more than ever, he was acting like he had nothing to lose, launching from disturbing comment immediately into the next with hardly any space for a breath. You wondered idly if it would be abusing your relationship with Bakugou to say anything about it -- you resolved to think on it more for the next few days before coming to any plan of action.

After patrol, you climbed into bed with the rest of your bunkmates and waited for them to drift off before stealing back out of the room to the servants’ baths where you washed off the day’s training. An anxious feeling settled over you as you bathed, and you hurried through the motions quicker than usual, not stopping to enjoy the relaxing heat of the pools as you usually did.

The anxious feeling followed you as you dried yourself and dressed, floating after you as you slipped through the dark castle grounds. As you arrived back at the barracks, it became clear why. The barracks were no longer dark, the windows glowing with the light of hundreds of candles.

A random bunk check.

You swore, tearing across the field to your building. You didn’t know the consequences of being found out of bed, but you didn’t like to think of what they would be. Ojiro usually scheduled and led the bunk checks, and while nicer than Bakugou, you’d witnessed enough of his fury to be afraid.

Only, it wasn’t just Ojiro in the doorway of your building.

You pulled up short when you noticed that all of the soldiers that housed with you were lined up in strict rows outside, one notable gap where you should have stood. Heads whipped up as you were spotted. From the far side of the field, Sero gave you an anxious look. Ojiro stood on the steps to your building, and behind him, silhouetted in the light of the doorway, was Bakugou.

Even in the dim light, you could see the line of his broad shoulders was tense, and his fists were clenched where they hung at his sides. Something white was clutched in his left hand. His expression was hard and a stone sank in your stomach. He looked angrier than you’d ever seen him and you couldn’t understand. Surely he’d have guessed you’d have gone to bathe?

“Stay where you are,” Ojiro ordered you over the sound of sliding metal. You watched in horror as he drew his sword, jerking it up to point at you. The air seemed to crackle with roiling energy and a sick feeling slid over you.

You froze, heart beating wildly, staring at Ojiro's sword. Was this protocol? Was it standard to discharge someone at sword point, or was this more? Could you have been figured out just by your absence?

“Ojiro?” you asked the officer in confusion. He frowned.

“Come quietly, thief,” he said, “Lay down your sword and no blood need be spilled.”

Apprehension shot through you like a bolt of lightning. Thief? Because you were out of bed after hours? That seemed like a leap.

“Ojiro, I’m not the thief,” you held your hands up at chest height, opening your palms in the universal gesture for peace. “I apologize for being out of bed and I accept my punishment, but I haven't stolen anything--”

“Explain this, then,” Bakugou’s rough voice bit into the dark night. His expression was stormy as he thrust out the item he’d been clutching in his hand. From this distance, you could make out what appeared to be a tidy letter scrolled on fine parchment in a dark ink. You felt your brow wrinkle in confusion as your eyes traced over the parchment. You couldn’t read it from where you stood but -- your eyes caught on a large varicolored marking at the bottom of the page and your heart leapt into your mouth. Though murky in the darkness and several paces away, it was quite likely the seal of the Todoroki prince.

“I don’t understand,” you said helplessly. Your mind swam with uncertainties. Why did he think you had anything to do with a missive from Prince Shouto?

“This was found underneath your mattress,” Ojiro said. His voice was hard. “It’s the missing treaty from the prince’s study.”

Found underneath your mattress? A feeling of horror settled over you as you flashed back to earlier that morning, where you’d almost collided with Hasumi coming from your rooms.

Hasumi.

All of sudden, things seemed to snap into place. The red flash under the thief’s cloak when you’d fought him in the master of coin’s office - it had been a soldier’s uniform. The pause the shadowy figure had given when he’d caught sight of Nishimura, the way he’d fled rather than fought the two of you. It had been Hasumi.

The thief was Hasumi and he was framing you.

“Ojiro, Captain, I didn’t--! I wouldn’t--!” you started, but an angry noise from Bakugou stopped you.

He leapt from the steps to your building, stalking across the field. He moved like a panther, padding aggressively toward cornered prey. His hand went to his sword, and you barely managed to draw yours in time to block him. The force of his strike nearly tore the sword from your hand and you only just managed to hold on to it, stumbling back from him.

“The debt,” he spat, “Your family’s debt, I should have fucking known.”

He raised his blade again, striking at you like a viper. You blocked him again, darting back out of his reach.

“Captain, I didn’t do it--” you said, but he cut you off with another overhand strike that seemed to carry every ounce of power he had in him. His blade slid along yours with a horrible grinding sound, catching on the grip and almost ripping it from your grasp.

“I thought I understood all the sneaking off,” he shouted, “Thought I had you all figured out.”

You parried another strike from him. “I didn’t do it! I wouldn’t do that to you!”

“Yes you fucking would,” Bakugou shouted, thrusting again. His anger seemed to make him quicker and deadlier that you’d ever seen him before. “You thought you were tricking me this whole time, disguised as a fucking man. You had no idea I’d figured you out until I told you. You were happy to keep on fooling me, fooling everyone in this battalion. What’s one more deception when you've already been lying for months?”

You growled in anger, your temper rising. Your vision tinged red at the edges and your sword felt almost hot in your hands. “I’m not the thief, Katsuki! You're being fucking stupid!”

You aimed a blow at his shoulder but he caught it, moving with almost superhuman speed to throw you off. He whirled around and before you could blink, brought his blade down on yours with incredible strength. As your arm went wide with the force of the strike, his blade whipped up to your chin, as it had all those months ago when he’d fought you and Nishimura.

“Drop your sword,” he said, pressing the flat of his blade into the soft skin of your chin, tipping your face up to his. Your breathing shallowed and you stilled.

It was quiet a long moment, the only sound the huffs of your breath. Over Bakugou’s shoulder, you could see the lines of the other soldiers, Ojiro’s long shadow in the glow of the candles. Sero looked beside himself, twitching like he itched to move, to run. Whether to your aide or away you didn’t know.

“Drop it,” Bakugou repeated. You hesitated and his blade pressed harder into your chin. You let the grip of your blade fall through your loose fingers, heard it clank softly in the grass.

As soon as you had, Bakugou moved, grabbing your arm and twisting to wrench you in front of his chest. His sword pressed diagonally across your shoulder.

“You’re under arrest for treason against the crown,” he growled into your ear. His tone dripped with disdain and his grip tightened painfully. Then, turning to Ojiro he barked out, “Get them back in bed. Show’s over.”

You had only moments to cast one last panicked look at Sero before you were moving, a rough hand pressing you forward. Bakugou marched you forcefully toward his office, sword held steady at your neck. His fingers flexed where he gripped you, nails digging into the flesh of your arm, and the heat of his hands was overwhelming, like he was seconds away from sparking off an explosion and blowing you to pieces.

When you arrived at his office, Bakugou all but threw you away from him, gesturing with his sword to a seat at his desk.

“Captain,” you said, turning to him as soon as he let you go. “I swear it wasn’t me! It’s Hasumi, you have to listen to me. It’s Hasumi!”

Bakugou’s face darkened. “If you’ve known it was Hasumi all along why tell me now?”

“I didn’t!” you cried, taking a careful step towards him. “I just figured it out. He’s trying to set me up.”

Bakugou scoffed. “How convenient," he intoned cruelly, "Just like it was convenient that you, always you saw the thief several times but were never able to catch him. What did you give the others who went along with your story? Are you giving them a cut? How many accomplices do I have to weed out?”

“Katsuki,” you pleaded. “Please listen to me.”

“Don’t,” he grit out. “I heard you that night, outside the barracks. You were begging someone not to let me find out. What if he finds those in my sheets you said. I could have just followed you inside and solved it all then. How stupid I was to have ignored that. To have ignored every warning sign in hopes that you were something more.”

Hot tears pooled in your eyes. “Captain, please. I can explain everything. You have to listen to me.”

Bakugou turned his back to you. The line of his shoulders was hard, and his fist balled at his side. “No. I have no desire to listen to you.”

You stepped closer, your blood pounding in your ears. “Captain.”

He ignored you, stalking over to the door on the opposite wall, the one you thought must lead to his personal chambers. He wrenched it open, almost ripping it clean off its hinges.

“You have until morning,” he said, knuckles white where they gripped the door knob. “I will give you this one opportunity. Go back to your family - you’ve settled their debt. I will tell everyone you fought me and ran.”

You let out a choked noise like a sob, but he shrugged you off as he stepped through the doorway. “Go now. If you’re still here in the morning, you’ll be tried and hanged.”

The door slammed shut behind him with a finality.

You stared after him, the hot tears spilling over onto your cheeks. What felt like years passed as you watched the rough grain of the wood, willing Bakugou to come back out, to take you into his arms and tell you he believed you, that you would figure this out together.

The door did not open again.

#bakugou x reader #fanfic #bakugou katsuki x reader #bnha #bnha x reader #boku no hero academia #bakugou katsuki

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nissakii · 3 years

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Miya Twins – the curse and blessing of being a twin [Haikyuu!!]

Siblings.

Some of us may hate them or adore them, yet you can’t find a middle when it comes to it.

Siblings can be important roles in our lives, for the better or for the worse in some cases.

They are some who look up to their siblings and share a strong bond, and with others there might be constant competition and comparison which makes them grow further away from siblings, others are a mix.

There is not a definite sibling relationship since each and every one is different and unique.

In Haikyuu we already saw some relationships depicted between siblings as we have the Tsukishima brothers with their problematic turn of losing trust but still respecting each other as well as trying to come to an understanding, or the example of the Tanaka siblings who may look like they have a lot in common but we see Saeko being extremely supportive and encouraging despite looking just as rough as her brother if not even more fearsome at times.

Not to forget we have Hinata Shoyo as the big brother role, who takes pride in becoming someone who his sister can be proud of despite looking a bit foolish when it comes to it.

Yet Furudate didn’t fear to put in another fascinating sibling relationship in the Haikyuu series: The Miya twins.

As we see the bickering duo enter towards the end of the first part of Haikyuu!! To the top one can immediately sense that there is a bit more to their relationship and that they look quite fascinating the way they interact with each other as they look like complete opposites when it comes to personality.

But what does it mean to be a twin?

What makes it so truly beautiful yet painfully forbidding?

In the following blogpost we will cover the curse and blessing of being a twin, with our two characters Atsumu and Osamu Miya who left a big mark in the last season!

Identical

They are not simply siblings who have the same genes, no.

As they are identical twins their DNA is almost identical, identical twins are born from the same Zygote as it’s an unusual occurrence for the Zygote to split into two before starting to divide and grow into seperate beings - in this case two separate beings with the exact same DNA.

While twins might be almost identical ...

...they are not completely, they may share the same DNA from the start but they still grow into separate individuals who can each have different eating habits, routines, different environments etc.

Considering Epigenetic (which would be too much to explain and make this post long than supposed) the DNA can still be modified through chemical changes that happen through a lot of factors which means the DNA itself still stays the same but the chemical groups can switch sequences on and off which may conclude that even in twins there are changes in appearance and physique.

Twins also have similar but not identical fingerprints.

With the Miya twins we see that at a young age before they dyed their hair they resembled each other and if not for the personalities and slight hints they are not easy to tell apart beside the way they separate their hair or Osamu’s eyes and hair having a slightly different shade of brown if looking closely.

Even as children they had a lot of individuality but they shared a lot of similarities, which stayed and manifested even to their current selves.

Despite Osamu seeming more reserved, silent and level-headed most of the team still don’t trust him for being just as impulsive as Atsumu when it comes to it. We have both Kita and Suna comment on that as they remark that in the end Osamu and Atsumu still share the same DNA, as we see Osamu being just as competitive and aggressive as his brother when it comes down to it.

The team is aware that Osamu might just turn the tables suddenly and get angry or frustrated just like his brother, he also shares his provoking nature and doesn’t let the opportunity slide to make a remark when Atsumu messed up or gets scolded and it’s the same the other way around, that’s why most of the people who know the silent Osamu do not underestimate the dangerous traits within him that his twin brother shows outwardly in full pride.

In the scene where we see Atsumu confronting his twin for not being frustrated enough about him going to the All-Youth camp but Osamu not, he also mentions that despite that it might seem differently Osamu works just as hard as he does making them both hard-working people even if it seems like Atsumu works a tad harder than him towards his goal as the best setter. Neither Osamu nor Atsumu would just say that to each other if they didn’t mean it honestly as they are brutally honest with each other considering their mistakes and bad traits which they call out loudly in front of people at times and do not care about what others think.

Which shows their deep consideration for each other as Osamu states he knows he should be frustrated but he just isn’t and Atsumu being frustrated in his place that he wasn’t chosen either as he thinks his brother is just as good as him.

Differences

Like mentioned before twins might be very similar especially appearance-wise but they do not have to share everything considering their traits, personality, hobbies etc as they are still separate individuals.

We already saw their similarities, but what makes them so different?

It’s clear that Osamu appears to be visibly more reserved and silent when he is not agitated or bickering with his brother, if there is no real reason to be mad about or put in too much emotion Osamu is unlike Atsumu not easily swayed by things around him or at least he does not openly present that like his brother.

As a child Osamu seemed also more observant and didn’t shout out anything that came to his mind like Atsumu, as we see in Aran’s flashback. He thinks of ways to counter his brother as he knows what would tick him off and doesn’t show that he is bothered when Atsumu was chosen as either Spiker or Setter, talking himself out in a clever way which would make Atsumu mad.

In the same flashback Aran also mentioned that he thought Osamu was slightly better than Atsumu if he had to say that, assuming Aran was right or considering he mentioned at that time Osamu was better than Atsumu it shows that having the same body structure appearance-wise doesn’t make twins the same skill-wise even if they are in the same environment and under the same conditions.

Kita also mentioned in one of his quotes where he talked about that the process matters more than the results, a child wouldn’t understand it as Atsumu came to his mind at that very moment. Not only those Kita view Atsumu as a child but Osamu mentioned as well that Atsumu tends to become very childish especially during a game as he said he regresses back about five years when they are in a match indicating his easily affected behavioural pattern.

We also get to see that Atsumu is a bit more vulnerable than Osamu, at least showing that vulnerability quicker than his brother but it doesn’t make Osamu less vulnerable as Atsumu is generally just more bluntly showcasing his feelings and sometimes even laying out his ambiguous attention. Since Atsumu doesn’t care about what people think of him or what they say about him people often get irritated, annoyed or intimidated by him unlike Osamu who consciously tried to avoid becoming hated by his peers in middle-school like Atsumu as he talked to them and tried to befriend them.

For Osamu it was simply bothersome to get into the situation Atsumu throws himself in as he tries to avoid conflict when it’s not needed and also is shown to be a bit more sly about things than his brother as he learned to think more before acting out like his brother for the reasons stated above, yet ironically the only one who can bring out the loud and childish side in Osamu is Atsumu himself which he avoided to resemble in order to not end up like him.

Atsumu also seems more flashy than his brother and doesn’t miss an opportunity to show off his talent, skills and what he can bring out during a match making him a bit more daring than Osamu, but Osamu also goes along with his brother’s daring side which could make him just as daring yet not basically the one who takes the initiative first.

Curse

As we saw their similarities and differences it is just a matter of time that problems arise with both of them.

What is the supposed curse of being a twin?

For that there is one important thing Aran mentions as he talks about the Miyas.

“The biggest blessing that Atsumu has isn’t his physique or his various talents. It’s actually Osamu.”

Yes, this quote obviously is meant in a positive way but still can have an ambiguous meaning as we take it a bit further.

Therefore we ignore the blessing part for a moment and focus on the part “isn’t his physique or various talents.”

That short sentence tells us a lot more than that Atsumu having his brother is a good feature only which we see later, but Aran obviously is stating that considering his twin Atsumu is not unique in either physique or his various talents since Osamu obviously shares very similar traits.

The fact that Aran is the one mentioning this is that he was the one who grew up with the twins as he saw them develop since they were children and first started to play Volleyball earnestly at that point. He also is the one who probably understands them the most next to Kita.

Aran is telling us that Atsumu himself is physically and on a skill-level just as talented as Osamu as we also see that in the flashbacks and throughout season 4.

Which means people who consider Atsumu being blessed with those things, those blessings are not his alone but he shares them with his brother who is pretty much almost identical DNA-wise which makes him probably one of his biggest threats.

Now imagine finding it pretty much annoying to get compared to your friends by your parents or those around you, even worse when you have siblings who are older or younger. Being compared to someone is not something that is regarded as a positive thing especially when people do it in a condescending or negative way.

“His older brother got better marks when he was in my class.”

“Your younger sister is better than you despite the age gap.”

Humans tend to compare themselves internally and subconsciously most of the time even if they don’t want to do it, it’s a natural process and can come in handy when it’s done in a healthy way but not when others constantly compare you and even tell you how much better the other is.

The other way around if someone already knows how it feels to be compared and knows how hard-working the other person is, they also don’t want them to be the one who they are compared to even if it would flatter them since they know how it feels to be on the other side.

That is already a burden for itself, but imagine even worse: having someone being almost a copy of you.

Twins experience-wise tend to get compared sooner or later and especially since the occurence of twins is still fascinating given the chance that only 3-4 of 1000 births result in identical twins naturally. Since they seem like they are a copy of each other people set their standards towards twins differently as the cliche of twins being the same still exists.

Even in the anime we see that Aran while telling us about the Miya twins in the past obviously compared them too, even when he didn’t mean any harm by it and also as the viewer we get to see that from Karasuno’s point of view and the audience often measure Osamu’s standard according to Atsumu.

What one of them does, the other is supposed to do it just as good technically speaking.

An old-fashioned way to view them but still very wide-spread.

We also see that Osamu who wants to spike more since his childhood is often tested out for the setter position as well by his coach, as they take turns on Osamu and Atsumu.

The wish that both of them want to play different positions is often connected with people expecting that they are just as good at what the other does. Osamu is indeed good as a setter too as we see him switching really fast during the Karasuno vs Inarizaki game or also as child when he was chosen to play setter from time to time instead of his brother who wanted to play the position, but he clearly stated that he liked spiking which shows the different wishes and goals both of them have.

Atsumu is also seen to have powerful spikes and serving with a lot of force is not a challenge for him either, but Osamu approaches serves differently than his brother for example as he uses the time on his hand yet is capable of hitting the ball just as hard as Atsumu, we get to know this while they were bickering about that Osamu is slacking.

If it had been any other pairing they might have gotten sick of being compared or even used as fuel against each other but there is one thing that makes them different and doesn’t let people's words get to them as we will see in the following paragraph.

Blessing

“The biggest blessing that Atsumu has isn’t his physique or his various talents. It’s actually Osamu.”

Now we saw the one way one could interpret if analysed a bit more deeply but the common and probably simple meaning behind this sentence is if we take it as it is.

Osamu is the biggest blessing Atsumu has, because Osamu is the only one who can physically, skill-wise and according to talent be the only one who fully competes against Atsumu in every aspect of life.

It’s quite similar to the first way we mentioned earlier but the outcome here is different, because they are so similar they are the only ones who can push each other.

If there is nobody to catch up to, they are the ones left challenging each other because who understands his brother the best?

The one and only twin he has.

We already saw how Atsumu understands his brother and Osamu also knows what is going through Atsumu’s head.

Osamu didn’t have to take consideration when Atsumu was sitting alone during Volleyball breaks but he still mocked his brother to lighten the mood and make him bicker with him in order for other people to see how funny they can be, and that even Atsumu has a different side to him.

He knows that his brother is hard-working and therefore just wants the best so when Atsumu is insulting Osamu that he plays badly even though he was frustrated about it too, it’s because Atsumu does know how skilled his brother is, it’s the only one who could be on par with him so he knows if his brother is putting his best effort or not.

Therefore Atsumu provoking Osamu during matches and outside is because he wants to push him to do more, because he has high-expectations for his brother knowing that he is indeed someone who slacks from time to time, and Osamu understands that too as he as well accepts the challenges of his brother instead of ignoring them.

They do not listen to the comparison of other people in order to fuel them more, they fuel each other already which makes them the perfect duo.

This deep understanding leads them to do things without needing much communication.

Atsumu’s reckless and childish behaviour, Osamu’s reserved and slacking nature both of them contemplate each other.

Best competitors for each other but on the same team they also challenge each other to become even stronger together as seen when they didn’t hesitate to try the minus tempo quick on the court, this is possible due to their mutual understanding. Osamu might say he does not really trust Atsumu as he is someone who might be not reliable outside of the court but he knows that if his brother sets something in his head it will definitely work out because he will make sure it will be perfect.

Same goes for Atsumu, he knows if he chooses Osamu he won’t back off to try it and that Osamu knows best what he is capable of. Out of everyone his brother is probably one of the few who do not get easily surprised by Atsumu’s sudden change in moods when it comes to new plays.

Both of them know what the other is thinking, angle, mood, expression, speech they can read each other very well.

Aran says that in the end the more those two compete the stronger they get.

Not Osamu, not Atsumu. Both of them.

Which makes them the best competitors and a blessing for each other.

- Makii

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dereksmcgrath · 3 years

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That was a really good chapter, and I’m struggling to say anything deeper about why it worked. I will try to summarize why it all works at the end of this post, because before that I want to give some time for topics I haven’t discussed directly up to now--including Aizawa’s disabilities and Mineta’s sexuality. But let’s start with some specific observations about Chapter 325.

“The Bonds of One for All,” My Hero Academia Chapter 325. By Koehi Horikoshi, translation by Caleb Cook, lettering by John Hunt. Available from Viz.

Spoiler warnings for The Big O and Fire Force.

The interactions between Izuku, Kota, and the woman with the giant Quirk were handled very well, in paneling, facial expressions, and dialogue. I love how the panel of tearful Kota reaching out to Izuku is almost identical to Izuku reaching out to Bakugo way back in Chapter 1. It is such a good humorous moment for the woman with the giant Quirk to refer to Izuku as her “crybaby hero.”

And beyond how well these three interact, I also loved Aizawa from afar congratulating Iida for his handling of this entire situation. The most recent episodes of the anime have not shown much in a mentor-mentee relationship between these two, with Aizawa rushing to see Kurogiri at Tartarus and surprised Iida already finished giving the class announcements he was instructed to. The two have not had much in the way of interactions, so having this small moment showing Aizawa does pay attention to his students contradicts a lot of complaints I’ve made how Aizawa has seemed so hands-off, especially when Bakugo has been physically abusive to his classmates.

Speaking of which, Denki dope-slapped Bakugo. That has been a long time coming, and I love that small background gag making its way in the middle of Hawks’s rousing narration. I also spotted Eijiro crying and I think a cameo from Oogami from Oumagadoki Zoo, so overall, the crowd scene was well illustrated.

The final bit I really enjoyed in this chapter--aside from Kurogiri’s return, but I’ll get to that--was the man from Chapter 1 defending Izuku, by invoking one of the metaphors I hate: the stage.

The Big O is one of my favorite anime--at least, until the second season started, then the show became so meta without progressing any plot in a way I enjoyed, and losing the “monster of the week” format that I thought served it better. One of its conceits was that, spoiler, the entire series is fake, just what is imagined as a stage production, or a TV production, or someone who has the power to control everything--and, no, that’s a cheap trick, worse than Dallas or Newhart playing that for a narrative reset or a legitimate series finale gag. This isn’t St. Elsewhere, and Big O is not good enough for that stunt. At its best, The Big O was like watching Cowboy Bebop’s stand-alone episodes: I’m judging it by the quality of its beginning-middle-and-end plot. (Having Steve Blum, Wendee Lee, and others from the Bebop dub with major roles in the Big O dub didn’t hurt.) So, trying to add a second-season arc to justify stuff in the first season that didn’t need to be justified felt like a waste of the stage metaphor.

And another manga, Fire Force, just recently invoked the “what if this is all a fiction, like something on the stage” plotline and, no, God no, we are not going there, we not letting “it’s all a fiction” defend how badly that misogynistic followup to Soul Eater has fallen off the rails, good Lord, no. I was way too kind to that series.

So, I cringed hearing this man defend Izuku by invoking the stage, and Horikoshi and company drawing a literal stage with theater seats. But at the end, no, that metaphor works, especially when it invokes how we first met this man and Izuku way back in Chapter 1: they were watching Woods and Mt Lady fighting that giant like they were watching a live performance of a tokusatsu. Having that man chew out we in the audience for treating this series as spectacle for fighting scenes, and by extension criticizing Izuku too and himself, adds enough humility to have this moment all be easier to approach rather than feeling hackneyed: it comes out of a problem the series has had since Chapter 1, and that any superhero story will have (as I ranted about earlier this week, where the good guy had to fight the bad guy with nothing in society really getting better).

With the good stuff out of the way, that brings me to Aizawa, and ongoing thoughts I have about how MHA portrays people with disabilities.

Over the weekend (through Sunday, September 5, at 7 PM Eastern), the US Embassy of Japan has shared for free online for United States audiences the documentary Tokyo Paralympics: Festival of Love and Glory. As I am not diagnosed with a disability, and as I do not consider myself an expert scholar in disability studies, I leave it to people more familiar with the topics to evaluate the documentary. With that said, I do think the documentary is of its time, as within the first minutes the thesis to the work seems to be that to have a disability is to be a challenge of overcoming having a disability. I do not think that is the customary way of thinking about disabilities today, that it is something to overcome: a disability is something you live with, not necessarily something you think of as overcoming--the verb being used is the problem. Granted, I’m using “overcome” based on the subtitles, not on the original Japanese of the film. But from what I have gathered in disability studies, the focus is not on the responsibility of an individual to overcome anything: it is far more about what societies can do so that, regardless what a person has in way of abilities, they are able to participate fully in that society, as the definition of having a disability has so much to do with society not making access possible regardless of the person’s abilities.

I’ve talked quite a bit about how MHA started with this bifurcated presentation: it wants to show a shiny exterior of a world where people of various abilities all get to participate in society and function within it, before revealing that exterior to be a facade, hiding forms of discrimination, some obvious from Chapter 1 where those without Quirks are maligned, and some soon after, such as a gag strip showing the damage Mt Lady’s ability causes due to her giant size. Then we saw more and more forms of discrimination on the basis of ability. We learned how Shinso, Habuko, Shigaraki, and Toga’s Quirks impede how they may participate in society. We saw how the physical appearance of Shoji, Spinner, Habuko, and now in the manga this woman with the giant Quirk leads to discrimination. We saw how the size of the individual (the woman with the giant Quirk, Mt Lady, and Kamachi in Vigilantes) requires different forms of housing that are often not easily accessible, affordable, or in convenient parts of the city. And we have seen more and more characters who lose Quirks (Ragdoll, Mirio, All Might) or have no Quirks (Melissa) as analogues to having disabilities, and more characters who have what we accept in our real world as disabilities (Ectoplasm’s pre-introduction lost legs, Aizawa and All Might’s Quirks being impeded by physical damage, Compress losing his arm and now more in the PLF Arc, Mirko losing her arm and leg, Aizawa and Nighteye losing limbs and organs in battle).

I don’t know what to make of how Aizawa’s leg prosthetic is first introduced to the audience, as the scene is staged almost the same as how we first saw Re-Destro’s leg prosthetic in the manga: we see the prosthetic clothed in a shoe and a pants’ leg, and that is how much we see to indicate its presence. I doubt the replication of this staging is telling us any similarity between Aizawa and Re-Destro--I honestly think the staging is just a coincidence. But I do think, intentional or not, Horikoshi is avoiding a fixation, an attempt to focus on the prosthetic as if something has been lost, by clothing it in the shoe and the pants’ leg to communicate that this just is his leg now, it’s not an identical substitution but it functions as a leg, it looks different, it obviously is different, but the image will not fetishize it.

I expected Aizawa would pop back up in this chapter after his appearance last time, but I in no way expected to hear references to Kurogiri, Oboro, the Nomus, and Toga--all of that are the real surprises of this chapter, and with All Might seemingly in front of UA, it’s set up for more to come. I have repeatedly complained how Kurogiri and Oboro have been handled since the reveal back in Vigilantes that they are the same body, as I took it as using Aizawa’s back story for plot setup rather than offering anything meaningful to progress Aizawa’s character. I’m not taking back my complaints. But after this chapter, I am less frustrated with those choices made, and less impatient to see where that plot is going, all because of just a few bits of exposition in this chapter to re-contextualize prior scenes to make what wasn’t working work better. It’s not clear to me yet how and when exactly Aizawa advocated for Kurogiri and other Nomus to be transferred out of prison and into medical help--and that is an entire discussion about prison reform that I do not think I can speak to adequately, but I do need to identify. While I wish this chapter or previous chapters did more to show Aizawa’s advocacy, similar to how we saw him advocate to Nezu on behalf of the class he was expelling and re-enrolling, the exposition via brief dialogue between Aizawa and Nezu hit the right beats and ended this chapter on a more positive note. All of this moment felt earned and helped make something more out of Aizawa and Kurogir compared to how I thought their plot had been so far, merely re-shuffling the characters to suit where the plot goes next.

But speaking of where the plot goes next, the invocation of Toga and the safety parameters to deal with her potential impersonation of anyone entering UA strikes me as similar to Nezu explaining the safety measures at UA: you explain the safety protocols so that, when the Villains inevitably break them, we are shocked but understand how this happened. It’s like Ghostbusters: you have to say “don’t cross the streams” so that, when it happens, you know a rule has been broken and things are that desperate. Theoretically, based on the information UA has, if you keep Toga in isolation for so long, her impersonation will wear off: that makes sense. The problems are twofold. First, no, I still don’t trust that Nezu isn’t pulling something. But that’s a conspiracy theory, so I need harder evidence. Therefore, second, UA may not know how much Toga’s Quirk evolved in the fight against the MLA and may have evolved since the PLF fight; predicting the duration of her impersonating abilities, when paired with her ninja-like ability to hide her presence, means that Toga could pop up in UA in the near future. Having All Might somehow now in front of UA instead of having a chat with Stain leads me to think Toga could just as easily have impersonated All Might to get into UA and close to Izuku, but I’ll have to wait and see.

I also have avoided discussing Mineta in these recent chapters. At the time of his reunion with Izuku, I honestly did not read a queer subtext at all: his “I love you, man”-esque reaction to Izuku struck me as homosocial rather than queer. Now that he again has been prevented from getting close to Izuku in this chapter, I can’t avoid bringing it up now.

In the immediate time when the chapter came out, I noticed to distinct interpretations of his remarks to Izuku, based on what he says in Japanese and how Caleb Cook translated it into English: the homosocial as I just said, in terms of Mineta having always been prone to using language and passionate language to express his feelings, unfortunately almost always in a perverted way to girls and women; and the queer reading, that Mineta is indeed making a love confession to Izuku.

I’m not sure which side I find more persuasive, but the latter queer reading is effective, especially in retrospect seeing how often he is near Izuku in different chapters. And it recontextualizes his reaction to seeing Ochaco giving Izuku attention back in the Classes 1A vs 1B Arc: I thought he was jealous that Izuku was getting Ochaco’s affection, whereas it may be that he was jealous of anyone else showing affection to Izuku.

However, I could just as easily take a page out of Scrubs (yes, forgive me for citing a cringey show like Scrubs) when they tried to portray the Todd’s womanizing as part of a larger pansexual identity--which is also problematic, and really is not how I want to read Mineta as being bi or pan, because it again falls into the argument that being bi or pan means you’re hedonistic or horny all the time when, no, by themselves, the terms bi and pan just refer to your emotional and sexual attraction, not at all implying anything about your sex life. This is all the more infurating to have to explain when being a pervert is not tied explicitly to any one sexuality, gender, or sex, so to have it associated with being bi or pan is offensive. Granted, I also am offended by how popular culture associates being a man with immediately being associated with being a pervert, but that’s the fault of toxic masculinity and failure to recognize broader constructions of being a man and masculinity, but that’s another topic.

To summarize, I pause at any notion that Mineta’s characterization is anything beyond just a pervert to his girl and woman colleagues, or any notion whether he was just exaggerating his chauvinism and attraction to girls and women in order to cover up for being gay, bi, or pan, because either case has unfortunate implications. At best, this portrayal suggests is the victim of toxic heteronormativity--which, if that was the case, that doesn’t work because we just had to sit through his groping of Tsuyu, Momo, and others, and no, the story doesn’t get to excuse that bullshit behavior by saying he is young and influenced by the toxicity around him. At worst, this portrayal suggests that being bi or pan just means you are one big pervert and will grope anything that moves--and, again, no, that is not at all what being bi or pan is. That’s like saying “apples are red, therefore this red Stapler is an apple so I’m going to eat it.”

God, this is why I really wish Horikoshi would take the cue I’ve seen from more fanfic writers and just headcanon someone’s sexuality and making it apparent in the fiction: it’s not that hard to show someone’s attractive to someone else in ways that defy our heteornormative assumptions, it’s just that much harder to commit to it beyond some authorial-intent JK Rowling footnote. (And since I invoked her by name: fuck Rowling; trans rights now.)

But I want to wrap up this review on a positive note, even if that means I’m again invoking another cringey TV show. How I Met Your Mother (I warned you this would get cringey) built its symbolism around umbrellas. Having the umbrella scenes around Izuku in the rain, after this manga already invoked Kenji Miyazawa's “Be Not Defeated by the Rain,” coupled with Hawks’s narration--that is all really well-done. Umbrellas are that shield against the elements. It even ties back into Aizawa and Oboro: we first meet these two in Vigilantes when Aizawa couldn’t stand to bring a stray kitten out of the rain while Oboro, whose power is literally clouds, had no hesitation about shielding the cat. Shielding Izuku like this with the umbrellas as a metaphor for how the older man all the way back in Chapter 1 wants to shield Izuku, and how UA can shield Izuku, is a really good way of visualizing what is offered to Izuku. UA is not his home, but like an umbrella, this is a temporary fix against the elements awaiting out there. I’m not as convinced by Izuku saying he can bring things back to how they were before: that’s nonsense, because for society to progress, you can’t just go back to how things were, you have to take what worked and improve it and fix what was broken. I know Izuku knows this, especially after his talk with Nagant, but it is an awkward line for this chapter. But like how we’re dealing with COVID, like how we need to mask up just like we would hold an umbrella against the rain, just as we need to work together (even if, paradoxically, we do that by social distancing, not gathering in crowds like the UA people are), we need to get through this awfulness, and I appreciate that this series again communicates the value of collaboration and not persisting with the “I alone can fix this” approach All Might, for all his good intentions, unfortunately propped up that led to Shigaraki, this mess the characters now face--and, yeah, being political, is why we’re in this mess in a post-2016 atmosphere.

#my hero academia #mha spoilers #shota aizawa #minoru mineta #kurogiri #long post

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dudewantscupcakes · 5 years

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Calling it right now: Luka will sacrifice himself for Marinette/Ladybug in the “Miracle Queen” finale.

Was thinking about this theory way too hard on my Sunday afternoon, and felt the need to share the pain with Tumblr (you’re welcome!).

Spoilers (for Love Eater/Heart Hunter and Kwami Buster) and pain under the cut!

It’s already been well-established in the prior episodes that Marinette relies on Luka for emotional support (see “Captain Hardrock”, “Frozer” and “Silencer”), and some have pointed out this moment in “Desperada” as an indication that Luka has caught onto Ladybug’s secret identity:

I firmly believe the interplay of Luka and Marinette’s relationship, as well as this possible identity suspicion in “Desperada” serve as foundation for what’s to/has unfolded in the season 3 finale. This, what we’ve seen in “Love Eater/Heart Hunter”, and the alleged fact that the Miraculous crew were “moved to tears” by the final episode all point towards this conclusion: something tragic will happen in the finale, and they’ve developed Luka as the perfect martyr.

Disclaimer: Before Luka fans get mad, please understand that this is not a Luka hate post. I’m also a Luka fan, and I want nothing but the best for my guitar playing, slightly cheesy, teeth-rottingly sweet boy. But the (unfortunately shallow) character arc for Luka seems to foreshadow nothing but bad things for his future :( I hope I’m proven wrong when the finale airs in December, but until then, I am convinced bad things will happen to him.

Ok, let’s start from the beginning. “Love Eater/Heart Hunter” (I’m going to call the episode Heart Hunter from now on) starts off with Marinette’s narration, and it’s interesting to see who they choose to focus on the most during her monologue:

“And some have nothing to lose”, Marinette narrates as we see a happy Luka. He’s humming what is likely one of his drafts of Marinette’s ‘melody’, looking cheerful as usual.

What do we cut to in the next scene?

We all know that Marinette is (almost unrealistically) superhuman when it comes to multitasking and coping with pressure. But we are also reminded at certain points in the series that she’s only human. Despite her ingenious plans and effusive energy, she also makes mistakes and sometimes needs help from others. This scene where she trips while she’s carrying a stockpile of boxes for her parents (bless her soul) is a perfect microcosm of what the writers are trying to convey with Marinette’s character design: she often carries more on her shoulders than she can handle.

And guess who appears to help her out?

As I’ve mentioned before, from the storywriter’s POV, Luka serves as emotional support for Marinette. His prior development in “Silencer” showed just how far he was willing to go for Marinette’s happiness: even though he was controlled by an akuma, the passion and devotion he felt for Marinette was all from him. And this scene in Heart Hunter is a reminder of his ‘role’ when it comes to Marinette. He is her support.

Notice how the frame also includes the guitar in his basket. Luka is not a man of many words, choosing rather to express himself through music. In a way, his guitar is his soul, the medium he relies on to communicate his emotions – especially towards Marinette. The scene focuses even more on the guitar as he uses it to strum a song for Marinette, which becomes important at the end of the episode.

But before that, we get this adorable sequence:

Luka gives her a helmet and drives her to the hotel. Marinette hangs onto him from the back while wearing said helmet. Why include the helmet sequence? Other than instilling a message of bike-riding safety (Which is actually very important! Falling on your head without a helmet sucks, not that I’d know.), I think the animators were trying to hint at something else. Keep reading.

The rest of the episode unfolds badly for Marinette. She third-wheels on Adrien’s date with Kagami, sees Cat Noir growing distant from her, and suspects that she’s put Fu in danger. It’s a lot for person – let alone a teenager – to handle, and cracks start to form in her façade of nonchalance.

Who appears again when her stress is at its worst?

Other than the obvious fact that Luka comes to the rescue, let’s note how the guitar is not only a part of the frame this time, but its visual focal point:

The animators really want us to focus on that guitar, huh? If you’re still skeptical, guess what happens when Luka walks over to Marinette.

His bike falls over, the camera pans over to the guitar (again!) falling along with the helmet. And they’re both conveniently placed at the dead center of the camera shot. Why focus on the falling bike and the scattered items? Because they’re supposed to tell us something.

They fall when Luka loses his grip on the bike as he walks over to comfort Marinette. It shows how focused he was on comforting Marinette, prioritizing this over salvaging his items from the fall. As I’ve said before, Luka is a passionate, devoted person. And he feels these emotions for Marinette, almost putting her on a pedestal of sorts for the sake of making her happy (letting her go after Adrien in “Frozer”, resorting to criminal acts for Marinette’s sake in “Silencer”, etc.). This scene is a perfect visual illustration of the extent Luka is willing to go to for Marinette’s sake. He’s willing to ‘take the fall’ for her when it comes to making her happy.

The guitar is an obvious symbol of Luka himself, given his penchant for the instrument. But what about the helmet?

This scene shows the answer. Luka is giving her protection and will continue to do so into the next episode (hence why the episode ends on this scene). At this time, he’s protecting her in an emotional way, literally shielding her from the rest of the world as he embraces her and lends a listening ear.

The episode concludes with a shot centered around Luka, and I think that’s something significant to note. Heart Hunter starts and ends with shots focused on someone who honestly wasn’t that instrumental to its plot. Why? Because Heart Hunter is only the first part of a two-parter finale, and these shots serve as foreshadowing for Luka’s importance in the second part.

I mentioned before that Luka may suspect Ladybug being Marinette, and this is the perfect place for the writers to tie that back into the storyline. Marinette has just been driven over the edge due her thinking she has failed as Ladybug, and Luka is offering to listen to her problems. Whether Marinette will choose to disclose her identity in the process of alleviating her anxiety is admittedly still uncertain. But given how the finale provides the perfect opportunity for this drama to go down (see my comments about the crew’s reception to the finale) I am thinking that Luka will be let it in on Marinette’s secret in the next episode.

This, along with the consideration that Luka has already wielded a miraculous, makes me think that Luka will hold a significant, protective role in the upcoming story: a tragic hero’s role. Luka’s altruistic characterization, as well as Heart Hunter’s unsettling imagery point towards the possibility that he’ll put himself in danger for Marinette/Ladybug’s sake.

My shot in the dark is that he’ll attempt to wield both the ladybug and cat miraculouses in order to defeat Hawkmoth and Mayura; who may attempt to use the miraculouses they’ve just stolen from Fu. Marinette has been shown to be able to handle using multiple miraculouses, but it’s also been explicitly stated that this is a dangerous practice that requires physical and mental fitness. I am not so sure if she meets the latter requirement at this point in time due to the events of Heart Breaker, so Luka may offer to help her out. And she may let him help her.

Even though Marinette was successful in using multiple miraculouses in “Kwami Buster”, we also saw how exhausting this was for her. I can’t even imagine what doing the same would do to Luka, especially if their battle against Hawkmoth/Mayura is prolonged (as they are always in finales). My guess is that Luka will suffer consequences similar to Emilie’s, going comatose as a result of misusing miraculouses. For the writers, this is the perfect hurricane of drama needed to stir up the fandom but not jeopardize their future seasons/the love square: have the secondary love interest find out Ladybug’s identity, and then remove him from the equation once and for all by having him make the ultimate, tragic sacrifice for Ladybug. After all, he has “nothing to lose”, right?

Again, this is not a Luka hate post, and I want to make that abundantly clear. I personally hope I’m reading too much into this and that I’m proven wrong in December. But how the writers have characterized Luka so far in the series and in Heart Breaker makes me really anxious. :(

Prayer circle for Marinette AND Luka.

#miraculous ladybug #ml #luka couffaine #marinette dupain cheng #lukanette #love eater #kwami buster #ml 3.25 #ml spoilers #love eater spoilers #heart hunter #heart hunter spoilers #s3 spoilers #kwami buster spoilers #spoilers #miraculous theory

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black-streak · 4 years

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Saturday night's alright for fighting (but Sundays are meant for rest) - His Shadow

Part 6

I'm already on part?! 6?!?! How did I get here?!

Also! Tag list??? I am a person who has one now? How even? @poshplumcot @emjrabbitwolf @mystery-5-5 @worlds-tiniest-spook-pastry @fandomkitty8 @dast218 @silvergold-swirl and I know you didn't ask to be, but @littleblue5mcdork your comments give me life, so I'm tagging you.

~---~

At approximately 12:34 am, Monday morning, a phone rang, abruptly waking the two occupants of the room.

"That better be important, or someone is going to pay."

"Stay quiet, it's Nightwing."

The use of vigilante names queued her in and she fell silent as Tim answered.

"What happened," he demanded, voice dipping in tone.

Marinette couldn't hear everything, but she caught the jist of it.

Riddler had missed a few too many therapy appointments and was currently sending them all on a scavenger hunt, multiple hostages involved. She couldn't pick out who the hostages were or the locations, but that was fine. Tim knew, so as long as she followed him, it wouldn't matter.

Ending the call, he made his way past her and into the bathroom, talking as he went to change.

"Three bats are out of town, so they need me out there."

"Not the brightest, all traveling at the same time. Oracle and A still there?"

Shaking his head at the reminder that she knew all their identities and exactly which three had gone, he called back, "A is on it, but Oracle was unavailable."

"Good. Easier that way," was said as a flash of light poured in below the door, disappearing almost as immediately.

Coming out of the bathroom, he found his room empty.

"You plan to follow me," he stated.

"Of course," whispered back from the shadows, in a husky alto, neither feminine nor masculine in persuasion.

"There's no convincing you to stay put either, is there," still a statement.

A hum was his only answer, so he led the way towards the upstairs roof access, not wanting to take a chance with his own apartment window. Not a random safe house, after all.

"Suppose I don't have to tell you to stay hidden, but try not to give yourself away completely."

He was met by a chuckle and took that for the not promise it was, taking off across the rooftops, no sound other than his own near silent boots hitting pavement to indicate his little stalker.

…

He ended up in the one location that had Riddler actually present inside. Of course. Just his luck. Normally, Red would be thrilled at the chance to end this as quickly as possible, but for once, he had hoped against hope that one of the others would take care of this while he just solved a few puzzles, set someone free, and received a brief com relay that Bats had this one from there.

Now he had to ensure not only that he solved everything and took Riddler down personally, but also had to watch the back of a shadow that he couldn't even keep track of. Sure, Red had seen her handiwork countless times, how clean and efficient the crime scene was. But mostly when she aimed to make the villains fool themselves into failing, leaving nothing of herself. The one time she did take matters fully into hand, he'd only seen the aftermath. And none of that accounted for never having worked with her.

Needless to say, Red was stressed. Which led to a lack of focus that made finding his way to the underground archives of the library (yes, library) that riddler set up in take twice as long. Having made his way around 12 different traps, a few of which were already cleared up and solved before he arrived, he couldn't claim surprise that Hood and Nightwing were in his ear, having already cleaned up their own parts.

"Where you at, babybird?"

"Entering the inner archives now."

"Not finished yet? Thought you were quicker than this," Hood teased.

"You were already on the scene when N called."

"Excuses excuses."

"We're entering the library now. Be down to back you up in a moment," Nightwing responded, cheerfully ignoring their antics.

"It's just Riddler, you don't need to help," He rushed to reassure, wanting to keep them and Mari separate in such an enclosed space.

"Never underestimate a villain off their meds, Red. Almost there."

And that's how he found himself in this situation. Every time an attack came either towards Hood or Wing, they'd have to deflect or defend themselves, but every henchman that even looked in his direction became immediately distracted by something else. Honestly, at this rate, he could probably waltz right up to Riddler and finish this now, but he couldn't help but sit back and observe.

One goon turned towards him, only to jump to the right, seemingly trip on his own two feet, and end up at the receiving end of an escrima stick.

Another freaked out and ran away from something only to slam directly into another fighting Hood. Both only took a moment to go down in the distraction. Two others ran from the room without any prompting. Soon enough they had Riddler in captivity, called in to Batman and Agent A, and left after handing the situation to the police.

"What the hell, you barely even helped!" Hood yelled the second they landed on Red's apartment rooftop, Wing having already returned to finish his patrol for the night.

"Yeah, and I'm supposed to have Sunday nights off."

"It's Monday morning and that's never held you back before."

"... We weren't alone," he let on, knowing he needed to offer up some explanation for his lacking response down there.

"... They were in there?"

"Yeah. I was observing for more information."

"That would explain the idiots tripping over themselves more than usual, I guess. What'd you find out?"

"Nothing more than we already knew. Evasive, lets the opponent take themself out. Some seemed to be running from something. Whoever it is seems intelligent as well. Took out a few traps before I even reached them. Went around others completely if they were already in that room when we arrived."

"That doesn't help us though," Hood stated, arms crossed where he leaned against a wall.

Blue/silver eyes appeared beside him, serious looking and tilted, giving the impression she was mimicking Hood's stance from less than two feet away. It took a monumental effort not to laugh.

"Not even slightly."

Heaving a sigh, Hood pulled off the wall and walked over to the edge, the eyes following him, rolling in mock exasperation.

"I'll have A look over the footage of the library, see if we can pick anything up," he called back, muttering about subpar cameras and lack of funding to inner city libraries before taking off towards the Manor.

For a second, the eyes disappeared, only for a figure to appear in the corner, shaded by two walls of the roof where the access door was.

Glancing around to ensure the others were long out of sight or range, he turned off his comm and took it out. Walking over to the edge of the shadow, he paused.

"No backlash for giving away your existence?"

"None at all. If I didn't want them finding out, I wouldn't have helped. As you implied, you had it under control."

"You're introducing yourself."

"Mhm! In a way where no one can deny I'm good or mistake me for a bad guy. I've seen how quick some of you are to attack first and interrogate later. Figure I'll allow interrogation later when I'm a more established presence."

He raised an eyebrow and stared her down a minute before she broke.

"Aaand I might enjoy messing with them a little. It's fun to see the 'World's Greatest Detectives' fumble all over themselves to figure out who's hiding right underneath their noses."

"Speaking of which, you plan on actually letting me see you, or just stand in the corner all night" he snarked.

"Hmm… not in the open. I'll meet you in your room."

With that, she disappeared once more.

…

Upon entering his room, Tim thought one of Ra's assassins had come for him once more. 'Hadn't that freak old man taken up a new obsession?!' Only to pause at seeing the same gray to blue eyes from the roof peering out from under the hood.

Flicking on a lamp much closer to her, he took in the full extent of the costume. Noticing a tail only barely peeking out around her calf and the sharp claws on her fingertips, Tim heaved a sigh.

"Tell me you're not cat themed. Dick will never let me live it down after all the shit we gave Bruce about Selina."

"More foxed themed if anything, though the eyes are more cat related," she giggled, voice still altered to her form.

"Pure black foxes are pretty rare. Sure it's not a fluffy black cat," he eyed her suspiciously.

"Not pure!" The tail lifted up to in front of her, the gray tip fully displayed.

"... It moved."

"Yes?"

"Why'd it move? I know for a fact you don't have a real fox tail outside of costume, so how?"

"Oh you know, do you? For your information, I have fox ears too."

Looking bewildered, he strode over to her, reaching for the hood. Squeaking, she disappeared once more. Coming back to himself, Tim took a step back, apologized, and requested she come out again. Reappearing before him, she watches him wearily, instincts on high alert and unable to reconcile the still masked Red Robin with Tim, despite them being one in the same.

"Could… you take off the mask first?"

"What?"

"I've kept out of Red's sight for too long, I can't get my instincts to calm down about it," she ducked her head down, almost squirming, reminding him who exactly was under that outfit.

Removing the mask slowly so as not to rip at the skin, he placed it down on the nightstand. He reached once more for the hood, watching for any reaction. When no resistance came forth, he slipped it down around her shoulders, the lower face cover not even twitching, as though held in place by other means.

There they were. Two big, fluffy black fox ears with gray tips and insides surrounded by loose silky gray locks. He couldn't resist. Tim gently grabbed an ear, rubbing his thumb across baby down textured insides. It twitched across his palm. Tilting the ear each way, he finally let go, only to run his fingers across the base as though looking for how it attached, pulling a low purr from the woman he had absentmindedly been fondling the ear of. Abruptly yanking his hand back, he stared down at Mari.

"They're real."

"Very."

"You're a furry."

"I'm a what?"

"Holy smokes, you're an honest to goodness Furry."

"... Says the man who regularly calls himself Red Robin, eh, babybird?"

Flushing bright red, Tim could only sputter, not realizing she had heard Jason call him that.

"Still not the one with an actual tail and ears!"

"Yeah, at least I didn't chicken out like some animal named heroes."

"And I suppose your name is as blatant as your costume?"

"Hmm?"

"Your name, you still haven't given it."

"Oh! Um, it's Teumessian."

"Teu-whata?"

"You know, like in greek mythology?"

"That's more Jason's line of expertise."

"Tuemessian was a fox that was destined to never be caught. Another name for it is Cadmean Vixen. Suppose you could call me Vixen for short," she purred up to him, eyes turning into slits, but cut short as a huge yawn overcame her.

"Alright, whatever you say Vixen. You get back into bed and I'll join you in a moment."

….

By the time Tim exited the bathroom for the last time that night, Mari was already passed out across his sheets.

"Can't believe I'm dating a furry."

#maribat #timinette #timari #theyre disgusting #i love them

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theastrophilearchitect · 3 years

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WandaVision series review part 2.

Last week, I posted part 1 of my WandaVision series review, containing my initial thoughts and breakdown of episodes 1-3 (part 1 can be found here). This post, part 2, will contain my breakdown of episodes 4-6, and part 3, to come next week, will contain episodes 7-9 and my final thoughts.

So, let’s go.

Episode Four: ‘We Interrupt This Program’ This is the episode where everything comes together; where things start to make sense. This episode debuted on January 29th, finally giving us some answers after the first and second episodes were released on the 15th. It has a runtime of 34 minutes, which is fairly on par with the episodes up to here, though this episode doesn’t follow the sitcom format, but feels more like your classic MCU content.

The episode opens with a previously on WandaVision recap, which seems to very much focus on Geraldine, the meaning of which soon becomes clear. And we enter a black screen which slowly fades into the form of Geraldine, with voices from the movie Captain Marvel--the voices of Carol Danvers, Maria Rambeau and Maria’s daughter, Monica, which just confirms fan speculation that Geraldine is, in fact, a grown-up Monica Rambeau, and we must currently be seeing her after the Blip--after Bruce Banner’s snap in Avengers: Endgame returned all those Thanos killed at the end of Avengers: Infinity War.

Monica sits in a hospital room, but the bed beside her is empty, then she leaves the room to panic as people coalesce throughout the hospital. She asks about a patient in room 104, then one of the doctors recognises her, and tells her her mother--Maria Rambeau--who presumably was who she was in the hospital for, is dead, and about the Blip, because it seems to Monica it’s only been a few minutes. And we have the Marvel logo, after an introduction instead of right at the beginning as in the sitcom episodes.

Cut to the headquarters of SWORD, standing for Sentient Weapon Observation and Response Division, which is quite clearly just talking about Vision. Honestly, though, Marvel’s obsession with making their acronyms real words--I’m talking to you, SHIELD and HYDRA--is mildly irritating because of how unrealistic it is. Just a me-gripe.

Monica fails to access the building, her badge apparently outdated, and we’re introduced to Tyler Hayward, acting director of SWORD in Monica’s absence. Hayward brings her into the building and declares Monica grounded, able to only carry out terrestrial missions, on her mother’s order for if the personnel who disappeared in the Blip were to return. He then assigns her to an ‘FBI thing’. Cue the wonderful Jimmy Woo.

Monica is welcomed near the sign for Westview by Jimmy Woo, the FBI agent who dealt with Scott Lang’s house arrest in Ant-Man and the Wasp. Jimmy tells Monica a witness he had in Westview has gone off the radar; that everyone seems to have forgotten the man’s existence. And they approach two policemen stood by the sign, who claim Westview doesn’t exist. Ah, Wanda’s lovely magic. Jimmy also says he can’t contact anyone on the inside.

‘This isn’t a missing person’s case, Captain Rambeau, it’s a missing town. Population 3,892.’

And Jimmy claims the town itself won’t let him in to investigate, but though the town seems empty, it is visible, and there doesn’t appear to be any physical barrier. Monica sends in a helicopter-style drone, and the camera feed glitches like a television screen as it nears the town, then the drone disappears--the toy helicopter Wanda found in episode 2. Monica approaches the town, and a television-barrier becomes apparent. Monica touches it, and is pulled inside, hence becoming Geraldine within Westview in episodes 2 and 3.

Cut to a day later, the glorious Darcy Lewis from the first two Thor movies, Jane Foster’s (Thor’s love interest’s) intern, now graduated and with a PhD in astrophysics, sits in a van with several other scientists of different fields. Outside Westview, SWORD has set up a kind of military base. Darcy takes some readings and gets ‘a colossal amount of CMBR’ (Cosmic Microwave Background Radiation, which is one of the things used to prove the Big Bang Theory), and notices ‘longer wavelengths superimposed over the noise’, and has the idea to set up and link a vintage television to it.

Cut to night, we watch a man in some kind of protective suit crawl through sewers into Westview, the border of which transforms him into the beekeeper from the end of episode 2 which prompted Wanda to rewind and skip to the 1970s.

Darcy’s TV picks up the signal, and plays the previous episodes of WandaVision in their sitcom format, pointing out Vision is meant to be very, very, very dead. We see that the hands the camera zoomed out to reveal watching the show at the end of episode 1 belong to Darcy.

At this point, SWORD starts putting together a wall and whiteboard of their information, and it’s really fun to see them asking all the same questions we as an audience are. Why hexagonal shape? I take it this means the border is hexagonal, not that we’d know that as an audience. Why sitcoms? I know the answer, but only because I watched episode 8 already. Same time and space? and, of course, Is Vision alive?

It’s really fun knowing the answers.

Jimmy and Darcy watch Monica as Geraldine, and question whether she’s playing along or if she’s oblivious. With some science-y Darcy stuff, we also see that the voice in the radio in episode 2 was Jimmy, but we see the episode glitched itself out of that situation, like what SWORD is calling the ‘Westview anomaly’ is righting itself when they interfere.

As they watch Wanda give birth, they expect the anomaly to break, as all the other people are real people brainwashed, but then the babies are born, indicating Wanda has some kind of creational power (foreshadowing). Geraldine mentions Ultron, and as Wanda tells her to leave, the episode again glitches to the credits, not quite as we saw in the actual episode.

It then cuts back to that scene in episode 3, but not through the old TV as Jimmy and Darcy are watching. I didn’t notice whether or not it did this in episode 3, but the aspect ratio has increased, more to that typical of a modern show, in contrast to the smaller ones of the early sitcoms. And we watch Wanda threaten Geraldine with her magic, glowing red as it should--the event episode 3 emitted, instead giving us Vision’s perspective. Wanda tells Geraldine to leave, and blasts her through the walls of the house, and straight out of Westview, hence the end clip of episode 3. Wanda repairs the wall just before Vision returns home.

Something curious though--we know when SWORD sends things, including people, into it, they transform to fit the style, like the drone becoming a helicopter, the man becoming a beekeeper and Monica’s style changing to fit the decade, but when Monica comes out of Westview, she still looks like she did in the 70s episode.

Cut back to Wanda inside Westview, and she sees Vision walking, but apparently dead; skin-tissue-stuff pale, eyes blank and a hole in his head where Thanos took the mind stone, but he acts normal. Then Wanda sees him again looking normal. Vision tells her they don’t have to stay here if they don’t want to, and Wanda replies that they can’t; that this is their home--’Oh, don’t worry darling. I have everything under control.’ Which affirms Geraldine’s claim at the end of episode 3, that it’s all Wanda. (I’m going to refer to her as Geraldine when talking about episodes 1-3 and Monica when talking about 4-9, even though it’s the same character.)

Wanda and Vision sit down to watch TV and the credits begin, though Vision seems a little apprehensive.

And we finally have some answers about what the hell has been happening in Westview, and the vaguest idea how it fits into the MCU timeline as a whole.

Episode Five: ‘On a Very Special Episode...’ This episode was released on February 5th, with a runtime of 41 minutes, longer than any of its predecessors but still not exceptionally long. This is likely so it can follow the 1980s sitcom format with the inclusion of the SWORD parts. Note at this point, when the decade shifts, it occurs as something goes wrong: we shift to the 1960s when Mr and Mrs Hart question Wanda and Vision about how they came to Westview; we shift to the 1970s when they see the beekeeper, and we shift to the 1980s as Wanda forces Monica out of Westview.

So, we have the recap; nothing particularly noteworthy about it or its focus.

Shit, I just realised Tony’s snap at the end of Avengers: Endgame is now part of the Marvel logo sequence. Ouch.

Music plays, and we open to Tommy crying in a 1980s-style house. This episode is mostly formatted off Full House, in which Elizabeth Olsen’s elder sisters, identical twins Ashley and Mary-Kate Olsen, played the youngest daughter, Michelle Tanner. Unrelated to the plot, but a fun aspect.

Billy and Tommy won’t stop crying, so Wanda tries to force them to sleep with her powers, but it doesn’t work, and we still don’t see the red sparks, but, again, that’s an 80s-style special effects thing. Also, aspect ratio in this episode: a little larger than in episodes 1-3, but not quite episode 4′s. Funny thing here is that episodes 1-3 were shot and edited in such a way the episodes registered on Disney+ as having a larger ratio, giving a black border around the frame on the screen, but it doesn’t have that in this episode. Just a technical thing I’m not sure of the cause of, though in retrospect may simply be to convey the size of TV screens in the eras.

Also, can we take a moment to appreciate Wanda’s curly hair and floral waistcoat in this episode?

Agnes shows up to help them with the babies, to which Vision is apprehensive, and after a moment, she says to Wanda: ‘Do you want me to take that again?’ as though they’re following a script. This continues, Agnes asks if they should take it from the top, which confuses Vision, but Wanda just laughs it off. This is interesting, because the only other person we’ve yet seen break character is Geraldine, who entered the anomaly after its initial formation. Then Agnes shifts back into character, and the laugh track picks up again.

Vision questions Agnes’s comments aside with Wanda, but Wanda brushes it off, and acts as though nothing happened, and his suspicion only grows.

Then suddenly the twins are about... five? I’d say five. I don’t know. As Wanda and Vision realise this, Agnes says, ‘Kids. You can’t control ‘em. No matter how hard you try.’ There’s a running theme of children in this show--obviously the children themselves, ‘for the children’ in episode 2, and Mrs Hart’s questioning of when they were going to have children in episode 1. This semantic field fed theories that Wanda was literally doing this ‘for the children’, and this comment from Agnes could suggest the children will be the downfall of the anomaly--Wanda brainwashes the adults, but not the children.

The introduction to this episode is really cute. It has a mellow pop song playing over the top, and the 80s thing of using old photos of the characters; they’ve used actual photos of Elizabeth Olsen and the actors playing the twins, and mildly horrifying photoshopped versions of Paul Bettany as a child, but made into Vision. These photos of Vision were leaked before this episode came out, and it’s just hilarious to me because Vision was born an adult. And, assuming WandaVision takes place in 2024, after Avengers: Endgame and Spider-Man: Far From Home, Vision is literally nine years old as it takes place.

There generally isn’t much to pick apart in the theme songs themselves, but the general idea of this one is ‘we’re making it up as we go along,’ which could be an interesting insight into Wanda’s state of mind--we’ve somewhat villainised her up to this point, creating the anomaly and controlling people, but the stance should be taken that she just doesn’t know what she’s doing, and is trying her best, selfish as her goals may be.

Cut to Hayward questioning Monica about her memories, and she describes a hopeless feeling--grief--controlling her--Wanda’s grief at the loss of Vision in the fight against Thanos. They take some kind of scan of Monica’s body and draw blood, but have to redo them because the results came out blank--foreshadowing.

Hayward describes Wanda as ‘the principal victimiser’ instead of one of the victims of whatever was happening in Westview, jumping straight to villainous conclusions.

A point here: in a recap of the ‘subjects’, Jimmy Woo states Wanda was born in 1989, which is actually a change to canon, because in the events of Avengers: Age of Ultron, set in 2015, she was 16, born in 1999. Questionable. Still not sure why they did this, but this makes her 29 in WandaVision, excluding the years of the Blip, where she would otherwise be only 19.

Hayward asks Jimmy if Wanda has an alias--in the comics, Wanda Maximoff is Scarlet Witch, but this alias has not yet been stated in the MCU--foreshadowing. Hayward focuses on her failures, such as working against the Avengers upon her introduction and the destruction she caused in Nigeria at the beginning of Captain America: Civil War. He then calls Wanda a terrorist based on how Monica described her experience in Westview.

Hayward then reveals to us footage of Wanda entering the SWORD headquarters where Vision’s body was kept, and shattering glass to access it, broken into pieces, as though to steal it, which Jimmy doesn’t believe because it’s a violation of the Sokovia Accords, and Darcy wonders what will happen when Vision learns the truth.

Wanda comes into the kitchen to find Tommy and Billy with a dog they found and want to keep. Wanda is apprehensive about letting them keep him, Agnes shows up with a dog house, and Wanda decides to create a dog collar, right in front of Agnes. Vision calls her out on this, and she says she’s ‘tired of hiding’. They name the dog Sparky, then Wanda sides with Vision that the twins aren’t old enough to care for him until they’re ten years old, to which they just age themselves up again. Agnes jokes that the dog should stay the same size, but still doesn’t question the magic.

A note here: Wanda skips decades when things don’t go her way, and the twins skip ages--Wanda is in control of the things around her, but not herself, as they are in control of themselves.

Meanwhile, Monica tries to figure out how she could re-enter Westview, and Darcy starts to call the anomaly the Hex because of its hexagonal shape. And they discuss that Wanda must be wielding ‘an insane amount of power’ to maintain the Hex and the twins, beyond anything she’s ever displayed before. Monica mentions she could’ve taken down Thanos on her own if he hadn’t used the infinity stones, and Jimmy mentions he thinks Captain Marvel came close, to which Monica stiffens, and dismisses the conversation about her--something has clearly happened between Monica and Carol since the events of Captain Marvel.

They go a lab to run an analysis on the 70s clothes Monica wore when she came out of the Hex, and discover they’re bulletproof, like the vest she wore when she entered, and they establish Wanda isn’t creating anything, but is rewriting reality.

Vision goes to work, where he helps his co-worker Norm with his computer, and they get an email from SWORD about Westview, mentioning Darcy and radiation. Everyone in the office reads it out with Norm, but they laugh at it, while Vision is suspicious. He turns off the computer with his powers, then does the same zap-thing to Norm, who suddenly comes back to his regular consciousness, outside of Wanda’s control, and begs for help. He tells Vision he has to stop ‘her’, that ‘she’s in [his] head’. Vision zaps him again, and he goes back into sitcom-brain.

Wanda tells the twins Vision went to work, which they question because it’s Saturday. Wanda tells them he just needed a distraction because they weren’t ‘on the same page’. She talks about family, and tells them that her on brother is far away.

Sparky the dog barks at something outside, and we cut to a drone’s view. Monica has sent in an 80s drone, something the Hex wouldn’t need to rewrite, and we see that’s what Sparky barked at. Monica tries to speak to Wanda, and through the drone’s view, but not the broadcast’s, her eyes turn red, and Hayward orders an operator to ‘take the shot’, though Monica didn’t know it was armed. They take the shot and the drone’s camera cuts out. Alarms blare, and a worker claims ‘there’s a breach.’

We go outside to the border, and Wanda exits the Hex, wearing what she wore in the climax of the Infinity Saga, dragging the drone behind her. This is confusing to watch back, because I know in retrospect she wore civilian clothes when the Hex was created, and was left in them when it was destroyed. Shooters aim their guns at her, and she throws the drone to Hayward’s feet. As she talks, what she had elft of her accent in Avengers: Infinity War has returned. She tells them to ‘stay out of [her] home,’ that ‘if [they] don’t bother [her], [she], won’t bother [them].’ Monica talks to her, and she prepares her magic. Monica asks what she wants, and she replies ‘[she has] what [she wants]. And no-one will ever take it from [her] again.’

And ‘for the children’ clicks--Wanda clearly created the Hex to have a life and a family with Vision. Wanda uses her magic to turn the guns onto Hayward, but they don’t shoot as she returns to the Hex.

This scene is important, because it shows us for certain that Wanda is aware of what she is doing, and shows for certain that she is in control, where before we had substantial evidence, but nothing this undeniable.

And cue this episode’s advert, for Lagos Brand paper towels--’For when you make a mess you didn’t mean to.’ This is a reference to an event at the beginning of Captain America: Civil War, in which Wanda accidentally killed twenty-six civilians in Lagos, Nigeria.

We cut back to the Hex, where Sparky has disappeared. They cross paths with a mailman, who says ‘Your Mom won’t let him get far,’ another subconscious reference of one of Wanda’s cast to her control. They find the dog dead in Agnes’s yard, who says he ate her azaleas, which poisoned him. The twins are upset, but Wanda stops them aging up, and gives them a lecture about grief. One of the twins tells her she can ‘fix the dead,’ which Agnes does question. This is a reference to her apparent resurrection of Vision, but Wanda tells them death is inevitable and forever; blatant hypocrisy.

Later, Vision asks Wanda how the boys are, and Wanda says ‘life moves pretty fast out in the suburbs’, a reference to the show’s time-jumping. Vision tells Wanda of his conversation with Norm, and tells her he was in pain. Vision says ‘You can’t control me the way you do them,’ to which Wanda replies, ‘Can’t I?’ and the credits roll, but sitcom-style credits, not the WandaVision credits.

Wanda tries to leave, and Vision asks about the ‘Maximoff Anomaly’, but she feigns ignorance. He accuses her of controlling the town, the credits stop, and they rise into the air with their powers. Wanda says she did it for both of them, Vision asks what’s outside of Westview, but she doesn’t answer. Vision says he can’t remember his life before Westview, but Wanda reassures him that he is her husband and a father; he asks why there are no other children in Westview, which she again dismisses. Wanda exaggerates the insanity of what he thinks--gaslighting--and says she doesn’t know how it started in the first place.

The doorbell rings, which she says she didn’t do, and Wanda opens the door to Pietro Maximoff, the brother who she claimed was ‘far away’, but we know to be dead. Except it isn’t Aaron Taylor Johnson’s Pietro, from Avengers: Age of Ultron, and it’s not just a recast. He’s played by Evan Peters, who plays the version of Quicksilver in the X-Men movies, which is clearly intentional.

This led to speculation about the opening of the multiverse, and even though WandaVision doesn’t directly go that route, Wanda’s next appearance is going to be in Doctor Strange in the Multiverse of Madness.

This episode was an excellent one, and we’ve truly begun to build towards the climax.

Episode Six: ‘All-New Halloween Spooktacular!’ Released February 12th, this episode has a still-leaving-a-lot-to-be-desired 37 minute runtime, and is one of the ones primarily featured in the trailers, which showed Wanda and Vision dressed in mock-up costumes of their character design in the comic books, which is especially exciting for Wanda, because, not only has she not yet been officially called ‘Scarlet Witch’, she also hasn’t had an official costume, with most of her other outfits in a darker red, but not the comic Scarlet Witch.

Recap of the relevant information, roll the Marvel logo, and this episode opens with a fast-paced theme song, which shows Wanda for the first time with the red effects of her magic in the Hex through the sitcom camera. This song mentions ‘illusion’ again and again, then moves into a rather elongated verse of repeating ‘let’s keep it going’, implying Wanda is now simply trying to extend the time she has with her family.

The twins introduce the episode in that 1990s break-the-fourth-wall style, they play with Pietro, and Wanda comes downstairs in her costume, claiming to be a Sokovian fortune teller. Pietro says it’s ‘worse than the costumes Mom made us the year we got typhus,’ and we cut to a really brief flashback of Wanda and Pietro trick-or-treating; Wanda has her hair in a braid and Pietro has an eyepatch, which some thought might just be an Easter egg of the two dressing as Black Widow and Nick Fury, but looking at it now, it seems more incidental.

Vision then comes downstairs in his costume, and says he’s only wearing it because Wanda took all his other clothes out of his closet, and that it’s a Mexican wrestler. He tries to leave for the neighbourhood watch, to which Wanda starts, ‘No, that’s not what you’re supposed to--’ as though she’s beginning to lose control over the Hex. Pietro dresses in a mock-Quicksilver costume, and dresses Tommy in something similar, referencing that Tommy, in the comics, also has superspeed.

Wanda tries to test Pietro on a memory of their childhood, which he calls her out on, and she asks why he looks different, but he says ‘you tell me’, again implying this is her doing. Wanda talks to Herb, one of the neighbours and a member of the watch, who tells her Vision isn’t on duty.

Cut to Vision near the edge of town, and he sees people in their yard repeating the same motions over and over, as if Wanda has less control over the outskirts of town.

Cut to this episode’s commercial: this one is animated, of a boy of a deserted island, and a shark jumps out of the water, and gives him a ‘Yo-Magic’ yoghurt to eat, which the boy takes, but is too weak to open. Time passes, and we watch him starve--’Yo-Magic! The snack for survivors!’ This could be referring to Wanda’s inability to save the people around her with her magic--she couldn’t save HYDRA’s other test subjects, then she couldn’t save Pietro, then Vision.

Wanda asks Pietro what happened to his accent, and he asks her the same question, then tells her his memories are fuzzy. Tommy then goes to get candy, and reveals his superspeed powers. He and Billy then go off with a promise not to ‘go past Ellis Avenue.’

Darcy, Jimmy and Monica hack into Hayward’s data, and discover he figured out a way through the boundary, and that he’s tracking Vision and the people in his vicinity. They notice the people at the edge of town are hardly moving. Cut to Vision, who realises the people even further out are completely stagnant. He then morphs from his human costume to his typical Vision-self, flies upward and observes the town, noticing a car at the edge, which he flies down to.

We see Agnes in the car, dressed as a witch and still, but not unresponsive like the others. She tells him she got lost--’In the town you grew up in?--and he zaps her the way he did Norm in the last episode. She recognises him as Vision, an Avenger, but he doesn’t know what an Avenger is. She tells him he’s dead, and explains Wanda’s control, then laughs manically until Vision zaps her again, and she once again becomes the Nosy Neighbour, then turns the car and drives away. We zoom out to the street sign: Ellis Avenue.

Darcy sees Monica’s bloodwork in Hayward’s files, and tells Monica she can’t go back into the Hex as she wishes, because she’s already been through the boundary twice, and had her cells rewritten molecularly--Ms Marvel!! But Monica dismisses it, and tells Darcy she won’t stop until she helps Wanda.

Pietro accuses Wanda laughingly of only avoiding traumatising the town’s children by only bringing them out for a holiday cameo, but praises her, because ‘Families and couples stay together, most personalities aren’t far off from what’s underneath, people got better jobs, better haircuts, for sure,’ and tells her he’s impressed, but asks how she did it, which she doesn’t answer, then tells him she doesn’t know how she did it. She just remembers loneliness, and numbness.

She then looks back to Pietro, and sees him with bullet wounds in his chest; dead the way she saw Vision in episode 4, but she blinks it away.

Darcy watches Hayward’s tracking of Vision, and he approaches the barrier, sees it in all its television glory. Then he pushes through. He strains to make it through, and SWORD agents pull up on the other side. He nearly makes it, cape all that’s left, but it clearly painful, and he falls to the ground. Chunks of him tear off and fly back through the barrier. Meanwhile, Billy realises something is wrong with an echo of Wanda’s power, hearing Vision’s yells, and runs to Wanda.

Hayward handcuffs Darcy to stop her trying to get him to help Vision as he comes apart. Wanda asks Billy where Vision is, to which Pietro says, ‘Hey, don’t sweat it, sis. It’s not like your dead husband can die twice.’ Her eyes turn red and she sends him flying into a haystack. Billy focuses, and sees the SWORD soldiers, says he thinks Vision’s dying, and Wanda freezes everything around her, then sends out a blast of power.

Outside, the boundary of the Hex moves, expanding, and the SWORD agents panic to get away as Vision is re-encapsulated, but Darcy is handcuffed, and t passes over her. The SWORD camp turns into a circus, but Hayward, Monica and Jimmy get away--slightly wondering why Monica tried to when she was trying to get back in.

And the episode ends there. I don’t really have much of a conclusion to this episode--in truth, not too much actually happened aside from Pietro and the twins, but we are so building to the climax. This is also actually furthered by the absence of a laugh track in this episode, though this is also due to the fact they became less common.

And that summarises my breakdown of episodes 4-6. Part 3, with episodes 7-9, will come next week!

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ashiversary · 5 years

Text

Adaptability

Adaptability:

1. A pokemon ability that increases the power of moves of the same type as the user. Common species with this ability include porygon, basculin and eevee.

2. The ability to acclimatise efficiently and fast to changed circumstances

◊

The umbreon tent at the Opal City Eevee And Evolutions Event is a good place to be, Go thinks, even though it’s early. The darkness means it’s refreshingly cool compared to outside, the ‘dark night’ coffees sold by the door are both delicious and immensely caffeinated, and the newly-evolved Instinct umbreons are sleeping (for once) in relative silence. It’s so early, in fact, that there’s only one other guest in this row. They’re pretty short, with red hair, lots of piercings and wait a minute-

“Uh, Amelie?”

Her eye flicks briefly towards him.

“Hello, Go.”

Oh. Great. He turns to look at what she’s eyeing.

It’s a good specimen from a show perspective, Go can tell. The eyes are bright and cheri-red, the coat ink-black and glossy, and the thick gold bands from evolving under a full harvest moon have a soft but powerful glow. It’s a pretty attractive pokemon for a team who deal in stolen goods, so Go braces for a knee to the stomach and hopes someone will call for security before he hits the ground.

When a minute has passed with no attack he dares to crack an eye open to look at her.

“Picking good ones to steal later? They’re all tagged and chipped you know-”

“No.”

“Planning to steal the prize money?”

“Not really.”

“Then why are you here at an eevee convention?”

She fixes him with a look and- oh.

He’s suddenly very glad Spark stayed behind. Arceus only knows the carnage that would result from him, her boss and hundreds of eevee all in the same place.

Anyway, Go, focus.

There’s no members of the public admitted right now, but there’s still a handful of breeders primping their umbreons before the gates open, and although he’s got over a foot of height on her Go doesn’t think for a minute that’ll stop him from being handed his ass if things get dicey. (Amelie did focus solely on his uninjured side when they met after the last big fight though, so that was… thoughtful? Less brutal than the majority of Rocket?)

The point is, it’s early, there’s no high-level trainers anywhere nearby and a member of Team Rocket is next to him at an Eevee Exhibition. So what should he do?

Go shrugs.

“Want to get breakfast?”

“So,” Amelie asks when they’re sat near a food stand fifteen minutes later, “Why are you here?”

He shrugs, chasing the last pieces of tamato berry around the tray.

“Some of the special entrants in the main exhibition are from Instinct Hatcheries, like that flying-type eeveelution, the dual-type vaporeon and, uh… Dumpling the shiny kit? Do you know about him?”

She nods and - wait, of course she’ll know about Dumpling, given who her boss is. Go’s certain that despite the frequent recorded visits from Mystic One on file at the kit’s hatchery, Leader Blanche themself has never actually set foot in the place.

He continues, regardless. “Because of the ties Instinct have with a lot of the organizers, we- as in, high-ranking Instinct Trainers – got special passes for the event.”

Go’s not entirely sure why he got one, really. Okay, yes, his name is down on paper as Instinct Two, but he’ll be the first to admit that compared to any of Spark’s Elite Four he’s way behind. Why is he here again?

He’s always been good at rolling with the punches, though, literal or otherwise. He’s adaptable.

(In this job, with his boss, you need to be. Otherwise you just might not survive.)

◊

The theory goes:

A standard, purebred eevee with no external influences will evolve in accordance with its environment - one who lives wild by a lake and hunts for food in the water will tend towards vaporeon, habitats of warm homes as cherished pets create sylveon, those raised on spiritual sites or alongside psychics evolve into espeon (and everyone knows not to leave kits near the psychic Gym Leader of Saffron City unless, for whatever reason, you want a rambunctious feline unable to manage its considerable newfound strength back right after).

Even amongst the same species there are further physiological variations. The rare wild leafeon studied in arctic tundra environments have stubby near-black leaves with a waxy finish, slow metabolisms, and a secondary ice-typing. Amongst professional breeders and co-ordinators different leafeon with unusual foliage, such as delicate ornamental leaves or chubby cacti greenery, are a hit. The reigning Kalos Queen making an appearance even has an exquisite rose leafeon as her signature companion - far too finicky for the average trainer, too fragile for regular battling. And yet, much like a wild eevee and its evolution, it’s perfectly adapted for its current environment.

(Go figure, Go thinks as he takes a high-speed rose to the face at the front of the crowd, Amelie looking suspiciously like she’s trying to hide a smile).

But the environment is only half the puzzle. If exposed to a standard water stone, a wild eevee will undergo rapid evolution into what most would consider a ‘classic’ vaporeon – neck frill, aqua blue colouring, finned tail - even if its habitat is a frozen plain or an electrified cave.

So, as Annie had explained to him over one of the few dinners Spark or Zapdos (is there a difference, really?) hadn’t been able to crash and burn, the leading theory is that the eevee ignores its previous adaptations and rapidly adjusts in order to cope with a sudden influx of energy the stone contains - similar to how other species can go years with no sign of pending evolution but then once exposed to the right conditions, boom, a distressed golem is now stuck in your bathroom.

“Look,” she’d said, dragging out a tablet from her purse, “The main idea is the stone itself is a strong energy source – the eevee suddenly adapts to this exposure and the energy drives the evolution to completion in seconds, but because most of these stones are similar in chemical composition the final vaporeons are also pretty identical.”

Huh, he’d thought, so that’d been why Mystic had requested a large number of eevee kits a few months before, and why so many of their high-rank trainers had similar vaporeons on their teams now. He’d assumed it was just for the team aesthetic, really, but they must have been adopted out once the research programme had wrapped up.

Annie had continued, nearly knocking over her glass as she’d gestured at the screen.

“But then we’ve got to consider that items such as Razor Fangs and Claws are similar energy sources, or possibly catalysts. We now know certain stones and trading systems count as an energy source because of the thermodynamic profiles, but how does that link to items such as Reaper Cloths? Wild dusknoir and escavalier have to come from somewhere, Go!”

It had been interesting when he’d read over it later, after walking her home – or at least, back to Mystic HQ. Aside from cases such as nidorina and nidoqueen, Instinct typically ignore the evolution status of the pokemon used for breeding to focus mostly on IVs and moves, so browsing Annie’s notes had helped show a whole new side of the story, and they’re a lot easier for a novice to read than Leader Blanche’s, that’s for sure.

There was something similar to this topic in one of his college classes actually - a certain level of energy is required to allow a reaction to occur, catalysts open up different reaction pathways with lower energy requirements, if energy isn’t available from an external source then internal energy will be used instead, and so on. Currently known sources, according to Mystic research, include electromagnetic waves during trading, certain geological features, and – if the ongoing research on eevees is any indication - evolutionary stones as well. So now Annie’s research involves looking at possible wavelengths emitted, triggering the use certain items and further analysis of evolutionary stones. (He winces on Professor Willow’s behalf. Those items aren’t cheap, after all, and Go may no longer a completely-broke student but he won’t be casually dropping ₽10,000 on a stone that will never be anything but powder for a lab experiment.)

Annie always looks so animated when she talks about her research with Mystic One. Guess it helps to have a Team Leader who you really care for.

(Then again Spark, at least, doesn’t need constant reminders to eat or sleep.)

Speaking of which…

“Uh… Leader Blanche and Annie are supposed to be here today. Could you and your boss maybe not blow up the exhibition while we’re all here? Or start a fight? Or steal anything”

Amelie doesn’t even look up from the stall she’s examining. Out of all the locations to spend the morning at, personally Go wouldn’t have picked the shopping village – it’s not even ten in the morning now and it’s already a struggle to get through the crowds. Amelie, however, is both determined and terrifying - so here they are.

“Mystic One is currently at their headquarters having overslept. Mystic Two is with them.”

Well that’s not at all creepy.

“How do you know that?” He demands.

“Carl told me.”

“Carl, as in-”

That stuck-up dick? is what Go wants to say, but his mouth finishes, “-Valor Two?”

“Yes. We’re acquainted.”

Typical. All said stuck-up dick apparently needs to drop the snobbish attitude, even for someone like Team Rocket, is a terrifying attitude and an above-average bra size.

(That’s probably unfair, he reflects. There’s one key reason why the two of them will never get along and it’s five-foot-ten, host to a lightning titan and drinks Go’s milk straight from the carton.)

“It’s in everyone’s best interest for there to be no fighting today, don’t you agree? Three of each, please.” Amelie directs the last part at the hovering sales assistant, guarding the stock with the tenacity of a stoutland and the attitude of a houndoom.

Honestly, Go thinks, simultaneously watching the assistant bag all the items and trying to read the labels upside-down at the same time as they’re packed, Carl and Amelie knowing each other well isn’t a bad thing. Especially given the animosity between her boss and Leader Candela - and their combined talents at causing significant property damage.

“Limited Edition Eevee Family… are these socks?”

“Mmm-hmm.”

“You came all the way to a massive eevee exhibition… to buy yourself socks?”

He looks back at the packaging, the front home to a model in frills sporting sylveon thigh-highs and not much else.

Don’t think about her wearing them, don’t think about her wearing them-

Too late. It’s an amazing image though.

“They’re not for me. I’m here to get them for someone who couldn’t make it.” Amelie says, like she can read minds. Or maybe it was pretty obvious what he was (completely involuntarily!) thinking of.

Hang on, given that there’s one person he knows of who can make Amelie get up at the crack of dawn and wears eevee paraphernalia obsessively…

“So… your boss isn’t here today?”

There’s an unnaturally long pause.

“No,” Amelie finally says. It’s hard to tell with someone as serious as her but for a moment, Go thinks, it looks like she wants to say something more. “No, they’re not.”

“So you did come all this way just for socks?”

She shrugs.

“Lief is also thinking about breeding an eevee-cross meowth at some point, so he’s looking at possible studs as well.”

“Lief?”

“You’ve met him. Green hair, crossbred persians, kicked you in the face last month at the pier?”

Oh yeah, he remembers now. He really needs to try and run into people who are less violent, he thinks.

Amelie takes her receipt and turns to face him. “I’ll see you around, Go.”

“Uh, is it bad if I hope that’s not any time soon?”

He gets a whole smile for that.

#Pokemon Go #Ashiversary #bipercy #submission #fanfiction #Go #Amelie #eevee #eeveelution

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callme--starchild · 4 years

Text

You and Me Against the World

If someone managed to put Donald Duck and Paperinik on the same stage, they probably wouldn't know it was the same duck. Especially because of the impossibility of putting Donald Duck and Paperinik on the same stage.

Not surprisingly, Donald has been wearing the cape and mask for so long that he already knew how to get his way to keep his identity secret, being mostly Gyro's voice modulator which kept his speech impediment hidden. And if someone was sharp enough to decipher it or, in the worst case, remove the mask, he could easily choose to use his always faithful Car-Cans.

It wasn't easy work, and he recognized it. Now that he had earned his degree online and Della had returned from her boarding school, Scrooge had focused more on adventures, which kept him busier. He used to say that he wanted to go back to the old days and be them three against the world, and Donald could see how much his sister craved it.

But the truth was that he could perceive that it was Scrooge McDuck and Della Duck against the world, who were already an invaluable team while he was the miserable cannon fodder, always being the one who received the blows and the scapegoat when something went wrong.

And being Paperinik... wow, the duck didn't know where to start. Outside of polishing coins in the money bin, starting work in the Tower part time since he came of age, despite being a janitor, made him feel that he was part of something.

The pleasant talks with Lyla and Angus' comments against the local hero, coupled with his peculiar laugh, had become his second home. That was his second biggest secret, though.

Of course, his time has been reduced since the return of Della, who has insisted on recovering lost time. And while he could not blame her, between that and the adventures Donald has not had the time to visit it.

To visit him.

"Is everything okay, Old Cape?"

Donald stopped walking around the 151st floor, being invaded again by a deafening silence that, honestly, was driving him crazy.

He sighed heavily before pluming himself in the chair that the intelligence had previously prepared for him to massage his temple.

"Yes, yes, it's just..." Donald chattered, not knowing how to justify himself because not even he knew why he saw it as a life threatening problem.

And now that he thought about it, it was perhaps ridiculous.

"My sensors do not indicate any physical damage that deserves to be treated after your last adventure, and Evronians have not been seen in days…"

"'m sorry."

However, he spoke so suddenly that Uno did not know what to say, stopping his metal arms to focus on the sailor-dressed duck.

"Why, Hero? You haven't done anything that warrants an apology."

"But, I've set you aside lately. I've been venturing so much with Scrooge and Della that I presented less and less in the Tower unless Paperinik has to save someone helpless, imprison some evildoer or fight some Evronian." Don moved in his seat, raising his hand when he perceived that the AI would speak, "I know I don't show it much or I don't say it very often, but you are one of my best friends, Uno, and I don't want you to think that now that Della has returned, she will take your place or our relationship will become merely formal and..."

However, Uno began to laugh, and Donald took advantage of the moment of confusion to regain the breath he had lost and loosen his bowtie.

"Do you love me so much, Donald?" He made the gesture of withdrawing a tear, making a table appear with a glass of water so that the duck could cool and ignoring his blush, "is fine, it really doesn't matter."

"Re... Really?" Normalizing his breathing, he observed the sly smile on his partner's face.

"I mean, as long as you don't get hurt or your identity is at risk, I know you also have your life, Hero," that he missed him when he was going to venture? Yes, too much. But he couldn't be selfish and hook his friend to the tower even if he had the ability. "Besides, I am irreplaceable, your family does not know the wonders of artificial intelligence."

As if the smirk didn't say much, using the metal arms he pointed to himself, and Donald couldn't help laughing.

"Yes, you're probably right." In fact, the duck couldn't help feeling bad, it hurt to leave his friend on his own and he didn't know why; maybe because he was kinda chained to the Ducklair Tower—?

"I always have it, Old Cape." Very modestly, Uno appeared in a smaller orb in front of Donald, trying not to change color when he hugged him and attached him to his body. ”Let's watch Anxieties, okay? It's about to start and I don't want to miss this episode."

The sailor laughed fondly and rested his chin on the warm orb, listening and feeling its buzzing as the soap opera began.

On the other hand, Uno could not concentrate over the warm and finally relaxed face of his partner, staying curled up against his body.

As long as Donald doesn't get hurt during an adventure, or if a happenstance occurs that puts Paperinik's identity on the tightrope, it would be fine. He always had multiple satellite cameras to make sure of that, and somehow feel accompanied by him.

(And yes, he had finally managed to learn the expression of the tightrope, as well as others that his companion had taught him. After all, he learned fast, and had a large database with him.)

Hiding his 313 in a large bush next to the ruins of the mansion, Paperinik took his X-Transformer out of the trunk before stepping away from Villa Rosa, listening to the thump of his boots against the concrete.

"Where did the attack was, Uno?" universally, the hero cursed himself for having been distracted again by reading Fantomius' diary while adjusting the shield on his wrist.

"In the central park, fifteen minutes from your current position." Showing his point of view, the hero could see the coordinates on the shield, and paused abruptly at the entrance to the city to press a button.

He knew that his little car had an anti-gravity button, or that he could turn to the springs of his boots if he wanted a safer ride, but none of those objects were quiet at close range and, in addition, the Evronians were not as stupid as other petty criminals he faced on a daily basis.

He could simply go for the 313 once he defeated the aliens and go home once everything was resolved.

"You're about to arrive, PK."

Donald smiled sideways. 12 minutes apart thanks to the incredible technology of his X-Transformer.

"Roger, thanks!"

Uno's next comment, however, was overshadowed by one of the classic monologues of a nearby Evronian who pointed a gun at a young pair of ducks.

This would be easy.

"Your sister?"

The superhero nodded, removing his mask and growling under his breath. He sat in the chair that the artificial intelligence always prepared for him when he returned from a mission.

"Yep, she apparently had a problem with her boyfriend, her emotions were full of skin and that must have attracted them. They're fine, but it was difficult for me to leave them on the porch of the mansion" sighing, the duck let out an ''m upset' without bothering to remove the voice modulator.

"And you don't care if she wants, I don't know, an advice, let off steam and see you're not there?" Donald looked up, his partner's gaze focused on him as he began to stretch his body.

"I told her I would go out and see the houses for sale. But you're right, I should go. It's getting late, and I still have to pick up 313, and there I left my clothes" at that moment, the duck put on the mask again before getting up, wavering, from the chair.

"Do you need me to take you? I'm sure Master Everett didn't mind if we use one of his electric cars" a small orb appeared next to the hero, who smiled in thanks.

If both felt an accelerated blood pressure, neither of them said anything.

"Thanks Uno, but I could use this route to patrol the city, and I wouldn't feel bad about some technological help."

But Donald did not know what invaded him at that moment when he did something that never went through his thoughts and placed a small kiss on the orb.

The duck's cheeks were painted pink under the mask, as if the fact that Uno's orb will change color was no more embarrassing because, if he didn't know his friend's features and gestures, he would have thought of Due.

"I knew you loved me, Hero, but I didn't know how much." Trying to lighten the mood, the artificial intelligence laughed, nervousness lacking in not having it in his system.

"I, er, I'm sorry," he said, concentrating on the squeak of his boots against the ground until he found himself in the elevator, silent as he made his way to the secret entrance.

"You know I couldn't get mad at you even if I wanted to, Old Cape."

It was Uno's last words before Paperinik taken the grappling hook from his suit's belt and point it to a nearby ceiling.

It should be noted that this little accidental kiss had been recorded in the intelligence's database, and he doubted being able to get rid of it easily.

Nor is it that he will need to do it. Paperinik, Donald Duck, was his friend and partner, the person next to whom he defended the planet.

While they were against the world, the other would be fine.

Until Della Duck's pregnancy was discovered and things began to change.

The sailor was reluctant when he handed the X-Transformer to Uno, holding a duffel bag on the other arm.

"What do you mean, will you stop being a hero?"

If he was already confused by the fact that Donald was so attached to him,

(more than usual since the incident of the kiss, which was not unpleasant for anyone after speaking.)

he knew it was a bad omen when he considered that the duck was not exactly the affectionate type.

However, Uno was not sure how much when the visits to the tower were reduced and PK less monopolized the news during the last months.

"It will be the best," the sailor spoke, a raspy voice making his speech more difficult, "my sister was sent on a mission to space, but she has not returned and her kids have already hatched. One of them took 48 minutes to be born... I have to stop seeing for myself and start seeing for them."

"I could take care of them in the Tower. I could expand my database with the care they need, alter the Tower and make it hatchlings-proof" on the face of the AI was a crooked smile, trying to ignore the unknown fail in his system.

Possible was not.

"Thanks, Uno, but I want them to grow safe, my house may be small but it has what it takes. The last thing they'll need 's to lose their uncle because a Paperinik mission went wrong. I mean, Evronians were already defeated, so..."

He yawned, openly showing his tiredness. As if showing himself demonically calm and not showing signs of anger was bad enough.

Uno fought against the willpower that he did not knew he possess when the image of Scrooge McDuck was presented.

Though he did not quite like his friend's uncle for the accidents that caused him in the adventures (as if PK's injuries were not enough before Donald's gradual clumsiness), having hacked the mansion's cameras when they both argued for him sponsoring Della's mission during the ducklings hatching week had not been a good idea.

And that Donald was emotionally weakened didn't mean he could be triggered off.

"But you're tough, smart and sharp, you'll be fine—"

"Look at me, Uno," the duck pointed to himself, and the aforementioned was able to see how old and exhausted he looked, his eyes swollen and reddish through the hyperspectral cameras and his askew feathers, "I'm not as young as I was eight years ago, and my nephews need my full attention, I'm sorry."

Literally the intelligence did not perceive the moment when his smile was erased. The failure in his system was getting bigger and less possible to ignore.

Donald's voice had broken.

"I understand, but... could I meet them one day?" His metal arms didn't stop his friend when he ran and hugged the orb tightly, rubbing his feathered cheek against the glass.

"One day." Smiling sadly, he said nothing when the non-biological hands rubbed his back. "Thank you for always being there, mate."

"Whatever for you, Old Cape..."

The adult sighed heavily and reluctantly moved away from the artificial intelligence, holding the duffel bag tightly.

"I'd like to stay longer, but I have to go with Gyro and hand him the gizmos, and I promised Panchito and José that I wouldn't be out for long."

As he spoke, the speed with which he approached the elevator decreased, especially when he opened it for him.

"See you later, PK."

The sailor's sad smile expanded, and said goodbye with a slow wave.

"Goodbye, Uno..."

That night, he and Lyla Lay were the only entities aware of the Paperinik's retirement by the official source, but Uno did not want to know if it was made public to observe the new episode of Anxieties and the Donald's recordings present in his database.

He was fully aware of his failure when he perceived an unrecognized moisture in his orb, unable to clean it with the metal arms and the electricity of the Tower began to fail.

He was not a fool to recognize feelings, but he had never expected to possess them. It still was the two against the world, yes, but now they would do it each way.

That didn't mean he liked it.

#ducksanta2019 #triumphing in life #as always #el's fanfiction #paperinik #duck avenger #donald duck #uno #uno pkna #duno #della and scrooge are only mentioned #ducktales 2017 elements #not the main focus tho #headcanon biased

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funkymbtifiction · 4 years

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IDK who I am?

Ok so this is kind of a whole ass mess, I started off with a question that would make it a useful read for everyone and not a waste of time, but it ended up being a bit of a personal advice question so I hope that’s ok.

What would cause unhealthiness in a type? Most of the time, i feel like i’m a healthy ENTP, but multiple arguments with my ESFJ (or ESTJ?) mom have caused me to seriously doubt myself in many ways over the years. I read that an unhealthy ENTP can be argumentative, unwilling to drop arguments, etc. These are all things my mom tells me I do, along with not taking responsibility and making excuses. I’m 18 now and we don’t argue that much but we did a lot when I was around 13-15 and kind of, ya know, going through it as teenagers do. And since my mom has basically always used these same digs at me, I’ve assumed that maybe that’s the reason that it really hurts whenever those same digs are brought up now, and basically I have a lot of self doubt and am insecure about being an immature version of my type (because that would mean that i’ve been in the wrong in so many instances in my life if everything my mom says about me is true, and i think that sentence in itself proves my mom right in that i don’t like taking accountability.) As I’m typing this, I’m wondering if maybe that fear of being an unhealthy version of my type or admitting my faults could be related to enneagram ?? Anyways, I know that nobody’s perfect and can definitely appear even worse especially in conflict, I just sometimes wonder if i’m unhealthy or a completely different type altogether. That’s another thing, I’m always trying to find an answer to things, but have a hard time settling on just one. This could be another reason for my self-doubt. I guess my question, after that exhausting story, is WHY? I go back and forth between caring or not caring about personality type, but I’m in a particular stage right now where i care and really just wanna know why i am the way i am (i’m in a bit of desperate state of mind rn lol.) I don’t know if i gave enough info for you to answer this, but what causes me to fear failure so much? Does it have to do with being raised by an ESxJ? Or is it related to enneagram? Or something else altogether? Also, am i even an entp?? you’d probably need to know more about me, but from the way I wrote this, could you give me anything? I’m asking for so much right now, I’d honestly be annoyed at me. But I’ve been so unsure about so many things lately and I just want one thing in my life I can be at least a little more sure about.

I’m sorry you are in a place of feeling like you aren’t sure who you are; if it helps, most people who embark on MBTI journeys face that, sooner or later. And it often precedes a period of self-understanding that helps you find your type, because you start focusing on how you respond to things and how you get things done, rather than what others are telling you about yourself, and linking that to specific functions.

So much hyper-focus on what your mom says about you either indicates you are a high feeler (FJ seems more reasonable than FP at this point, since it’s not about defending self from the outside world, but wondering if what others say about you is true; but if you are sure of Ne-dom, I’d look into ENFP also) or in a Fe-loop. EFJs often mistype as ETPs at first, because they don’t realize how much they lack a specific sense of self, because their entire identity is built on how others perceive, relate to, and speak to them. If this has been a persistent concern for as long as you can remember, consider EFJ (most ETPs at your age care way less what others think, and way more about how they can ‘use’ them to get what they want, since Fe is just a tool for them and not a place of ‘being’).

If you are an ENTP, you sound as if you are in a Fe-related loop, excessively ruminating on others’ external views of you and causing you to wonder if you are really the irresponsible jerk they tell you that you are. To break this loop, you need to get back into Ti and return to building inner frameworks of logical understanding and consistency. Your natural, healthy tendency will be to notice flaws in arguments, belief systems, and logical inconsistencies, and point them out to yourself and others. You should be learning ‘how things work,’ and not worrying so much ‘how others are reacting to me.’

To gain a better understanding of oneself, you need to put your mother’s criticisms into perspective. Is she the sort of person who finds something harsh and critical to say about everyone, all the time? Or is it just you? What is the objective truth in her digs? Can you come up with specific examples of you doing the things she is accusing you of, or is it just generalization on both your part?

Immature (and at 18, you can’t be anything else, cognitively) ETPs are prone to not taking personal responsibility for themselves and making excuses about it, yes. Ti can rationalize, argue, avoid, and shift responsibility away from self (a natural behavior of unhealthy Fe) rather than simply admit, “What I did was wrong, and I’m sorry.” Arguing, for an ETP, is like breathing – they are so good at it, and so self-assured of thinking up an excuse for everything they do in order to justify their “what I want” based thinking, they forget that their “fun banter” is actually seen as “aggressive behavior” from feeling types. (Sherlock is a great example of what I am talking about.)

If you think your mom has a point, and you can come up with times when you did avoid taking personal responsibility, you have a choice – to work on next time refusing to give an excuse, humbling yourself and admitting you didn’t do what you were supposed to do, or you were selfish and ate the last bag of chips in the house, or whatever else she “gets on you” for. You can also start taking “adult initiative” and doing “mature” things around the house, to show her you are taking responsibility for your stuff, your chores, your bills, etc. The only way to convince an ESJ that you are a mature adult is to consistently act like one and show them you are being responsible with your decisions. Part of being a mature adult, regardless of type, is admitting when you are wrong and taking responsibility for the problems/pain you cause.

If she is criticizing / nitpicking needlessly, analyze her and think about her reasons why she might be doing this, or feels the need to bring others down, or is being “hard” on you in particular. There are many factors that go into people’s behaviors. Do you remind her of someone she used to know, who went the wrong way in life, and is she associating your behaviors with that person’s downward path? High Si’s are prone to instant sensory comparisons of that nature. SJs are also highly responsible people, very driven, who have a specific idea of “how the world works,” and how YOU will have to be, to succeed in it. (IE, 9/5 job, be responsible, buy car insurance, save for retirement, take care of your family, etc). This is how and why they clash with the “when I see it, I’ll know I want to do it, and do it for awhile, and then find something else to do” fly-by-the-seat-of-their-pants EP types.

With parents, it’s also important to remember their bias. Their opinion of you is just their opinion. What matters more out in the world is what your boss, your coworkers, and other people who have a direct financial impact on you as an adult in the workforce think of you. Your parents have watched you grow up. Seen all the good and bad things. Things that do not matter at all in the workforce, and that nobody knows about, outside the family. Things that do not have to ‘define you’ as an adult. EJ parents can also have a lot of trouble transitioning from being “parent” to “friend” – she is used to being your “mom.” So, prove her wrong. What can you do to show her you’re an adult?

You might also be an Enneagram 9 or 6 (both, Tritype-wise, is likely) which is messing with your ability to have a concrete sense of self.

Once you’re in college, your functions will show clearer. Heavy school work / an environment where you need to please peers and teachers will bring out lower functional development.

- ENFP Mod

#question

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hellanoragami-blog · 5 years

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Chapter 83 Thoughts

After a few days, this is finally out! I had to take a lot of time to actually discern intentions, for this one. And I may have spent way too much time thinking about what could happen, in future chapters.

So, this lovely chapter starts out showing Yukine, tailing Father. We’re not made to focus on it much longer, because we’re soon moved on to a meeting between the Gods. (Introduced by Ebisu, looking disheveled from trying to dress himself without the help of his shinki.) Tenjin is the one to bring the topic to attention, which is: deciding how to handle Yukine, who has been touched by the God’s greatest secret.

It seems as if most of the Gods are in favor, save for Takemikazuchi. Though, it appears that he wouldn’t be willing to do the job personally. It leads me to think that even he doesn’t really want Yukine dead, even though he’s talking negatively about him in the next couple of pages.

Kofuku goes absolutely feral on him, unleashing a ton of bad luck and promising him the death of his financial assets should anything happen to Yukine. Ebisu brings up a good point, though; to do nothing would mean that the covenant was essentially a pointless sacrifice. The majority of them reach a mutual decision: they have to eradicate the sorcerer themselves. Heaven won’t help them, so they have to act solo.

This reminds Ookuninushi about something Kagutsuchi told him; that Amaterasu is going on a personal hunt with a select few Gods, and no shinki are allowed to know. Soon, they come to the conclusion that it is Yato that Amaterasu wants to get rid of--or maybe all of them, with Yato being their main target. (Also I just want to note that I was REALLY confused as to how Ebisu was that tall in pages 13 and 15, but then I realized that he’s probably standing on one of the structure’s platforms to be more at eye-level.) We then get Take’s extremely inaccurate depiction of Yato, the war god only mildly upset that he couldn’t defeat Yato himself.

C’mon, my guy; whose side are you on?

Speaking of Yato! We’re switched over to him and Kazuma. Yato appears to be trying to avoid being seen by Yukine--with Kazuma, specifically. (Which, of course he denies when Kazuma confronts him about it.) Kazuma then feels the serpent move, literally dragging him in the opposite direction; signalling that Nora is close by. And wherever Nora is, Father is. After a short conversation about whether or not Yato’s ready to face his dad, he gives Kazuma a look that indicates nervousness, determination, and resignation wrapped up in a neat little package. Of course he isn’t okay with it; but he made a vow to Heaven, and he has to go through with it.

So! Off they go to follow the serpent that will lead them to Father; unbeknownst to them, they have already been seen by none other than Yukine. The pair find Father, sitting defenseless in the park. However, Yato is still feeling a bit reluctant. Even seeing his father defenseless like that, he can’t confidently aim an attack yet. He instead thinks about his friends and found family, and wonder what kind of faces they’d give him if they knew what he was doing. He decides to just do it, and takes aim. But the attack is blocked by a borderline, who they first suspect as being Nora.

They’re both wrong! It’s Yukine, who had followed them to their hiding spot. Honestly? They both seem shocked to see each other! Yukine guesses pretty quickly that Yato is using Kazuma. He’s definitely not in his right mind it seems, especially since he’s being tormented by the God’s secret. He’s bothered that Yato is lying, or what he perceives to be a lie. Knowing that Yato knows his past now, and hasn’t told him--it’s made him angry.

And this is where the desperation and panic starts to set in. Yukine stings Yato, and Yato tries to go after him and talk to him, but Yukine wants none of that. He draws a line between them, overwhelmed by the torment of his own past and struggling with who he is and who he was before. I think, at this point, he’s having a major identity crisis; as the boy who died.

The fact of Yukine’s death is more prevalent than ever. He feels like everything he’s lived for as ‘Yukine’ has been a lie, and coming to terms with that is enough to make even a regular person freak out--much less a child. Desperate to separate himself from it, he throws the hat Yato made him on the ground and starts scratching at his name; trying to get rid of it.

Meanwhile, this is having a profound impact on Yato’s health, and despite him trying to tell Yukine that he’s hurting him, the teenager is simply way too overwhelmed with his own grief and anger to listen. And then, he seems to recall something.

His name.

At the exact moment, Yato collapses. It’s hurting him both physically and mentally, no doubt. He’s spent almost a year with this kid, his pride and joy not only as a hafuri, but as his friend and, in a way, his son. It’d hurt to have your child denounce the name you’ve given them. To see them so desperate to separate themselves from you.

Seeing Yato on the ground seems to jar Yukine out of his mental state, just a little. You can see his gaze clear up, but he’s so devastated by what he’s done to him now. Feeling scared and not knowing what else to do, he runs away.

We see Father soon after, musing that Yato and Kazuma seem to be serious. He resolves to take Yukine then, and we also see Nora with him--kind of confirming her involvement in the plan. However, she looks none too happy to be doing this.

It’s a good time to remember that if a name breaks, or if a shinki is released, they cannot be named by the same God twice. It’ll be interesting to see how this plays out, in that case. Will Yukine’s name break? And if so, does that separate him from Yato forever? I feel like things will only get worse from here, before they get better.

I also definitely want to know Nora’s thoughts on the situation, and what route she’s going to take. To help Yukine reunite with Yato, or aid Father in convincing Yukine to fight against Yato? And if Yukine has truly remembered his name, will his past be sure to follow? And how will he deal with it?

More than ever, I wish Hiyori were here to help.

#nana discusses noragami #hoo boy i hated this #noragami

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precuredaily · 5 years

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Precure Day 157

Episode: Yes! Precure 5 09 - “Precure is Exposed!?” Date watched: 19 October 2019 Original air date: 1 April 2007 Screenshots: https://imgur.com/a/1yYupZl Project info and master list of posts: http://tinyurl.com/PCDabout

five girls are friends, more on page 2

In the Futari wa seasons, people typically fell unconscious whenever evil was around, and the girls didn’t usually have to worry about being discovered. There was that notable exception in FW14, but it’s been largely glossed over. In this show, though, the activities of the Precures and Nightmare have attracted attention (in fact that’s how Karen and Komachi got involved), and the sudden and kind of unusual friendship between the girls has not gone unnoticed. What’s a nosy reporter to do?

The Plot

The girls find themselves as the subject of several headlining articles in the school newspaper, commenting on everything from their eating habits to their mysterious friendship. The paper’s editor introduces herself and her slogan: “What the people want to know, I want to know!” She gives her name as Masuko Mika, but puns it into “Masukomi-ka” which is shorthand for mass communications.

When the girls can’t give her straight answers about why they’re friends, she decides to further investigate. After school one day, she sees them leaving the school with Mr. Cocoda, but he disappears suddenly. She follows the group to Natts House, where Coco and Nuts are hanging out as fairies, so there appears to be nobody tending the store. She’s still suspicious as she leaves the shop, when she runs into Arachnea, believing her to be the shop owner. Arachnea kidnaps her due to her relationship with the girls, planning to use her as collateral to get the Dream Collet. They chase the villain into an empty department store, but the girls are afraid to transform in front of Mika and give away their identities. Undeterred, Mika tries to question Arachnea and get a picture of her.

Annoyed, Arachnea transforms the camera into a Kowaina. Mika finds an opening to escape her grip, and the girls transform when she’s not looking. She watches them fight and defeat the monster, rescuing her camera, and she tries to interview them afterwards but all they say is that they’re called Pretty Cure, and then they disappear. Mika heads back to Natts Shop, confident that something bizarre is going on and the five girls are involved, but she runs into Nuts in his human form. She asks if he saw the girls go by, and he responds simply that there are some things she shouldn’t know. Mika is taken aback by his attractiveness and quickly agrees.

The next day at school, the girls are nervously expecting a story about them in the newspaper, but instead, the headlining article and most of the front page are taken up with pictures of Nuts, described as a “super hottie”, with only a small, pictureless blurb about “five mysterious girls” at the very bottom of the page. Their secret is safe.... for now.

The Analysis

Since this episode is about Mika, my response to it pretty much reflects my thoughts on her. Masuko Mika is a fun character. Her desire to find out the truth is commendable, and she does ask some good questions, but her methods are a little misguided. She rides the line between investigative journalist and paparazzo, sneaking candid pictures of her targets in order to get a scoop. Unfortunately, these photos are mostly of our heroines engaging in such compromising activities as “having lunch” and “hanging out.” Even Otaka is like “Why don’t you find something else to write about?” She is a curious character. Snooping around Natts House gets her kidnapped by Arachnea but even then she tries to question the villain up until the moment she sees she’s in over her head. She is so committed to figuring out why Nozomi and the others are hanging out, and who Precure are, and then..... she sees Nuts. Nuts suggests she forget everything and so he becomes her muse, the subject of almost all her writing. Precure and the mysterious occurrences at the school are relegated to a small corner of the paper. It’s good for the team, but it doesn’t speak too highly of the paper’s journalistic quality or her diligence as the chief. (Honestly though, I don’t recall ever seeing any other members of the newspaper club in this show, it is entirely possible it’s just her running a glorified gossip rag.) Mika says that she writes about what the people want to know, and I guess that’s true: Nuts will prove to be a very popular figure at this all-girls school, but it’s funny/a little frustrating to see her so easily distracted. However, this will not be her last appearance, not by a long shot, and she’s fondly remembered.

I would be remiss to ignore, however, that Mika has a point. Nozomi has surrounded herself with an unlikely group of high-profile friends, but while Precure was certainly a big factor in them coming together, it wasn’t just that, and someone could probably spin a version of events while leaving out their secret identities. Nozomi and Rin were already friends before the show started and we know they go back to their youth. Nozomi became friends with Urara when she saw her sitting alone all the time and decided to talk to her. Karen and Komachi are a little more complicated, because they only began speaking when Nozomi decided they should become Precures, but nonetheless Nozomi took a genuine interest in Komachi’s writing and in Karen’s overall well-being. She supported and sympathized with them, and earned their respect and companionship as a result. Being Precures isn’t the only thing that brings them all together, they’re actually friends, and I’m glad the show spent the time that it did establishing this. Unfortunately, Nozomi’s people skills don’t put her in the same league of notoriety as the others, which results in Mika and many others wondering what these school superstars are doing with her. I don’t think outsiders ever fully recognize Nozomi’s strength of character throughout the series.

This episode is another worldbuilding episode, much like episode 7 was and like episode 10 will be. There isn’t much going on with Nightmare, just the usual threats that failure to get the Dream Collet will be met with some form of punishment. Since the bad guys only win on key episodes, and this isn’t the type of show where they make progress towards their goal whether they win or not, it’s starting to feel a little repetitive. It just serves to show how disorganized Nightmare really is, though. Later on, we’ll see how far they take the business concept, it isn’t always Bunbee smugly threatening his employees, while being smugly threatened himself by Kawarino, but that’s a lot of the early part of the show.

There is some truly bad art in this episode. Most times that the girls are shown in full body where they occupy about two-thirds of the frame height or less, they go wildly off model.

The faces get extremely sloppy, with their eyes usually being stretched vertically while their other features are minimized. Nozomi’s hair especially gets drawn as more prominent than it normally is. Their bodies seem kind of elongated, but aside from a lack of shading they’re otherwise fine. Also, there are shots where someone’s movement is just the cell sliding across the frame, not even being moved up or down to indicate the slight bob of walking. I’ll get some gifs to demonstrate shortly. It’s not awful overall, but there is definitely a hint that it’s a less important episode.

Last point of note, Pretty Cure Splash Subs, whose translations were the basis of both Splash Star and this series (the versions I’m using anyway), were a little notorious for sticking some modern jokes, references, and sayings into their scripts, such as “you mad bro” and “a cat is fine too.” Well, this episode gave us this:

I generally don’t like meme translations, because memes and internet jokes come and go pretty fast and they can date a show hardcore. That being said, if this saying was around at the time, it’s exactly the sort of thing a contemporary kid would say. I looked it up the history of “POIDH” and it was just starting to spread at this point, so it’s arguably appropriate. (but I still hate it) Obviously this isn’t a criticism of the series itself, and I’m not going to let it impact my perception, but I do find it a bit annoying that this (and several examples yet to come) made it in at all.

Next time, we get to focus on someone a little closer to home, as Nuts discovers that running a shop is hard when you don’t have any customers. Look forward to it!

Pink Precure Catchphrase Count: 1 Kettei!

#Precure #Pretty Cure #Yes! Precure 5 #YPC5009 #PCD 157

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chasingshhadows · 5 years

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RNM S01: A Progressive Review

I want to talk about diversity, representation, social issues, and the way Roswell New Mexico succeeds and fails in that particular department. It’s 2019 and we no longer live in a world where it’s acceptable to ignore the societal implications of the media we consume. That said, it’s also 2019, and Roswell is doing some things that place it far ahead of its peers in media in ways that make it an absolute pleasure to watch. Like honestly, I’m fucking thrilled with this show ok.

I’ve read and skimmed a lot of discussion about the ways in which RNM has failed to be this perfect paragon of progressive representation, and I’ve read/skimmed far less discussion – by both fans and TPTB – about the ways in which the show is trying to be better than its forebears.

However, there seems to be a wide divide between people recognizing the former and people recognizing the latter, and I very much believe it’s irresponsible to try to focus on either one without at least acknowledging the other. So I’m going to talk about those failures and successes, and I’m gonna zig-zag that line so that if you want to read about how I feel about one of those things, you’re gonna have to at least skim the other.

[read more]

I tried to be as concise as possible, but even so, this is rather long, mostly because I didn’t want to make several posts about this. I want to say what I have to say on the topic and then get back to the story because that’s really why I’m here.

Also to note: I understand – and I hope we all understand – that we are in the first season of this show. This means that they should have plenty of time to follow through on or fix many of the issues I will point out, but that also leaves room for them to torpedo many of the positives I’ll discuss. Just – please know that I know we’re only one season in, and anything could happen.

On lived race

This show does a fabulous job exploring how race intersects with these characters’ lives and how it plays an active role in shaping not only who they are, but how their story lines play out. With Liz & Arturo, their race – and immigration status – are openly discussed on screen and inform their decisions and how they present themselves to others, as well as how they are received by their town. This is, in fact, a major aspect of the first season arc/plot as a whole, not just as it pertains to Arturo & Liz (and Rosa), but as it pertains to all the characters, so it’s worth emphasizing.

With Maria, we see her discuss her race as a factor in her isolation from her hometown, as well as seeing how she owns it in the face of racist customers. With Kyle, we see his compassion as a fellow child of immigrants in treating Arturo off the books, and with his mother, we see her perspective on that situation based on her own experiences as a Hispanic immigrant. And with Mimi, we see, tho tangentially, how the intersection of her race and gender and the stereotyping around those have had a negative impact on her healthcare. Even what little we saw of Arizona was washed in her experiences as a Native woman, and her (rightful) disdain for white people.

On the other side of that coin, we have white characters, namely the three alien siblings, whose White Privilege plays an active role in their actions and how they conduct themselves. I know some people have frustrations that these three main characters were all cast as white, but I’ll be honest, after having seen 1.06 (Smells Like Teen Spirit), I would not have bought that any of these characters were a POC. Can you imagine a Black or Hispanic teen being thoughtless enough to frame a WOC – who also happens to be the daughter of a known undocumented immigrant – for the drug-induced vehicular manslaughter of two white girls and not expect the entire town to then turn on that family? Even as a teen, no POC would be race-blind enough to not have had that forethought. It would not be believable, without an immense amount of heavy lifting in the backstory, for a POC to have framed Rosa instead of either of the white women, to have made the decision to put her in the driver’s seat over the other two.

And in this way, the show also does an amazing job in showcasing how good, liberal white people can still be thoughtless where it concerns race. Especially at 17. The White Privilege of the alien siblings, and their lack of awareness of it, serves as a major negative driver of the show’s plot and is the root cause of much of the conflict throughout the first season. That’s real, that’s believable, and that’s important to show.

This, all of this, is vital in portraying accurate, true-to-life representations of how marginalized racial communities interact with each other and white populations, and also gives those communities characters they can point to that not only look like them, but also share their experiences – experiences which are unique to POC and also give white viewers a clearer picture of what it’s truly like to live in this country as a person of color.

On meaningful racial representation

I feel rather let down that the show didn’t follow through on Alex’s heritage in any of the meaningful ways that they did with the other POC on the show (see previous section). All of those characters had clear and explicit aspects of their narrative which centered their race as an part of their story – again, rightfully, as that is how it’s lived IRL. We got to see them express and experience their race as more than just the color of their skin. We didn’t get that with Alex. (or with Noah, but he’s a whole other story)

It’s particularly disappointing considering that Alex is the only POC on the show who passes (that we know of, ofc). Many people will be upset at my bringing this up, but it’s true and we should be talking about it. His ability to pass – the ability for anyone to look at him and not know immediately that he is of Native descent – does not in any way negate his POC identity. Not even remotely. Not a little bit, not at all. All it means is that as a POC, Alex has the ability to be spared from certain microaggressions experienced by others in his community. Not all, not even most, but some. But it also means that he is subject to microaggressions that others in his community will never experience – such as someone making disparaging comments about Natives as tho there aren’t any in the room, or by people assuming he’s “basically white” bc he looks white and erasing his heritage entirely. Those are experiences unique to his race that other Natives who don’t “pass” would never experience.

Roswell didn’t follow through on that this season. We saw no indication, other than the casting of his brother as a Native actor (which I was very pleased about, mind you), that Alex Manes is not as white as he appears. Portraying and giving accurate representation to POCs who pass is just as important as giving it to POCs who don’t.

On consent

WOW this show does a marvelous job at portraying how people should approach getting active and explicit consent from those around them. Active consent is so deeply ingrained in the foundation of this show that its absence is used as an indicator to the audience that something is very very wrong - and on more than one occasion. In order to pull that off, the show has had to set an abundantly clear standard for the type of consent that these characters should expect from each other when things are not horribly wrong, and that standard is appropriately high.

Max and Liz are the obvious duo with which this is explored. From the first, when Liz wants to kiss Max outside of the cave, he stops her because he’s concerned that her judgement may be impaired or impacted by the effects of his powers. He refuses to take advantage of that state, making a direct call to the behavior women wish we could expect from men when our own judgement may be impaired. This continues later when she asks to be left alone and he just immediately backs down and away, not pushing or persuading. He treats her word as law, as he should. We see even in his past, as a teenage white boy in 2008, that he consistently asked for Liz’s consent to even be in her presence.

We see it between Michael and Alex in very different but still very present ways. A lot of Michael and Alex’s communication is silent and, as such, so are their consent check-ins. Before their first kiss, you see Michael checking in with Alex, watching Alex’s body language as he approaches and making sure Alex is receptive before he goes for the kiss – and Alex is, clearly. Michael asks what Alex wants and Alex says that doesn’t matter while stepping toward Michael. Michael stops and looks at Alex and Alex continues to move closer, looking back and forth from Michael’s eyes to his lips. This type of silent communication and consent checks continues throughout the rest of the season, from the scene at the drive-in to the teenage scenes and on.

We also see clear attempts at getting explicit consent between Liz & Kyle, between Cam & Max, and even when Michael was guarding Maria at the gala (I can go get Liz if you want me to leave) and later when he approaches her following the events of 1.13.

This has honestly been so fucking cool to see like this, on a CW show especially, to see how easy and essential it is to get that consent in all situations. It’s an important representation that we don’t see laid out clearly enough in media today and I’m so fucking proud of Roswell for doing it so effectively.

On disability & erasure

This show started to do something that was really incredible in portraying one of the main characters as an amputee. We see his crutch, we see the way he moves with it, we see how he struggles with it, and we see how he is determined to life his life as an amputee, and not just despite it.

There was certainly plenty of room to improve in even that regard - specifically where it concerns coaching on exactly how a recent amputee might move their body and center their weight and whatnot, even, or maybe especially, if that person were trying to hide their struggle. But it’s clear that the show was trying to represent a type of character we don’t get to see often.

But then Alex loses the crutch. Rather suddenly and very cold turkey. This is not an accurate representation of how someone with a recent loss of limb would experience their recovery, no matter how much that person may want to hide it. Recovery takes time, it takes practice, and it includes bad days. We didn’t see any of that.

It's particularly frustrating considering the show gave themselves the perfect opportunity to do this transition far better and didn't take advantage of it. There was a six-week time jump between episodes 8 & 9. Had we seen Alex try to go without his crutch when he confronted Liz in ep 7, and then have to return to using it after the long day out, and again in episode 8 with his father - wouldn't it have been so amazing to see him collapse in his chair after Jesse leaves and rub his leg because he's been ignoring the pain all day in an attempt to intimidate his father? And then we could see him moving more independently after that six-week jump.

The show dropped the ball there, in my opinion. In a big way. That beautiful representation was given and then promptly taken away. And then the show set itself up perfectly to explore how the invisibility of disability can be experienced, and has not followed through on that at all. Quite literally the last indication at all that we get of Alex's amputation is Michael commenting on his having lost the crutch in episode 9.

One of the harsh truths of disability is that no matter how much one might try to ignore and hide that aspect of who they are, it will always be there and it will make itself known. It might be invisible to others, but Alex will experience it anyway, will be affected by it anyway. He may be able to do anything that anyone else can do, but he’s gonna have to work ten times harder at it. We should have gotten to see that.

This same problem of erasing disability happens with Michael’s hand in the last episode. Michael’s scars, what they prevented him from doing, how they affected his work - all of that was so important to see, and then he gets the unconsensual healing power of magic and suddenly he gets his happy place back. And as happy as I was as a Michael!Stan to see him find that, this sends a bad message, that people with disabilities just need to be “fixed” to be happy. And as I mentioned above and in other posts, it is wildly apparent that Max healing Michael’s hand without his consent is meant to be an indicator that Max is Very Not Okay and is a prelude to him literally going so mad with power that he kills himself to resurrect Rosa. That noted, from a representation standpoint, I wish another mechanism had been used to show that.

On unapologetic politicism

Roswell makes it absolutely clear where it stands on the political spectrum and who this show is for. This show exists in the post-2016 election, post-#MeToo era and it embraces that culture and does not shy away from being political, on everything from race, sexuality and misogyny to immigration status, gun control, and even research science. It uses context and even hero dialogue to make the audience aware of what is right and what is wrong on these topics, and it does so without ambiguity or nuance.

It (appropriately) paints ICE as the enemy of good, hardworking people in literally the first scene of the show. Liz starts ranting about being stopped because she’s Latina and I just did a little dance inside because Yaassss, these are my people. And the show doesn’t let up there - the shadow of ICE hangs over Arturo’s - and by extension, Liz’s - head the entire season in a way that makes the audience uncomfortable and angry on his behalf.

The show consistently, from multiple characters both in law enforcement and not, refers to undocumented immigrants, the homeless, and prostitutes as “the most vulnerable members” of society, and not as a scourge or a menace to that society. These are good, worthy people deserving of protection and justice. The show paints anyone who views differently as firmly In The Wrong, from the disgusting Wyatt Long to the self-righteous Sheriff Valenti.

The dialogue calls out everything from subtle racism in police descriptions to building a wall to #AllLivesMatter to fake news to the terrifying ease of buying a gun to homophobia to the president himself - it does not hold back and it does not leave room for excuses or sympathy on the part of the more conservative characters.

Most of the dialogue on the show that wasn’t explicitly Alien-centric feels very organic in the ways that it makes offhand quips about immigration and racism and sexism and everything in between - that’s the way I and my friends speak and converse. That stuff just filters into our conversations about really anything because it’s always at the forefront of our minds. We call those things out when we see them and talk about idiots like they’re not sitting right in front of us (“I think that’s Hank speak for ‘he wasn’t white.’”) There aren’t a lot of shows that nail that so perfectly and the only one that’s coming to mind at the moment is Dear White People, which was the first I saw to pull this off so well.

This is media that doesn’t try to paint a picture of “there are good people on both sides.” This media isn’t playing middle ground, or trying to please everyone. It’s making a statement in these choices and it doesn’t shy away from pissing off toxic people - this media isn’t for them. Most popular successful media (*cough* MCU *cough*) achieves that status by very carefully toeing the line between left and right, by using subtext to attract progressive viewers while keeping the explicit storyline clean and moderate. Roswell doesn’t do that - its progressivism is explicit and unmissable, as it should be. And that makes it, truly, an absolute joy to watch.

On Maria’s arc

Maria DeLuca did not start this season as an extension of Michael’s - or anyone’s - storyline, and I’m incredibly frustrated that, narratively, that’s how she ended it. That’s easily my biggest disappointment regarding the season as a whole, exaggerated by the fact that Maria is a black woman and because of that, her storyline carries more weight than many of the others. This post does a good job of discussing why POC rep matters more, and while it focuses on race-bending (which this show has also done with Maria, in a positive way), I think it still makes the point that Any POC Rep will just always hit harder, good or bad.

When that Rep is good, it’s fantastic. When it’s bad, it’s terrible.

And for most of this season, it was hitting very very good well. Maria throughout most of the season was this fierce, beautiful firecracker of personality and suppressed issues. She had a history and a deep well of issues both pre- and post- the loss of one of her closest friends, followed by the physical separation from her other two best friends. She’s got an amazing relationship with a mother who is slowly losing grip and slipping away from her. Those things, how they shaped her, and how they expressed themselves made her relatable, tangible, and easy to love.

That was actually one of my favorite parts about her hooking up with Michael, that these were main characters seeking comfort and distraction in one another, rather than just with throwaway characters. Maria is her own person with her own story that we had already seen explored as an independent arc from any of the other main characters

However, that arc never quite got the same attention as Kyle’s or Alex’s and certainly not as much as Liz or the Pod Squad. A lot of that likely has to do with her ignorance of the alien presence in the town (which appears to be coming to a close, but I won’t speculate on that) and that makes sense, narratively. As she couldn’t be actively involved in pushing the alien mystery plot forward, there was only so much the show could do with her, and I think they did take advantage of what little wiggle room they had there.

That said, given that she’s the only black woman on the main cast, it’s very disappointing that she rounds out the season by being drugged, possessed, and either talking about, pushing away, or engaging with Michael. My own perspective on this show may revolve around Michael, but that doesn’t mean I think our black woman should share that fate narratively.

And I’ll note that characterization-wise, I understood the ways Maria’s thoughts and actions could become consumed and fixated on a love interest. Oh, holy wow, have I Been There. But allowing that - and essentially, only that, narratively for Maria at the end of the season, as the only MC black woman on the show - is a disservice to her character and the community she represents. Which is not to say that I take issue with how Michael and Maria come together at the end, either from a narrative or a character development standpoint; what I take issue with is that that is all we get of her in the later episodes. Maria deserved more, and so did we.

On fighting for WOC

One of my favorite things about this show is how the characters on this show again and again come to bat for the two main WOC, despite that both of them are portrayed as absolutely capable of fighting for themselves. Both Liz Ortecho and Maria DeLuca are shown to be strong, multifaceted, beautiful (neither because of nor in spite of their race - just beautiful, end of story), desirable, and worth fighting for - and unapologetically and undeniably women of color.

Our “main hero” Max makes it absolutely clear that he will Throw Down for Liz Ortecho. He risks his own life and the lives of his siblings to save her, and nearly torpedos those relationships entirely on her behalf. He loves her absolutely, flaws and all. And he acknowledges those flaws - he doesn’t put her on a pedestal or pretend she’s perfect - she doesn’t need to be for him to love and respect her.

We see Alex and Michael and Liz all show up for Maria at different points in the story, fighting on her behalf, defending her, and making the statement that Maria is precious and should be protected. More than that, through Michael’s eyes, we stand in awe of Maria DeLuca - she is a standout, she is impressive, she is powerful, and she is her own savior, every time. And through all of that, she is beautiful and desirable and absolutely worthy of being the center of attention.

These storylines and characterizations are unfortunately still incredibly rare for women of color in modern media. Women of color rarely get to be these fully fleshed out characters with their own backstory and own motivations, and even more rarely do we get to see them be viewed by others as special and valued. Roswell isn’t sidelining its WOC or centering their storylines around white men (my comments above re Maria’s last couple episodes notwithstanding). And that’s amazing and should be celebrated.

On aesthetics

No matter how important something is to the plot or how in-character it would be, the sociological aesthetics of media are still relevant. Plot-wise, the roundabout Wyatt leading to Maria leading to Noah was an interesting mechanism, and it makes sense, character-wise for Cam and then Isobel to suspect Maria’s involvement. And it makes sense, character-wise, for Liz to then defend Maria against those suspicions.

But - aesthetics matter. And watching a scene in which two white blonde women accuse a WOC of horrible crimes at another WOC is immensely uncomfortable and very tone-deaf. That wasn’t fun or engaging to watch, I don’t feel drawn into the mystery of it all in that moment, I feel pretty grossed out, actually. Because this show has set a standard for itself of being better than that, and in that scene, it failed its own test.

On bisexual representation

This one I’ve already talked about at length and having finished out the season, my feelings haven’t changed. This show does a damn fine job showing us a bisexual character living out his life, his pain, and his unhealthy but entirely relatable coping mechanisms. They don’t try to portray him as perfect because he’s not and he shouldn’t have to be for us to respect and love him.

On bi-baiting

I’ll admit to being disappointed that Isobel’s feelings for Rosa turned out to be artificial and driven by the man living her in mind. It took the whole situation from amazing bi rep to aggressively heterosexual. Not only was our queer woman not actually queer, but all of those feelings and attraction toward another woman were actually driven by a really toxic man that was actively violating Isobel to pursue that attraction.

Once again, the show started to give us something really fucking amazing - two bisexual main characters - and then appeared to take that away. We’ve been given no indication that Isobel’s attraction to Rosa was anything more than Noah in her head or that she herself is anything other than Very Straight.

This doesn’t diminish the amazing bi representation they’ve given us with Michael, but that amazing representation does not excuse or erase our having been baited into falling for another bisexual character only to find out it was all very likely a sham. While there are certainly not enough bisexual men in media, there is also not enough queer women at all. So dangling that in front of the audience before yanking it away is frustrating.

On respecting survivors

*Content Warning: sexual assault*

So I’m going to talk as a survivor for a moment and explain how Holy Shit Muther Fucking Important it was to see another survivor being told that other people’s feelings and needs didn’t matter. What She needed mattered. I was sobbing through that scene because no one has ever told me that. No one ever told me that what I needed trumped other people’s comfort or anger or needs.

But Isobel got to hear that. She got to hear that her brothers’ needs Did Not Matter (and that, particularly, hits hard for me). The only thing that mattered was whatever She needed to get through this, to feel better, and to heal. She got to hear that taking care of herself was the most important thing, that she was allowed to be selfish and think of herself. She didn’t have to put others first, or make sure everyone got what they wanted. What they wanted is nothing compared to what she needs. I needed to hear that just as much as Isobel did.

The show did not shy away in facing just how violently violated Isobel was by her husband - body and mind. It doesn’t brush off what he did as just another evil act by an evil man - this was invasion of Isobel in every possible way by someone she loved and trusted.

And it doesn’t try to artificially portray her as too strong to care, or too weak to handle it. She’s strong, but she’s affected. She’s shattered inside, and she’s handling it. A lot of us know what that’s like in ways people that haven’t experienced it never could. And as someone who finds therapy in being understood, in seeing my experiences in media, this scene was everything I needed.

On villainizing POC

This one has sparked a lot of valid discourse. Media has a really ugly history of telling society who is good and who is bad based on casting choices and always always always making the villains the POC, particularly MOC. It’s unconscious bias leading to more unconscious bias, teaching viewers that we shouldn’t trust POC bc they’re always the bad guy.

It’s a problem and every additional casting choice like this contributes to that problem. No show or movie is immune to it simply because they had a good reason, or even because they wanted to give a POC a job. Studios can give POC jobs by writing roles for them from the beginning, rather than slotting them into damaging stereotypes.

While I do acknowledge that it is unfair and in many ways problematic to deny an actor a role simply because of their race, aesthetics matter. There has to be some forethought in the casting choices regarding the message that choice will send. If the desire is to have more POC characters, then write more POC characters.

And that’s another way in which Roswell doesn’t really succeed with Noah. While there’s at least mention of Noah’s race on the show, he falls into the same category as Alex in that we never see his race expressed or lived. They cast a South Asian actor to play a raceblind role, which means they cast a POC actor to play a white role. POC characters have different stories than white characters - Roswell dropped the ball on giving us that with Noah.

Roswell does a lot right where it concerns race on this show, and it is refreshing that our POC villain is far from the only POC on the show. That said, I was taught something in college that I will never forget: oppression is a moving sidewalk. In order to work against it, you cannot stand still (i.e. casting POC on both sides). You must actively walk the other direction in order to affect change.

Like with the issue of Isobel’s baited bisexuality, giving us amazing representation in one hand doesn’t change that you’re using the other to flick our ear.

On centering queer stories

*hugs myself in delight* This is a big one and is probably the aspect that Roswell gets the most right. Both in impact, screen time, and even in literal scene-splitting, Roswell again and again makes it clear that Michael & Alex’s love story is just as vital and central to this story as Max & Liz’s. They intercut their scenes at numerous points, and characters even within the show compare how similarly their stories have played out. The two relationships experience major milestones on the same day on more than one occasion.

Michael and Alex’s relationship has depth. It has conflict, it has history, it has heartbreak. There is tension and pain and softness and love. It has laughter and safe spaces; it has big gestures and powerful words. These two men who crash together and fly apart but whose whole beings seem to orient toward the other and who, at the end of the day, are willing to let themselves be destroyed for their love.

This queer love story playing out on season 1 of Roswell has more foundation, development, chemistry, and payoff than some of the most romanticised straight couples in media history. It’s been a week since the finale and I’m still just utterly in awe at what we’ve been given here. Roswell is absolutely succeeding in giving us thorough, relatable, meaningful queer representation with Michael and Alex. They are not holding back or sidelining or tokenizing. And they are following through on narrative promises instead of just baiting or relying on subtext. And that’s…. so fucking insanely satisfying to finally get to see.

Ultimately, I’m far more happy with how the show treats its underrepresented identities and modern social issues than I am critical. Most of the content on this show is akin to looking in a mirror and seeing my own worldview reflected back. I am a queer progressive woman and a survivor, so many of these issues are personal for me.

But I’m also white, and my disabilities are not physical. As such, I am not and should not be the authority on some of these issues. I am more than open to feedback from those who feel I was either too harsh, or not harsh enough, where it concerns those issues.

But for now, this is essentially Chasing’s Progressive Review of Roswell New Mexico, Season 1. And now I’m gonna go roll around in meta and fanfic and gifsets for the next several months cuz I sure as hell ain’t done talking about this show.

#roswell new mexico #malex #echo #michael guerin #alex manes #max evans #lix ortecho #maria deluca #noah bracken #isobel evans #kyle valenti #candy #rnm #i just have a lot of feelings #rnm meta #chasing's progressive review of rnm season 1

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