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bronyinabottle · 3 years

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MY LITTLE PONY: A NEW GENERATION (G5 Movie) THOUGHTS

It’s finally here. The beginning of Generation 5. Though before I get into the movie in some detail I’m going to reiterate one more time what G5 means for my content and a non-spoilery summary of the movie.

Again, I will say that the movie nor will the G5 series coming later have much of an effect at all on any of my blogs. The revelation in Secrets of the Dragon’s Tear that life itself is also magic means that a world that implied to have no magic for years would mean the extinction of all life (Perhaps resulting in the wasteland we saw in the Season 5 finale). There may be something I’ll probably do at some point on a certain different blog. But even then, that may likely be a one-time thing and probably come around the time the series is starting to air.

That said, just because I’m continuing with mainly G4 content doesn’t mean I disapprove of G5. In fact, my non-spoilers thoughts on the movie is I think it is a good start for this new generation. There are questions I have that I’m not sure will be answered (Though many of those questions are the same ones I had in my Trailer/Preliminary thoughts) quickly enough. But the movie is structured well enough, in fact it’s probably a better movie as a whole compared to any of the movies G4 had (The 2017 movie, Rainbow Roadtrip, and all 4 Equestria Girls movies). As the 2017 movie was fun, but it jumped around a lot, sometimes scenes transitioning too fast. And while Rainbow Roadtrip may have been this on purpose, the entirely slice-of-life story taking up a long length… made it something of a less interesting plot to follow. It feels like some of that special could of been cut to at least a two-parter length and keep the same beats they hit. And while i have a soft spot for the 3rd and 4th Equestria Girls movies, I’ll always say a full-length pony adventure feels better suited for what I want to see out of MLP then spin-off movies with high school movie cliches and weird pony/human world shenanigans.

So movie-wise I’m not a G4 purist. It’ll take some time to see how Gen 5 compares to Friendship is Magic when we get to the series. As I feel it’d take a lot for it to surpass G4 in my mind. But I’m going to try to be as fair as possible and judge on it’s own merits. The implied connection to G4 by referring to G4 being ancient Equestria is going to naturally get the staff and hasbro pressured by fans to tell us what happened in-between the generations. Because that’s the trap they put the writers in when they made it so they want to try to say it’s in the same universe. That’s the double-edged sword Hasbro chose to have, trying to appease the G4 fanbase and keep at least some of them around. But at the cost of questions both nitpicky (Such as character design being inconsistent) or actual honest questions that need to be known (Why did magic disappear, and what happened to the Alicorns) for some of us to truly see this as the same Equestria.

After the break, I’ll have more spoilery thoughts

Even for a brief moment, it was nice seeing the Mane 6 and 2D animation. The former because of course those are the ponies many of us that saw all of G4 loved. And the latter, because while the animation wasn’t bad in this movie. I’m one of those who’d prefer to have 2D animation in an animated film. As in most cases aside from Pixar, it’s just a strong preference of mine. If this had the animation of the 2017 MLP movie but otherwise everything else was generally the same here, I feel that would of have been great.

I wish they didn’t have to have Sunny’s dad die off-screen, as he seems like he could of been a compelling character. And not to mention if perhaps he has any connection the “ancient” days in any fashion. But *sigh* I get it, it’s an old trope where part of the character’s offscreen growth is not having their parent(/s) around.

On a side note there’s quite a few times during the beginning of the movie that somewhat foreshadow what happens to Sunny later. 3 times where she had a fake horn and wings on her. Once in the flashback, then 2 separate times when she’s doing her protest where she has her own costumed wings and horn. As well as the helmet and mechanical wings.

Also, there’s no way around it. Some of the discussions this movie are going to get quite political. (Namely one part of Sunny’s song that could be seen as having a double meaning of a jab at Trumpsts regarding “Building your wall”) From the very premise in the early times, we know that the inspiration for the story was last year’s Black Lives Matter protests. Which honestly, I do support the message they’re going for. Having an anti-racism message to tell kids from the very beginning and making a focus on it is important when in G4 it only got briefly touched upon in Bridle Gossip and the Heath’s Warming Eve play. Although it certainly rose up to some form of prominence with Season 8 and onward. Still, while you can argue if G4 executed the anti-racism message well. it does come with something of a problem that the series finale left Equestria in the least divided it’s ever been.

And personally, I feel it’s a terrible interpretation of time to say “Well, it’s a realistic take. Racism has existed for years in our world. Same should go for the ponies” and while yes, racism is still rampant in today’s world. That said, that ignores that if we went from The Last Problem to the start of G5. There’s a huge difference between our world and Equestria. There is no ancient civilization that we look at like “Yeah, those were the golden days of world peace” when normally the “Golden age” was reserved for the high classes of Ancient Greece or Rome. It was most decidedly not perfect, with slavery rampant and wars for the sake of expanding an empire. While if you look at The Last Problem’s Equestria, you not only have peace between the three main types of ponies. But you literally have non-pony citizens in Equestria. You can see a dragon handing off a flower to a pony which can imply cross-species romantic relations. With the Friendship school still going strong, and was the reason that the world was saved in The Ending of the End. While perhaps it may be too glowing to say that future is perfect for everyone even in-universe. It’s certainly a hell of a lot better outlook then comparing to how we view even the so called Golden age of ancient civilizations. The Last Problem’s Equestria implies it looks to ally with every country outside of Equestria, not conquer them.

So it should still be a valid question on just how this world collapses to the point it gets to where G5 is at the start. I at least assume that it’s not the fault at all of any of the Mane 6 nor Twilight. Or at least I hope it isn’t, as I’d rather the MLP fanbase not have to deal with a The Last Jedi Luke Skywalker situation. (Where after the joyful end of the original trilogy, things go wrong as Luke almost murders the son of one of his best friends and his sister despite trying to hard and succeeding at redeeming his father who at that point in the canon was a galaxy-wide known ruthless mass-murderer.) I assume we’re at a point where everyone of the Mane 6 sans maybe Twilight are presumed dead. And even in Twilight’s case, there’s a chance that G5 decides to say that G4 overestimated the whole Alicorn immortality thing. Though I wouldn’t put it past Hasbro to have some event where the Mane 5 of G5 meet the Mane 6 in some special event whether that’s a a Season finale or a sequel movie/special. Where either the Mane 6 return in a limbo situation similar to the Pillars at the end of Season 7 or Time travel gets involved. They may even string us along on answering just what in the heck happened until they involve a meet-up with the Mane 6 in that way. Though I hope they don’t, I’d really like the beginning of the series (Or I guess this supposed special coming up in Spring supposedly?) starts to answer some questions. G5 should get a chance to stand on it’s own, but I hope the writers are actually well aware there will be so many questions people have and address them in the show. A cynical part of me feels like they’re likely to string us along until at least the Season 1 finale.

Onto the characters for a bit. I think Izzy Moonbow was absolutely the most stand-out character in the whole movie. She was energetic, funny, and aside from “The pegasi are bad news” she along with Zipp and Sunny were the most averse to the way the world was. She was already the most popular due to the tennis ball memes. But now it feels like she legit stands on her own and most certainly deserves to be the most popular character of G5 thus far. Behind her in a bit of a surprise to me was Zipp, who I thought would be mainly a Rainbow Dash-expy. Though she really helps out Izzy and Sunny in Zephyr Heights. Despite having Twilight be my favorite pony from the very beginning of G4 all the way to the end, I didn’t feel as strongly about Sunny for some reason. So she’s in the middle of the pack, she could grow on me later. I just don’t know if I click with her as much as I did with Twilight. As for the last two, while I don’t hate either of them. Either one could be the lowest of the 5 for one reason or another. Pipp (Although I will say she's probably my favorite character design out of the 5) feels like she doesn’t do a whole lot in the movie and it takes until she’s forced to be an outlaw because the other choice was to get imprisoned like her mother was. So she may come off as quite pretentious, though it’s arguable Rarity was the same way early in G4. But she definitely grew later. Could be the same case for Pipp. And as for Hitch, he has shining moments in the film. But what might hurt him is the fact he was such a bad friend to Sunny up until the campfire scene. “I’m the last real friend you have. You really want to lose me too?” is not a healthy friendship. Hitch may have been Sunny’s friend the longest, but it definitely feels like Izzy connected immediately. I don’t know if this show will get into shipping any of the main characters between each other mid-show, but if they do. I hope it’s between Izzy and Sunny currently, cause Hitch and Sunny just gives bad vibes even with Hitch getting better later.

None of the songs I felt were particularly too special. Though I think the closest was Sprout’s “Danger, Danger” song that has similarities to Smells Like Teen Spirit in some parts of the song since I tend towards more rock/metal-esque music.

I touched upon it earlier, but there’s perhaps a stand-out reason for why the G5 movie outdid the 2017 MLP Movie. They have the typical “Our heroic group splits after a sad moment before coming together again for the climatic good end” in Sunny seeing that that the two crystals don’t instantly bring magic back, and when Twilight left the group after an argument that happened with Twilight trying to take a pearl. They perform the same purpose in the movie. But the crystals not working, crushing Sunny’s hope for a little while works better into the story. Where as Twilight’s part frustratingly brought the sea pony scene to an end too quickly and/or doesn’t feel right of Twilight to have done that. It felt forced in the 2017 movie, but works out in the G5 movie. Especially since a part of it is that it’s not the crystals themselves capable of bringing magic back. But it’s the journey going after the crystals that brings the ponies themselves their magic back.

Just a small note on dictator Sprout, he tries to cause a war. Though admittedly the film seems to treat him as a joke the entire time despite his seriously evil ambitions. With the only repercussions is he gets a wishy-washy answer on if he was a good sheriff from his mom. I don’t quite know how I feel about that yet, but I wonder what they’ll have in mind for Sprout given his actions. He and his mom are the only ones that feel like a true antagonist. Though they seem to be ok with things fast when the magic comes back.

But anyway on to the ending, we see that Sunny becomes an Alicorn. Which I guess with no other real Alicorns around, I guess it makes sense to alicornify her since she’s the real leader behind what united the leaders of each type of pony again. Though there is of course this weird thing where her horn and wings don’t seem like as much a part of her body compared to very obvious connected wings on Twilight when she got hers. Sunny keeps her horn and wings to the end of the movie, and has colored streaks in her hair. Though I do wonder if that;s truly permanent. If it is permanent, I suppose at least they got to have a headstart and have it established at the end of the introductory movie rather then have it shock people at the end of a shortened 3rd season. I still feel like Twilight had well earned her alicornhood considering that besides what she did in the series. She has a whole childhood and time as a teenager learning under Celestia. Which had to mean something, and I’m not sure Celestia just leaving her to live the rest of her days with her friends in ponyville was that. Sunny has no doubt been trying countless time to try to spread friendship throughout her life even after the tragedy of her father’s passing. So there’s no doubt she’s been through a lot, and may indeed be worthy of being an Alicorn at this point. Though in terms of screentime before Alicornhood it's definitely a lot less then Twilight had. And it is at least nice to see that it is possible for non-unicorns to become one. (The only case of that we sort of got was a children's book that may or may not be canon that implied Cadence was a pegasus before she ascended)

Though you have to wonder if the visual differences such as Sunny’s alicorn horn and wings, the cutie mark only on one side (Yes I know that’s how it was normally in the MLP generations before G4. But a distinct visual difference between shows is still noticeable even if the context of G4’s cutie marks on both sides of the flank was about it being easier on the puppets for Flash), and how animals can have wings or weird round shapes such as those bunnies when G4 has normal looking animals. There’s enough striking visual differences for any nitpicky G4 to say “This isn’t the same Equestria”. And if someone tries to say maybe some sort of evolution happened. That’s still trying to put a little too much real world logic on this fantasy world. And evolution tends to take millions of years to have such dramatic changes. Not 1000 years or so, there should still be normal looking animals at this point and time. And these small details are probably going to be the things most ignored but nonetheless can build a case that this isn’t the same Equestria. Even if they touch on the important questions like how magic disappeared and what happened to the Mane 6, there will be details they make different that will add to the case that this is it’s own universe if it doesn’t quite matchup with what was remembered about G4. There will be fans who will be that nitpicky to call G5 out of continuity for small details like that. That is again the trap they put themselves in when they decided to try to say it’s the same Equestria.

All-in-all though, I think that’s at least a good enough chunk about my thoughts on the movie to end off here. If there’s something I missed or something from the movie you’d like me to give a particular opinion about or elaborate on something feel free to ask me here. G5 is indeed off to a good start, just I will be along the many hoping some questions get answered sooner then later. And I’m not sure I’m confident in getting anywhere until a Season finale or a 2nd movie. And it’ll be a year before the series starts proper (Though again I guess there’s a 44 minute special coming in Spring to try to hold us over). But I could definitely see G5 finding it's own following, now there's just the inevitable clashes between some of the more vocal fans of each generation bickering at eachother. But hoping there will be enough that take the movie's lessons on divisiveness to heart and be able to enjoy both even if there may be preferences.

#mlp #my little pony #g5 #mlp g5 #netflix #my little pony the next generation #my little pony movie #generation 5

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readbythestarlight · 3 years

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Poe Dameron & Reyes Vidal for the character ask c:

Slsjshsjsdjskdaldkhskdjsj these are GOOD get ready for an essay.

Poe Dameron

How I feel about this character

I have a lot of favorite Star Wars boys okay but Poe. Is. The love of my life and yes I say that about a lot of characters but listen it’s fine. I love him. And no it makes no sense because he barely actually got to shine the way he deserved in any of the films, but Oscar just brought him to life so well for me. I love this passionate flyboy who cares so much about people and about the resistance, and yeah sometimes he’s reckless and hotheaded but it comes from having this heart that just burns so hot okay. And I love him for that.

All the people I ship romantically with this character

Finn! It’s a total shock I know. Shipped them literally from The Jacket scene and never looked back. It’s a little bit love at first sight and a little bit slow burn pining and a lot of “our views of things conflict and I don’t always understand yours but I understand you so we make it work”. And yeah 75% of that comes from fanfic because the movies gave us actual scraps but Oscar and John both tried.

I’ve also dabbled in timeline mix up AUs for PoeDin, but that’s more just a fun “what if” thing. I’m pretty much FinnPoe all the way.

My non-romantic OTP for this character

Poe and Leia. I love the mentor/mentee thing, her seeing all his spark and fire and knowing that if she can just help him temper it and shape it that he can be a leader the Resistance needs. And I love him looking up to her first as this hero of the stories his parents would tell, but eventually seeing that she’s just a human too, one who’s been through a lot, and wanting to take some of the responsibility off of her shoulders.

Also Poe and BB-8 because I love how he loves his little buddy. 🤍🧡🤍

My unpopular opinion about this character

I don’t really care for the fandom portrayal of him as a promiscuous flyboy who’s slept with every eligible (and sometimes non-eligible) person on base and who has a girl/boy/etc in every port. I’m fine with sexually promiscuous characters, but people tend to reduce him to that a lot of the time. Being open and friendly charming doesn’t always have to equal “you should see all the notches in my bedpost”.

One thing I wish would happen / had happened with this character in canon.

I mean. *waves hands at the disaster that was the sequel trilogy* What DON’T I wish had happened? I wish we’d really been able to watch him grow under Leia’s tutelage. I wish we hadn’t had to watch his be put down by practically everyone in TLJ. I wish we’d gotten the backstory the comics gave us instead of the stupid Han Solo 2.0 “I was a spice runner” nonsense. I wish we’d gotten to see the impact the weight of carrying everything in the end obviously had on him, the loss of Leia, the weight of the Resistance on his shoulders.

What it all comes down to though is that I just. I really love Poe, you guys.

Reyes Vidal

How I feel about this character

Bastard man. Bastard. Shifty, shady, charming as fuck. I adore him. He’s almost the only character from MEA I can really say I remember and I love him. Came 300 years from home to find all the opportunities they’d been promised were suddenly not going to happen, ends up saying “fuck it” and leaving with a group who decide they’re better off trying than just waiting around. Decides to use his shifty skills to become a crime lord. His best choice? Maybe not. But I believe him when he said he came to Andromeda because he wanted to be somebody, and if that somebody had to be King of Kadara because Kadara and all it’s shifty people were all he had, then so be it.

I mean, he could have made better choices, but I like a morally grey character who isn’t bad so much as their definitions of right and wrong and what goes too far are just a little different from everybody else’s.

All the people I ship romantically with this character

Just my boy Zach. A good boy who enjoys a little mischief but usually strives to do the right thing and to be honest, plus a smuggler/crime lord who loves mischief and is mostly indifferent to the right vs wrong thing, who lies about everything but who once he gets close to Zach starts to wish maybe he really was the good guy Zach believes is? Yes please.

My non-romantic OTP for this character

Reyes/a fine bottle of treasure whiskey

My unpopular opinion about this character

Honestly I don’t think anyone cares enough about him that any opinion is unpopular anymore buuuuut...

I think, looking back, I didn’t hate High Noon as an outcome (i.e. him cheating in the duel and shooting Sloane) the way everyone else did. Yes Sloane was a woman, but she was also very definitely Not A Good Person anymore than Reyes was so like, why her being a woman mattered was and still is beyond me. And yeah, bringing a sniper to a duel was Bad Form, but again, morally grey character who’s lines of right and wrong are skewed.

Or maybe I’m just a dirty Reyes apologist, idk.

What I hated about High Noon was the way 1) my Ryder’s only choice was to be complicit or else get Reyes shot/end the relationship, and 2) the way my Ryder’s only reaction choices were to either be totally fine with it or else end the relationship. Like come on, Bioware, where’s my chance to let Zach and Reyes work through this?

One thing I wish would happen / had happened with this character in canon.

Combining this with above a bit to say a better ending to High Noon with a chance for Ryder and Reyes to work through things. Like, I’d even have taken an “it’s complicated” ending in MEA with the chance of knowing that in a future game the chance to fix things would be there. Not that we’re ever getting an MEA2, but the option would have been nice.

In conclusion,

Reyes: I have done many bad things in my life. As in, daily.

Me: I know this and I love you

#THANK YOUUUUU #Poe Dameron #Reyes Vidal #ask meme

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ramblings-of-a-mad-cat · 3 years

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Star Wars: The Rise of Skywalker Re-Write

(Inspired by the fantastic work of @dalekofchaos)

“Fix it” fics are a thing, yeah? Well, here’s my shot at writing one for the ninth Star Wars film. Contrary to popular opinions, I’m only going to change one or two things about the two movies beforehand, because I unironically loved both of them. But I can admit that there were mistakes, and TLJ tied up most of the loose ends, leaving it difficult to follow-up with a sequel. So, regarding Episodes eight and nine, here’s what changes.

I have exactly one change for TFA. That random ass stormtrooper who called out Finn as a traitor and inexplicably had a melee weapon that could fight lightsabers? Yeah, just make that Phasma and have done with it. I don’t understand why it wasn’t her in the first place. Also, Finn being able to wield a lightsaber isn’t “evidence” that he’s force-sensitive if you ask me. The films never confirm that non-force sensitives can’t use them. This will be important later.

Moving on to TLJ...replace that stupid milk scene with the deleted scene of Luke reacting to the news of Han’s death. I mean, come on, that’s a given. Another given, Luke uses his green lightsaber in the illusionary duel against Kylo Ren. That’s just common sense.

After Kylo Ren asserts himself and force-chokes General Hux, and the two of them depart...the camera pans in on the pieces of Snoke’s corpse, onto his face...and his eyes suddenly open. Yes, this will be important later. Somehow, Snoke survived.

I genuinely liked Vice-Admiral Holdo, but they kind of fumbled her role in the story. She was never given a reason for why she did not share her plans with the rest of the Resistance. The most popular theory being that she assumed a mole was on board, but this was never stated in the movie. In my opinion, Poe had every reason to call for mutiny based on what he knew, so the whole message/character arc of him learning to be a leader rather than a hero didn’t quite stick the landing. So how will I fix it? Simple, replace Holdo with Leia. First things first, we don’t get the superman-flying, which is just an objective improvement. We also are more inclined to trust Leia over Poe, because of the legacy the character has. We’re also going with the plot-threat there is indeed a mole. What’s more, Leia is given the sendoff she deserves with the light-speed kamikaze scene. Sure, she may be force-sensitive, but it’s clear that she chose a different path in her life and I think she should go out as a warrior, not a Jedi, because that’s what she was. General Leia. Plus, you avoid the awkward interactions with CGI Leia from the canon episode 9.

I think we can all agree that Finn deserved better, and he absolutely deserved to have the scene that was deleted, where he called out Phasma in front of her soldiers, telling them what happened in TFA, when Phasma caved so easily. This is the beginning of the Stormtrooper rebellion, and Finn is responsible for igniting the spark. He can definitely duel with Phasma, but he’s not going to win for one simple reason. The mole suddenly reveals herself and puts a blaster to his head.

Spoiler alert, the mole is Rose. The reason why could vary - perhaps she blames the resistance for the death of her sister. Perhaps the First Order captured her sister alive and is threatening her. Either way, Rose’s efforts help turn the tide and allow her and Phasma to escape. The code-breaker can still be part of the movie, but he doesn’t really matter. The Canto Bight sequence is unchanged, because I honestly don’t dislike it at all.

So who saves Finn from his attempt to follow General Leia’s example, and give his life for the cause that he now truly cares about? Poe does. This moment already causes their character arcs to intersect, with Poe being in the position Leia was in at the start of Last Jedi, Finn being in Poe’s position. Poe crashes their ships to save Finn, and because I’m #Stormpilot trash, and we deserved an onscreen LGBT relationship between leads, Poe does indeed kiss Finn. However, don’t worry about Rose. I have plans for her.

That’s about all that changes. But in the grand scene of things, most of these aren’t really issues with the film itself. But they’re necessary to set up for my idea for a Rise of Skywalker re-write. Speaking of...

The Rise of Skywalker - let’s begin with the name.

I hate this name and everything it represents. I’ve heard rumors of an alternate script where Ben Solo is not redeemed, called “Duel of Fates.” I’m not a fan of Ben not being redeemed, but I like the concept of that film name. So I’m thinking this movie will be called something like “One Last Bout” or “One Last Stand.” Something simple but effective, with the air of finality. I truly doubt Episode 9 is the end of Star Wars forever, but if we think of it as a conclusion to the first two trilogies, this can work.

The film opens with the funeral of General Leia. With Rey, Finn, and Poe (who are holding hands for sure) all standing together with Chewie, who is in shambles as we can expect. Lando is also present and he gets re-introduced. Luke’s force spirit appears and looks on, but does not reveal himself to everyone else. Likewise, pan the camera over, and we see Kylo Ren observing the service as well, out of sight. Luke makes telepathic contact with Rey, to warn her of danger, at which point both Rey and Ben double over in pain, the sound design giving us an uncomfortable high pitched screech, or something similar. There’s a disturbance in the Force. Something is returning. Something terrible. Ben is spotted, and the main trio open fire with blasters, but Ben escapes. Lando stops Rey from pursuing him, suggesting that it would dishonor Leia’s memory to do it right then and there.

Ben, on his ship, struggles with horrible pain, a serious headache. Until at last, he is telepathically contacted by a voice we do not hear. But it terrifies him, and he takes off in his ship in pursuit of it.

A scene similar to the one where the Resistance analyzes Palpatine’s message, but there is no message and there is empathically no Palpatine in this movie, though I won’t get into why that was a horrible idea right now. Never mind, Rey is simply recounting to Finn, Poe, Chewie, and Lando that there’s a disturbance in the Force. Luke’s spirit appears and warns them that a great evil that long predates their time, is returning. He disappears, explaining that he needs to await Leia as she “crosses over” and becomes one with The Force. This is the last we see of Luke in the film, because his story is over. The torch has been passed.

Ben/Kylo Ren arrives at what we saw as Exegol. I don’t mind this planet being Exegol, it was about the only new location I actually remembered from the canon film. He confronts the voice in his head, proclaiming that he will kill any threat to The First Order and it’s Supreme Leader. A familiar voice in the dark chuckles. “You have yet to finish off your predecessor. By what right do you claim his job?” Snoke leans forward, and reveals himself. A similar scene to TROS plays out but with no mention of Rey. Despite Ben’s shock, Snoke is amused. “You are not the first apprentice to try and take my life. You probably won’t be the last. I have fashioned many into tools for the Dark Side, even the Emperor himself learned at my feet. Did you think you were special? So, yes. Snoke is the final Big Bad like he should have been (Andy Serkis was robbed) and he really is Darth Plagueis because he was totally supposed to be. By means of mental torture, Snoke reassumes control of Ben and tells him to gather the Knights of Ren “Wherever you’ve hidden them” and prepare to crush the rebellion once and for all.

Instead of visiting a random planet for a lead, Lando and Chewie lead the gang back to Endor. Or it could also be Kashyyyk, I suppose. Like before, Lando and Luke were there. They spent years documenting the history of the Jedi and the Sith. This could be contained in “Holocrons” I realize they have meaning behind them in the lore, but I don’t know much, so just consider the “Holocron” to be a storage unit for information. Arriving there, we still have the scene of a local asking for Rey’s family name, but this time she’s going to stay no one like she should have. While researching, Finn expresses the theory, or more like the hope, that he might be Force-Sensitive. Rey tells him that everyone is, to an extent, but Finn clarifies that he means it the same way that Rey is. “Y’know, the way you can push stuff around and sense people’s feelings. Make stuff float.” An echo back to Rey’s line from TLJ. What I’m going for here is that Finn is not force-sensitive in the traditional way. His arc in this movie is going to be about accepting that, and realizing that he doesn’t need that to be a “hero.” He already is one, with everything he’s done. But as of right now, his insistence that he could be leads to bickering between him and Rey.

Things only get worse as Rey uncovers more about the Jedi. Sees some of the ways in which they were not the white knights that history remembers them as. Luke was right, they played no small part in creating Darth Vader. What’s more, she discovers the “Rule of Two” which has been hinted in the films but never discussed outright. The idea that there are only ever two people wielding the Dark Side, a master and an apprentice. And that the apprentice invariably kills the master to succeed them. A tradition dating back for millennia. The Sith, the practitioners of the Dark Side, always betray each other. She’s disheartened, thinking of Ben killing Snoke and how he offered her his hand. What it all would have led to in the end.

They finally discover what could be the answer - the “great evil” that is returning. A Sith lord called Darth Plaguis, who, when they bring up the hologram of him, strongly resembles Snoke. They put two and two together, reading more about Plagueis’ file. How he vanished without a trace. How he was said to have performed an unspeakable ritual in the Dark Side to allow him to control life and death itself. He could revive those he loved from death, and could not truly he killed, having become an anomaly in the Force. Only another anomaly of equal power would be able to stop him.

An ambush occurs, with assassins in masks attacking the heroes. They wield melee weapons that are not lightsabers, and they force the group to split up due to simply being outnumbered. The gang realizes that, apart from being here to kill them, they probably want that Holocron, but the Resistance must be the ones to get it. We get a similar scene to the canon film, with Chewie heading to the Millennium Falcon with the Holocron and trying to take off, to blast the assassins from the sky...but then the assassins reveal their ace card. They have force power. And they start to pull the Falcon back down. Rey struggles against them, but she’s outnumbered, still upset from everything that she’s learned, and easily angered when Finn rushes in to try and help, despite not being able to. Rey succumbs to her anger and unleashes Dark-Side lightning. Just like in the canon film. The differences? Number one, this doesn’t foreshadow any lineage for her...but importantly Chewie is actually dead, not just a fake-out. He’s dead, and the Falcon and Holocron are destroyed with him. Seriously, the emotional weight of that scene is completely drained by not having Chewie actually die there. The potential is lost, and I’m going to prove it.

Rey is appropriately mortified, shocked, and despondent. The assassins are too - they can’t believe their enemy killed one of their own just to win. Everyone is shocked, but Poe is the quickest to regain his head, dashing in and blasting at the assassins to help cover the heroes while they escape, Finn half-dragging a stunned Rey. So, everyone feels awkward about what just happened and though they believe Rey that it was an accident, it still happened and both Finn and Poe feel distant from her. Lando, understandably, is a lot less patient than them. He knew Chewie for years. His old feelings about losing Han might resurface, and he could say something about how Rey is no better than Kylo Ren, before catching himself and apologizing. At this point, Lando also departs. He needs to get back to the Resistance, because he has been named the Acting General, since Leia’s death.

Meanwhile, Poe deduces that the assassins were the mythical “Knights of Ren” rumored to be the Supreme Leader’s private army. Rey is shaken from her stupor at this news - it doesn’t make sense, it completely violates the “Rule of Two.” Could Ben still be saved? Or is it too late for him? Is it too late for her, Rey, even? Cue Ben Solo/Kylo Ren opening up the force-bond once again. A similar conversation about how they’re both uncertain of their place in the galaxy, and a confirmation that Snoke is back, and is really Plagueis. Ben reveals that he’s been ordered to kill Rey, and he apologies - he truly doesn’t want to do this, but Snoke once again has control of him, and has proven that killing him won’t matter. Rey senses terrible pain, and gets a taste of what Ben has been put through - think, like, the Cruciatus Curse. Whatever “pain” move Kylo Ren used on Poe in TFA. He learned it from Snoke, of course. Ben closes the force-bond, telling Rey to run. Run as far and as fast as she can, because he’s no longer able to take it easy on her.

Finn and Poe overhear the conversation, or at least Rey’s side of it. They hear enough to deduce who she’s talking to, and this further plants the seeds of doubt in their heads. As we see in Last Jedi, Rey doesn’t really tell people about the force-bond, so we can assume she never told her friends. The family is fracturing more and more. Rey is slipping closer and closer to the Dark Side. And all without needing to give her a bloodline. See? I told you Chewbacca’s death had potential.

They make a pit stop on Coruscant, because there’s no reason it couldn’t have been Coruscant, hiding from First Order ships. Here is where the character of Zorii originally showed up. As compelling as the performance was, she’s not going to show up here. Let’s be honest, she was only there to no-homo Finn and Poe, as well as give Poe a backstory that is apparently racist? (I’m not knowledgeable enough about this topic to comment, so let’s just throw out the whole idea.) Instead, the team is confronted by none other than Rose, the mole from TLJ. She reveals that more and more stormtroopers have been rebelling since Finn gave his speech. There’s only one faction that she is confident will never turn on the First Order - the Knights of Ren, who “seem to worship the Supreme Leader like a damn god...though, I guess he isn’t the Supreme Leader anymore, is he?” News is spreading of Snoke’s return, and Rose has the heroes cornered with a band of loyalist stormtroopers.

Finn pleads with Rose, and the other Stormtroopers, to reconsider. Here is where we outline Rose’s character. She despises everything about war. She’s intentionally attacking both sides, seeking to see both the Resistance and The First Order collapse. She has a personal vendetta against Poe and actively tries to kill him, for his role in the battle that killed her sister. Poe likewise despises Rose for having betrayed Finn. Whether Rose’s actions are tactical doesn’t really matter - she’s responding from a place of emotion, not logic. Poe, showing his growth, apologies to Rose and talks her down. Explains the situation, how dire the circumstances are. Rey chimes in and identifies with Rose, having made plenty of mistakes of her own. There’s a moment of solidarity between the team once again. A moment, anyway. Poe makes peace with Rose, and she lets the heroes go. However, her stormtroopers turn on her, and attack everyone. The gang helps Rose escape with them, and after the escape, they realize that those stormtroopers were in fact the Knights of Ren, spying for Kylo Ren, which means Snoke as well.

Rey, tortured by nightmares about Snoke, leaves in the middle of the night. Finn is awake, and tries to stop her, which leads to a major fight. Finn is having trouble trusting Rey, and it shows. Rey is likewise fed up with Finn trying to insert himself into the story, as it were. However, having been told by Rose the impact that he had on the galaxy, Finn no longer wishes to be a Jedi. He then redirects the question to Rey - does she want to be a Jedi? Like Luke? Honest answer - she doesn’t know. The Jedi of old would never have accepted her. She’d have been expelled and become another Darth Vader. Rey is impulsive, confrontational, she has a short temper. She gives in to the Dark Side too easily, and now it’s gotten someone killed. She feels diseased. Though Finn tries to dissuade such talk, it comes out that he and Poe overheard her conversation with Kylo Ren. Both sides are angry here, because Rey kept this secret, and because her friends spied on her. She cries out in anger, causing several nearby lights to blow out. Rey storms away, seeking to be alone.

This fight scene takes the place of the ESB rip-off with an evil Rey. That just wasn’t necessary. Instead, Rey leaves to confront Snoke, kill him once and for all, and rescue Ben if she can. After that, she isn’t sure what she’ll do. It is at this point that she is captured by the Knights of Ren. However, they don’t kill her, as instructed. They remove their masks - humanizing them as just being people. They reveal that they were the Jedi who followed Ben after he left Luke. When Starkiller Base was finished, Ben told them to go and evacuate their families from their home planets, just in case. The Knights stayed away for a long time, per Ben’s orders, but returned when he bid them too. They love him, seem to look up to him, and they can tell that he loves Rey. That he’s not his own man anymore. And that his best interests don’t align with Snoke’s. They know Snoke has to die, but also realize they aren’t powerful enough to stop him. The only one they can think of who might be - is Rey. They beg for her help, and she agrees.

The movie now offers a montage of Stormtroopers abandoning Phasma and Hux, and turning themselves in to the Resistance, explaining that they want to fight for the light. Meanwhile, Finn talks to Rose and Poe, and they all agree that they can’t just leave Rey, they have to go after her. They regret not trusting her, and conclude that even if she is tempted by the Dark Side, even if she falls...she’s still their friend. They don’t believe that she’s a spy - Rose offers useful tip in this sense. Observing that Rey offers none of the “tells.” Finally, we come to Rey training with the Knights of Ren. The transformation of her staff into a lightsaber pike. And it’s gold, baby. It’s gold. (Oh, since I forgot to mention this, Anakin’s lightsaber never gets repaired. Rey has been using a blaster up to this point.)

Bring us back to Snoke, torturing Ben once again as he can sense the betrayal of the Knights. Ben doesn’t realize that they’re still loyal to him, he thinks they just abandoned him, and his spirit is broken even further. Snoke talks more about his past, and here we can get a philosophical discussion. Perhaps Snoke discovered the midichlorians during his research, and exploited them for more power. He could analyze the Force as being, not a difference between light and darkness, but a shallow body of water that only gets deeper the further you venture. Snoke boasts that he was the first to risk “drowning” himself in it’s depths. Meanwhile, Ben hallucinates seeing Han, encouraging him to get up and fight back. We can also have Leia’s voice here, if we want. Ben fights back in a scene that echoes TFA, the way Rey resisted his own control. “You are no Master, Plagueis. Not of anyone or anything. You act so powerful, but your thoughts betray you. You’re afraid you will never get it right. Your desperation grows with every failure. But Today is not the day you finally succeed.” snaps free of Snoke’s control and when Snoke attempts to dominate him with Force Lightning, Ben goes full Prince Zuko and redirects it, Yoda style. With that, he escapes, now on his own.

Finn, Poe, and Rose show up to fight the Knights of Ren. Assuming Rey to be their prisoner. Rey, faced with her ultimate conflict, the symbol of her uncertainty, a literal metaphor between the two sides of her being at war...her loyalty to Ben, and her loyalty to her friends...her desire to be good, but her tendency toward darkness...finally completes her character arc and solves her identity issues. She creates a barrier between both sides, knocking them all down. She explains herself, telling her friends that the Knights want to stop Snoke. That she has joined them freely, for this reason. She apologizes for how distant she’s been. Admits that while she would never support the First Order, she does care for Ben Solo, despite all he’s done. This leads to Rey making up with her friends, and making peace with the Knights, who were already kind-of friends with Rose, once upon a time. This can lead into a bigger discussion about The Force, the concepts of good and evil as a whole. While Finn and Poe contact Lando, to tell him where Snoke is hiding, Rey reaches out to Ben through the force-bond.

Meanwhile, Ben has returned to the planet where Luke’s old school of Jedi was. He visits the smoldering remains, and unearths Luke’s green lightsaber. He struggles, still feeling that call to the light, and now that he’s alone and able to meditate, he attempts to do what Snoke did, and “drown” himself in the Force, in the hope of stopping him. He doesn’t drown. Instead, he meets a spirit who he had unconsciously blocked out a long time ago. Anakin Skywalker, portrayed by Hayden “The lines were terrible but his acting was actually pretty good” Christensen. The call to the light that Ben had always resisted had come from Anakin. These two finally talk, and Anakin urges Ben to choose the right side. They find solidarity in understanding that they were both drawn to the Dark Side, and both felt that this meant they “had” to be evil. Anakin doesn’t dissuade Ben from the Dark Side, but advises him to do what is right for the galaxy, defeating Snoke. Ben is helpless, he doesn’t know how. But Anakin tells him that an anomaly of equal power to Snoke could be enough to kill him forever. It’s definitely worth a try. Anakin fades, promising Ben that the answer is closer than he thinks. He can sense it right now...

After Anakin fades, Rey appears. She has succeeded in contacting Ben, and they catch up. Ben learning that The Knights still care about him, and that Rey has joined them. Rey expresses that Ben was right - it’s time to leave the Jedi and the Sith behind. To start something new. They can discuss the Force in greater detail, how being Dark doesn’t always mean one is evil, but the teachings of the Jedi suggest that it is a binary system. They express affection for each other. With everyone around Rey seeing her talk to someone invisible, Rey reaches out her hand...and Ben takes it. Suddenly appearing in the ship with everyone else.

Rey and The Knights take turns embracing him, and he exchanges awkward nods with the others. With the help of the Knights, the group comes to the conclusion that Rey and Ben are some kind of Dyad in the Force, irrevocably connected. The two that are one. Such a thing has not been seen in millennia. It’s almost like a glitch in the universe. But this anomaly could be what it takes to stop Snoke for good.

The main team makes their way back to Exegol as we see Lando giving a speech to the Resistance, now much stronger with the added former-Stormtroopers. As much as I love Jannah, she’s just as unnecessary as Zorii. That screen time could have and should have gone to Rose as she re-establishes herself back into the squad, same as Ben. Everyone arrives at Exegol at the same time, and Resistance soldiers move to open fire on Rose and Ben, understandably so, but here come Poe and Finn to talk them down and explain the situation. No one is happy about it, particularly having Ben Solo around, but Lando, with much consternation, accepts the situation and tells the Resistance not to fire on their new allies. However, he also instructs Finn to kill Ben if he steps out of line. We can get a callback when Finn gives the “I’m watching you” look to Ben, and have a line like “Don’t be a traitor.” Or something.

Final battle time. Another montage. Finn leading the former storm-troopers in the battle against the last of Snoke’s loyalists, led by Phasma. Together with Rose, Finn defeats them and Phasma is left on her knees. She pleads for mercy, and Rose is prepared to kill her, but Finn intervenes. They take her prisoner instead, because killing people who are already defeated and defenseless is the “Stormtrooper” way.

Rey, Ben, and the Knights are helping out with their Melee weapons. The Knights are also using the Force, because not using it offensively was a Jedi message, and they didn’t always follow it anyway. Though he’s definitively good now, Ben is still wearing his Kylo Ren armor, and wielding the cross-guard saber. I mean, imagine if he showed up to a warzone in day clothes with a blaster, just because his previous weapons were “evil?” How stupid would that be, right? However, at one point the cross-guard saber is destroyed in the right, and left empty-handed, Ben pulls out Luke’s lightsaber, stares at it...and then ignites it to rejoin the fray.

We likewise get a battle of wits and strategy between Poe and Hux, as Poe commands a legion to take out the forces guarding Snoke’s throne room. In the end, Poe’s armada is saved by another that Lando commands. Hux manages to fatally shoot Lando, but Poe quickly repays him in kind. While everyone crowds around Lando, Hux dies alone, symbolizing the difference between the two causes. Lando expresses pride in how far Poe has come, tells him that Leia would be proud too, and with his dying words, he addresses Poe as “General Dameron.” It’s a truly emotional moment and afterward, Poe simply turns to the loyalist stormtroopers, carrying the poise and energy of a powerful leader. He tells them to drop their weapons. To surrender now, and they won’t be harmed. It’s badass. And the loyalists do as instructed.

The path is clear for Rey and Ben to rush in to the Throne Room and kill Snoke, with the Resistance following them as backup. Only Snoke is nowhere to be seen. All of a sudden, we hear that high-pitched screech again. Rey and Ben collapse in terrible pain, hearing Snoke’s voice. His physical body no longer matters or plays by the same rules. He has essentially taken the practice of returning as a force-spirit and perverted it to become Dark. We now get Snoke’s final backstory, and the answer to why he’s able to do this. Snoke himself was part of a Dyad, centuries ago. Though exceptionally rare, Rey and Ben’s bond is not unique. However, Snoke murdered his counterpart for his own selfish reasons. A total violation of nature. This is what splintered him and turned him into the unnatural being that he is now. Rey and Ben vanish, to the alarm of Finn and Poe, as they disappear into the Force.

The three of them - Rey, Ben, and Snoke, all appear to be in some kind of void. Snoke recounts having sensed the awakening of another Dyad (”The Force Awakens”) and that this is what prompted him to return to physical form in the first place. He reveals his final plan. Rey and Ben must now fight to the death - the winner becoming as powerful Snoke himself. He promises that the winner can rule beside him. This is probably a lie, and both of his opponents refuse. But Snoke also warns that without achieving that kind of power, they’ll be hopeless to stop him. He dual wields red lightsabers in the subsequent duel. Notice how Rey and Ben are using sabers of gold and green - the opposite of red and blue, which have traditionally symbolized the Jedi and the Sith conflict. Snoke tells them that they have no future. They cannot become Jedi, not with the crimes they’ve committed. If they become Sith, well...he cites the “Rule of Two” insisting that Rey and Ben cannot coexist because one will inevitably slay the other. Rey and Ben respond that they are neither, that they simply fight for what they believe in. That they are...knights of Ren.

Together, they strike back, plunging their sabers through Snoke’s chest. He vanishes, and the void world vanishes. Rey and Ben reappear in the throne room, and Snoke is there too, staggering to his feet. The Resistance takes aim at him, but he pays them no mind. He warns the two heroes that there is no telling what will happen if they choose this path, that the Galaxy needs structure when dealing with an entity as vague and infinite as The Force. Rey responds simply that “The Force is not some stranger or threat. It is not a vice for power. The Force...is us. All of us. The good and the bad, the light and the dark. So long as we stand together, you will never influence The Force again. You will never control us. You will never return again.” With a roar of defeat, Snoke’s body turns to dust, and a shadowy mass is left in it’s place. Finn and Poe fire at at it, to no avail, but Rey and Ben join hands, and as the shadowy mass surges toward them, The Dyad employs it’s full potential, causing Snoke’s bastardized force-spirit to vanish. Not sure how this would be filmed without looking silly, but I swear, it’s compelling.

The battle is over. Everyone celebrates. When Finn and Poe kiss, it’s earned, not some nameless background characters. The team returns to the Resistance base. Poe has been unanimously voted to be the new General, which is the closest thing they have to an elected leader right now, so he is in charge of the trials for the loyalists, and the Knights of Ren. The people who committed treason or other crimes. But we only see three of these trials. Ben Solo, Rose Tico...and Rey. After all, she did kill Chewie, right? She conspired with the Knights, too. Rey is pardoned almost immediately, Rose not long after, but Ben Solo...after much consideration, Poe charges the Knights of Ren to a path of atonement. To go around, helping fix the Galaxy. Community service.

Ben and the Knights prepare to leave on their trip, and Rey and Ben say goodbye. How ship-teasy this is, if there’s a final kiss...eh, interpret how you like. I’m a Reylo fan personally, but I know a lot of people aren’t. Ben promises to see Rey again, and they both acknowledge that thanks to the Dyad, they won’t have to go without seeing each other, not really. Likewise, Rey and Finn and Poe and Rose will be helping to fix up the galaxy, so it’s certainly not goodbye.

I lied, Luke’s force-spirit appears one more time, this time with Leia, though she doesn’t speak much for obvious reasons. Luke is proud of her, and says something to the effect of “Not bad for a scavenger girl with no family from Jakku of all places. Well done, Rey from nowhere.” Rey looks around at everyone - at Finn, Poe, Rose. At Ben and the Knights. At C3PO, R2D2 and BB8 (Who were definitely involved the whole time I just didn’t have much to say about them) she looks back at Luke and replies that she does have a family. She and her friends go to wave goodbye as Ben’s ship takes off, flying into the sunset, and....ENDING CREDITS!

Let me know what y’all think! Hopefully this doesn’t throw out quite as much from Last Jedi, and does the characters justice!

#Star Wars #Rey from Nowhere #Finn Star Wars #Poe Dameron #Kylo Ren #Ben Solo #Rose Tico #Star Wars: The Rise of Skywalker #Star Wars TROS #Reylo #Stormpilot #Supreme Leader Snoke #Snoke #Lando Calrissian #Chewbacca #Star Wars: The Last Jedi #Luke Skywalker #Leia Organa #The Knights of Ren

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unpopularly-opinionated · 3 years

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Okay I know this is an old video and everyone already knows how MatPat’s theories are usually cherry-picked but my gods I don’t think a theory has upset me as much as this one did. I don’t even think you could call it cherry-picking because even all of the things he cherry-picks are wrong except for maybe maybe one of them, but either way, it’s too obvious that he’s dancing around the bits that blatantly disprove this theory.

The TL;DW of his claim is: The Empire was actually good because A) the Republic was bad, B) the New Republic sucks, C) the Empire stopped crime and D) there was peace under the Empire, outside of the Rebellion attacking.

The first two are pretty self-explanatory, yes the Republic and the New Republic were both dumpster fire governments but them being bad does not inherently make the Empire good. In fact, for the most part all of the arguments he uses to explain why the Empire is better than the Republic are moot points because the same can be said of the Republic.

For the most part, the galaxy under the Republic was virtually the same as the galaxy under the Empire. Replace the War of Rebellion with the Separatist War and you effectively have the same thing, one group trying to keep everyone united and another trying to break away from that unified group. The only difference being that one was trying to break away from a literal autocratic dictatorship and the other was a conflict completely fabricated by said-dictator.

In terms of peace, while it wasn’t like galactic peace by any means, it was definitely the same if not significantly better than it was under the Empire. Piracy and bounty hunting was still rampant, just as it was under the Empire (arguably there was less bounty hunting under the Empire, but that’s only because they genocided the entire clan of people who were bounty hunters). Not to mention, the Republic actually tried to do something about the Hutt Family whereas the Empire did fuck all and often worked with Jabba instead. End of the day, the Empire never tried to put a stop to crime, they only tried to stop crimes against the Empire.

Now these arguments change when it comes to the New Republic, because when compared to the Republic, the New Republic was hardly anything at all. They had little to no control whatsoever as evidenced by the Mandalorian show as well as the sequel trilogy. They get wiped out almost as soon as they set up shop because they simply refused to acknowledge the remnants of the Empire that were conspiring in essentially the open. Arguably, yes, life under the New Republic was worse than the Empire, but that’s only because the Empire was working from the foundation that the Republic had set up previously, whereas the New Republic had no foundation to work from given that the Empire was completely dismantled (save for the remnants who became the First Order). They were a baby government that was barely crawling, let alone able to even remotely compare to the Empire during the height of it’s reign.

Then comes my favourite argument of his, my absolute favourite argument of all, and the one that honestly pissed me off to no end: The Empire let the Ewoks live so clearly they would’ve lived in peace with everyone :). I should preface this with the fact that he used the Extended Universe (EU) to try and prove his claim, so it’s fair game for me to also use the EU to disprove it. For the record though, I wouldn’t need to use the EU to disprove this claim, it’s just easier for me to.

One piece of evidence that doesn’t come from the EU that disproves this claim is the obvious: they literally enslaved the Wookies. We see this plainly in the Solo movie, which is canon, that Wookies are used as slave labor in the Hyperfuel Mines.

Some canon EU evidence is that Thrawn quite literally joins the Empire purely out of fear that Palpatine would slaughter his people, the Chiss, because the Emperor is well-known to hate sentient non-humans, especially ones he deems as a threat which no doubt the Chiss would qualify.

And lastly, some non-canon (pre-Disney) EU evidence is that the Empire literally poisons an entire planet, Honoghr, to force its inhabitants, the Noghri to serve as bodyguards to Empire officials, like Admirals or Moffs.

So excuse me if I’m not buying the fact that the Empire and the Ewoks were going to continue to survive in peaceful coexistence. Also while I can’t prove this definitively, I’m fairly certain I read somewhere that the Ewoks frequently patrolled the areas around Empire bases and harassed the Stormtroopers who would kill them outright. I think the only reason the Empire didn’t decimate their species was because they lived in the trees and at the time saw them as nothing more than a minor nuisance. Either way, the evidence is abundant that the Empire was certainly not a walk in the park for any sentient non-human species.

The only conclusion that can be drawn from this video is the one that pretty much any Star Wars fan has known for years now which is that everyone pretty much sucks. The sides we were led to believe were the “good guys” are quite honestly just the tiniest step below being as bad as the sides we’re led to believe are the “bad guys”.

It’s honestly offensive to my sensibilities that this video exists.

#random rant #not tagging this deliberately #no hate to him either #obviously #I just can't believe how bad of a video that was

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she-who-fights-and-writes · 4 years

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She-who-fights-and-writes Coronacation Book Rec List

I know that a lot of people are stuck at home right now in dire need of entertainment, so I decided I’d put out a book recommendations list of all the books I’m currently reading and all of my must-reads!

(Just a note that a lot of these are Fantasy because I’m a fantasy nerd haha)

Books/Series I am currently reading

1. The Folk of the Air Trilogy by Holly Black (Currently on #2, The Wicked King)

Genre: High Fantasy

Setting: The land of Faerie which is kind of historical, but in the human world it is modern day

Main cast :

Jude Duarte (white, human, cutthroat, if I saw her in a Denny’s Parking Lot at 3am I would RUN)

Cardan Greenbriar (white, faerie, the true embodiment of Bastard)

Vivienne (Jude’s half-sister, lesbian with canon gf, half-human half-faerie, I would totally try to be her friend)

Taryn Duarte (Jude’s twin sister, queen doormat, still, I would take a bullet for her she’s jUST TRYING TO FIT IN)

Rating: 5/5 Stars

These books have been on my “To Read” list for so long now and for some reason I just never got around to reading them! Hands-down, these are some of the best high fantasy books that I’ve read in a long, long while.

I finished the first book, The Cruel Prince, in just two days and rated it 5/5 stars! Even though these books are high fantasy and focus on the traditions and ways of life of faeries, somehow all of the characters seem like I could meet them in real life!

The main character actually has genuine flaws and not just “””“flaws”””” and is a Bad Bitch down with murder, and the plot had me on the edge of my seat from page one!

The summary makes it sound like it’s going to be about their romance, but it’s really mostly about a power struggle and Jude being a badass.

Goodreads summary for The Cruel Prince:

Jude was seven when her parents were murdered and she and her two sisters were stolen away to live in the treacherous High Court of Faerie. Ten years later, Jude wants nothing more than to belong there, despite her mortality. But many of the fey despise humans. Especially Prince Cardan, the youngest and wickedest son of the High King. To win a place at the Court, she must defy him–and face the consequences. As Jude becomes more deeply embroiled in palace intrigues and deceptions, she discovers her own capacity for trickery and bloodshed. But as betrayal threatens to drown the Courts of Faerie in violence, Jude will need to risk her life in a dangerous alliance to save her sisters, and Faerie itself.

2. The Raven Cycle Series by Maggie Stiefvater (Currently on #1, The Raven Boys)

Genre: Present-Day/Realistic Fantasy (?)

Setting: The fictional town of Henrietta, Virginia

I haven’t gotten around to much of the book, so there’s not much I can tell you about the characters and I can’t properly give it a rating yet.

These books were also on my “To Read” list for a while; I was a huge fan of her book The Scorpio Races and have also been looking for something to quench my thirst for “private school/ghosts/magic” that I’ve been dealing with ever since I read The Ninth House by Leigh Bardugo.

I’ve only JUST started The Raven Cycle yesterday, but so far I am hooked! I’m super worried because I’m TERRIBLE at juggling two series at a time but both of these are just so interesting!

Goodreads Summary for The Raven Boys:

“There are only two reasons a non-seer would see a spirit on St. Mark’s Eve,” Neeve said. “Either you’re his true love . . . or you killed him.” It is freezing in the churchyard, even before the dead arrive. Every year, Blue Sargent stands next to her clairvoyant mother as the soon-to-be dead walk past. Blue herself never sees them—not until this year, when a boy emerges from the dark and speaks directly to her. His name is Gansey, and Blue soon discovers that he is a rich student at Aglionby, the local private school. Blue has a policy of staying away from Aglionby boys. Known as Raven Boys, they can only mean trouble. But Blue is drawn to Gansey, in a way she can’t entirely explain. He has it all—family money, good looks, devoted friends—but he’s looking for much more than that. He is on a quest that has encompassed three other Raven Boys: Adam, the scholarship student who resents all the privilege around him; Ronan, the fierce soul who ranges from anger to despair; and Noah, the taciturn watcher of the four, who notices many things but says very little. For as long as she can remember, Blue has been warned that she will cause her true love to die. She never thought this would be a problem. But now, as her life becomes caught up in the strange and sinister world of the Raven Boys, she’s not so sure anymore.

MY MUST-READ BOOK LIST

1. The Gentleman’s Guide to Vice and Virtue by Mackenzi Lee

Genre: Historical Fiction

Setting: 1700s Europe (England, Paris, Barcelona, Marseilles, Venice)

Main cast (I’ll try my best not to spoil anything because you find out a LOT of different stuff about these characters throughout the book):

Henry “Monty” Montague (white, bi/pansexual, attitude problem)

Percy Newton (mixed race, gay, very sweet boy, definitely got “most likely to bring home to mom” in the yearbook)

Felicity Montague (white, Monty’s little sister, headcanoned as asexual, I love her to death)

Rating: 5/5 Stars

Daring adventure, gay representation, historical setting, hilarious characters!

This book literally has it all! I would consider it one of my favorite books of all time, yet for some reason I’ve never gotten around to reading any of the sequel books! The ending is very satisfying and ties everything together, which I feel is part of the reason why I haven’t gotten around to them yet.

Therefore, it can serve as a one-shot read or a full series if you want to dive into something good!

The humor made me laugh out loud at points and all of the characters are very real and very, very relatable, not to mention the vivid settings of 1700s Europe!

Goodreads summary:

Henry “Monty” Montague was born and bred to be a gentleman, but he was never one to be tamed. The finest boarding schools in England and the constant disapproval of his father haven’t been able to curb any of his roguish passions—not for gambling halls, late nights spent with a bottle of spirits, or waking up in the arms of women or men. But as Monty embarks on his Grand Tour of Europe, his quest for a life filled with pleasure and vice is in danger of coming to an end. Not only does his father expect him to take over the family’s estate upon his return, but Monty is also nursing an impossible crush on his best friend and traveling companion, Percy. Still it isn’t in Monty’s nature to give up. Even with his younger sister, Felicity, in tow, he vows to make this yearlong escapade one last hedonistic hurrah and flirt with Percy from Paris to Rome. But when one of Monty’s reckless decisions turns their trip abroad into a harrowing manhunt that spans across Europe, it calls into question everything he knows, including his relationship with the boy he adores.

2. The Ninth House By Leigh Bardugo

Genre: Horror, Fantasy

Setting: Yale University and the town of New Haven, Present Day

Main cast:

Galaxy “Alex” Stern (Hispanic, sees dead people, very scary)

Daniel Arlington “Darlington” (white, rich, an angel who can sometimes be a dick)

Pamela Dawes (tbh I honestly don’t remember what she looks like, only that she’s a tired grad student with big nerd energy)

Detective Alan Turner (Black, takes shit from nobody, husband material)

Rating: 4/5 Stars

(NOTE: THIS IS VERY DARK ADULT FICTION AND CONTAINS MATERIAL THAT MAY BE TRIGGERING FOR SOME PEOPLE, WOULD NOT RECOMMEND FOR PEOPLE UNDER 16)

This book is a great read for someone who’s looking for a disturbing, gritty book with layers upon layers of secrets that you have to peel away as the mystery unfolds. I love the secret societies and the intricate magic systems that the book introduces, and it actually made me hungry for more books like it!

Alex is a three-dimensional, very real character who also serves as an unreliable narrator who witholds or warps the information that she’s telling you, making the narrative all the more riveting.

The only issues that I have with it are the fact that Leigh Bardugo kind of just dumps you in the middle of it without explaining stuff first, to the point where it kind of feels like you’re reading the second installment of a series rather than the first one, so things can get a bit confusing at first.

The book also can drag and draw things out for a bit too long, but once the plot fully kicks into gear, you will not be able to put it down!

Goodreads summary:

Galaxy “Alex” Stern is the most unlikely member of Yale’s freshman class. Raised in the Los Angeles hinterlands by a hippie mom, Alex dropped out of school early and into a world of shady drug dealer boyfriends, dead-end jobs, and much, much worse. By age twenty, in fact, she is the sole survivor of a horrific, unsolved multiple homicide. Some might say she’s thrown her life away. But at her hospital bed, Alex is offered a second chance: to attend one of the world’s most elite universities on a full ride. What’s the catch, and why her? Still searching for answers to this herself, Alex arrives in New Haven tasked by her mysterious benefactors with monitoring the activities of Yale’s secret societies. These eight windowless “tombs” are well-known to be haunts of the future rich and powerful, from high-ranking politicos to Wall Street and Hollywood’s biggest players. But their occult activities are revealed to be more sinister and more extraordinary than any paranoid imagination might conceive.

3. The Lunar Chronicles by Marissa Meyer

Genre: Sci-Fi/Fantasy

Setting: Earth, Space, The Moon

Main cast :

Linh Cinder (Chinese, based on Cinderella, cyborg, certified badass)

Scarlet Benoit (French, based on Little Red Riding Hood, farmer who is not afraid to shoot you)

Cress Darnel (White, based on Rapunzel, nerd, I will protect her with my life if I have to)

Kaito “Kai” (Chinese, based on Prince Charming, kind of has to run a whole country, a very kind soul, deserves a nap)

Carswell Thorne (White, based off of Rapunzel’s Prince, bastard)

Winter Hayle (Black, based off of Snow White, royalty, has super special powers)

Wolf (Race unspecified, based off of the Big Bad Wolf, charming killing machine, furry????)

Rating: 5/5 Stars

Do you like fairy tales?

Have you ever wanted to know what fairy tales would be like if they took place in the FUTURE instead of the PAST?

Do you like an amazing, hilarious cast paired with a super interesting plot?

These are the books for you!

I haven’t read them in so long, but I remember how much joy I felt while devouring these pages. Definitely something you will not able to put down!

Goodreads Summary for Book #1: Cinder:

Humans and androids crowd the raucous streets of New Beijing. A deadly plague ravages the population. From space, a ruthless lunar people watch, waiting to make their move. No one knows that Earth's fate hinges on one girl. . . . Cinder, a gifted mechanic, is a cyborg. She's a second-class citizen with a mysterious past, reviled by her stepmother and blamed for her stepsister's illness. But when her life becomes intertwined with the handsome Prince Kai's, she suddenly finds herself at the center of an intergalactic struggle, and a forbidden attraction. Caught between duty and freedom, loyalty and betrayal, she must uncover secrets about her past in order to protect her world's future.

4. The Song of Achilles by Madeline Miller

Genre: Fantasy

Setting: Ancient Greece

Main cast:

Patroclus (Greek, Gay, quiet pining)

Achilles (Greek, gay, very strong, student athlete energy)

Brisies (Anatolian, clever, literally the only one in this story who has a brain cell)

Rating: 100000/5 stars

This is basically the Iliad but if historians hadn’t completely erased Patroclus and Achilles’ relationship. “Haha yeah these guys were totally bros” they say, even though I have read the Iliad and their relationship isn’t even subtle.

This book made me cry at least ten times. It’s just so beautifully written and has such a distinct vibe to it that whenever I crack it open for another time, it takes me straight back to the vacation that I read it on. (Needless to say, sobbing your eyes out can be less than helpful when you’re on the beach)

If you can only read one book on this list, it should be this one. I could talk all day about it and write novels on just how much of an incredible writer Madeline Miller is, but I feel like you’d get my drift a bit better if you actually read the book.

Goodreads Summary:

Greece in the age of heroes. Patroclus, an awkward young prince, has been exiled to the court of King Peleus and his perfect son Achilles. By all rights their paths should never cross, but Achilles takes the shamed prince as his friend, and as they grow into young men skilled in the arts of war and medicine their bond blossoms into something deeper - despite the displeasure of Achilles' mother Thetis, a cruel sea goddess. But then word comes that Helen of Sparta has been kidnapped. Torn between love and fear for his friend, Patroclus journeys with Achilles to Troy, little knowing that the years that follow will test everything they hold dear. Profoundly moving and breathtakingly original, this rendering of the epic Trojan War is a dazzling feat of the imagination, a devastating love story, and an almighty battle between gods and kings, peace and glory, immortal fame and the human heart.

Hope this list helps you through your coronacation, and please don’t be afraid to reblog or message me to tell me if you’ve read/will read any of these!

#books #book recs #book rec #book reccomendation #book reccomendations #coronacation #corona #coronavirus #covid-19 #book rec list

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bananaofswifts · 3 years

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Your guide to the singer-songwriter’s surprise follow-up to Folklore.

CARL WILSON

When everything’s clicking for Taylor Swift, the risk is that she’s going to push it too far and overtax the public appetite. On “Mirrorball” from Folklore, she sings, with admirable self-knowledge, “I’ve never been a natural/ All I do is try, try, try.” So when I woke up yesterday to the news that at midnight she was going to repeat the trick she pulled off with Folklore in July—surprise-releasing an album of moody pop-folk songs remote-recorded in quarantine with Aaron Dessner of the National as well as her longtime producer Jack Antonoff—I was apprehensive. Would she trip back into the pattern of overexposure and backlash that happened between 1989 and Reputation?

Listening to the new Evermore, though, that doesn’t feel like such a threat. A better parallel might be to the “Side B” albums that Carly Rae Jepsen put out after both Emotion and Dedicated, springing simply out of the artist’s and her fans’ mutual enthusiasm. Or, closer to Swift’s own impulses here, publishing an author’s book of short stories soon after a successful novel. Lockdown has been a huge challenge for musicians in general, but it liberated Swift from the near-perpetual touring and publicity grind she’s been on since she was a teen, and from her sense of obligation to turn out music that revs up stadium crowds and radio programmers. Swift has always seemed most herself as the precociously talented songwriter; the pop-star side is where her try-hard, A-student awkwardness surfaces most. Quarantine came as a stretch of time to focus mainly on her maturing craft (she turns 31 on Sunday), to workshop and to woodshed. When Evermore was announced, she said that she and her collaborators—clearly mostly Dessner, who co-writes and/or co-produces all but one of these 15 songs—simply didn’t want to stop writing after Folklore.

This record further emphasizes her leap away from autobiography into songs that are either pure fictions or else lyrically symbolic in ways that don’t act as romans à clef. On Folklore, that came with the thrill of a breakthrough. Here, she fine-tunes the approach, with the result that Evermore feels like an anthology, with less of an integrated emotional throughline. But that it doesn’t feel as significant as Folklore is also its virtue. Lowered stakes offer permission to play around, to joke, to give fewer fucks—and this album definitely has the best swearing in Swift’s entire oeuvre.

Because it’s nearly all Dessner overseeing production and arrangements, there isn’t the stylistic variety that Antonoff’s greater presence brought to Folklore. However, Swift and Dessner seem to have realized that the maximalist-minimalism that dominated Folklore, with layers upon layers of restrained instrumental lines for the sake of atmosphere, was too much of a good thing. There are more breaks in the ambience on Evermore, the way there was with Folklore’s “Betty,” the countryish song that was among many listener’s favorites. But there are still moments that hazard misty lugubriousness, and perhaps with reduced reward.

Overall, people who loved Folklore will at least like Evermore too, and the minority of Swift appreciators who disapproved may even warm up to more of the sounds here. I considered doing a track-by-track comparison between the two albums, but that seemed a smidgen pathological. Instead, here is a blatantly premature Day 1 rundown of the new songs as I hear them.

A pleasant yet forgettable starting place, “Willow” has mild “tropical house” accents that recall Ed Sheeran songs of yesteryear, as well as the prolix mixed metaphors Swift can be prone to when she’s not telling a linear story. But not too severely. I like the invitation to a prospective lover to “wreck my plans.” I’m less sure why “I come back stronger than a ’90s trend” belongs in this particular song, though it’s witty. “Willow” is more fun as a video (a direct sequel to Folklore’s “Cardigan” video) than as a lead track, but I’m not mad at it here either.

Written with “William Bowery”—the pseudonym of Swift’s boyfriend Joe Alwyn, as she’s recently confirmed—this is the first of the full story songs on Evermore, in this case a woman describing having walked away from her partner on the night he planned to propose. The music is a little floaty and non-propulsive, but the tale is well painted, with Swift’s protagonist willingly taking the blame for her beau’s heartbreak and shrugging off the fury of his family and friends—“she would have made such a lovely bride/ too bad she’s fucked in the head.” Swift sticks to her most habitual vocal cadences, but not much here goes to waste. Except, that is, for the title phrase, which doesn’t feel like it adds anything substantial. (Unless the protagonist was drunk?) I do love the little throwaway piano filigree Dessner plays as a tag on the end.

This is the sole track Antonoff co-wrote and produced, and it’s where a subdued take on the spirit of 1989-style pop resurges with necessary energy. Swift is singing about having a crush on someone who’s too attractive, too in-demand, and relishing the fantasy but also enjoying passing it up. It includes some prime Swiftian details, like, “With my Eagles t-shirt hanging from your door,” or, “At dinner parties I call you out on your contrarian shit.” The line about this thirst trap’s “hair falling into place like dominos” I find much harder to picture.

This is where I really snapped to attention. After a few earlier attempts, Swift has finally written her great Christmas song, one to stand alongside “New Year’s Day” in her holiday canon. And it’s especially a great one for 2020, full of things none of us ought to do this year—go home to visit our parents, hook up with an ex, spend the weekend in their bedroom and their truck, then break their hearts again when we leave. But it’s done with sincere yuletide affection to “the only soul who can tell which smiles I’m faking,” and “the warmest bed I’ve ever known.” All the better, we get to revisit these characters later on the album.

On first listen, I found this one of the draggiest Dressner compositions on the record. Swift locates a specific emotional state recognizably and poignantly in this song about a woman trapped (or, she wonders, maybe not trapped?) in a relationship with an emotionally withholding, unappreciative man. But the static keyboard chord patterns and the wandering melody that might be meant to evoke a sense of disappointment and numbness risk yielding numbing and disappointing music. Still, it’s growing on me.

Featuring two members of Haim—and featuring a character named after one of them, Este—“No Body, No Crime” is a straight-up contemporary country song, specifically a twist on and tribute to the wronged-woman vengeance songs that were so popular more than a decade ago, and even more specifically “Before He Cheats,” the 2006 smash by Carrie Underwood, of which it’s a near musical clone, just downshifted a few gears. Swift’s intricate variation on the model is that the singer of the song isn’t wreaking revenge on her own husband, but on her best friend’s husband, and framing the husband’s mistress for the murder. It’s delicious, except that Swift commits the capital offence of underusing the Haim sisters purely as background singers, aside from one spoken interjection from Danielle.

This one has some of the same issues as “Tolerate It,” in that it lags too much for too long, but I did find more to focus on musically here. Lyrically and vocally, it gets the mixed emotions of a relatively amicable divorce awfully damned right, if I may speak from painfully direct experience.

This is the song sung from the POV of the small-town lover that the ambitious L.A. actress from “Tis the Damn Season”—Dorothea, it turns out—has left behind in, it turns out, Tupelo. Probably some years past that Xmas tryst, when the old flame finally has made it. “A tiny screen’s the only place I see you now,” he sings, but adds that she’s welcome back anytime: “If you’re ever tired of being known/ For who you know/ You know that you’ll always know me.” It’s produced and arranged with a welcome lack of fuss. Swift hauls out her old high-school-romance-songs vocal tone to reminisce about “skipping the prom/ just to piss off your mom,” very much in the vein of Folklore’s teen-love-triangle trilogy.

A duet with Dessner’s baritone-voiced bandmate in the National, Matt Berninger, “Coney Island” suffers from the most convoluted lyrics on Evermore (which, I wonder unkindly, might be what brought Berninger to mind?). The refrain “I’m on a beach on Coney Island, wondering where did my baby go” is a terrific tribute to classic pop, but then Swift rhymes it with “the bright lights, the merry go,” as if that’s a serviceable shorthand for merry-go-round, and says “sorry for not making you my centerfold,” as if that’s somehow a desirable relationship outcome. The comparison of the bygone affair to “the mall before the internet/ It was the one place to be” is clever but not exactly moving, and Berninger’s lines are worse. Dessner’s droning arrangement does not come to the rescue.

This song is also overrun with metaphors but mostly in an enticing, thematically fitting way, full of good Swiftian dark-fairytale grist. It’s fun to puzzle out gradually the secret that all the images are concealing—an engaged woman being drawn into a clandestine affair. And there are several very good “goddamns.”

The lyrical conceit here is great, about two gold-digging con artists whose lives of scamming are undone by their falling in love. It reminded me of the 1931 pre-Code rom-com Blonde Crazy, in which James Cagney and Joan Blondell act out a very similar storyline. And I mostly like the song, but I can’t help thinking it would come alive more if the music sounded anything like what these self-declared “cowboys” and “villains” might sing. It’s massively melancholy for the story, and Swift needs a far more winningly roguish duet partner than the snoozy Marcus Mumford. It does draw a charge from a couple of fine guitar solos, which I think are played by Justin Vernon (aka Bon Iver, who will return shortly).

The drum machine comes as a refreshing novelty at this point. And while this song is mostly standard Taylor Swift torrents of romantic-conflict wordplay (full of golden gates and pedestals and dropping her swords and breaking her high heel, etc.), the pleasure comes in hearing her look back at all that and shrugging, “Long story short, it was a bad ti-i-ime,” “long story short, it was the wrong guy-uy-uy,” and finally, “long story short, I survived.” She passes along some counsel I’m sure she wishes she’d had back in the days of Reputation: “I wanna tell you not to get lost in these petty things/ Your nemeses will defeat themselves.” It’s a fairly slight song but an earned valedictory address.

Swift fan lore has it that she always sequences the real emotional bombshell as Track 5, but here it is at 13, her lucky number. It’s sung to her grandmother, Marjorie Finlay, who died when Swift was in her early teens, and it manages to be utterly personal—down to the sample of Marjorie singing opera on the outro—and simultaneously utterly evocative to anyone who’s been through such grief. The bridge, full of vivid memories and fierce regrets, is the clincher.

This electroacoustic kiss-off song, loaded up with at least a fistful of gecs if not a full 100 by Dessner and co-producers BJ Burton and James McAlister, seems to be, lyrically, one of Swift’s somewhat tedious public airings of some music-industry grudge (on which, in case you don’t get it, she does not want “closure”), but, sonically, it’s a real ear-cleaner at this point on Evermore. Why she seems to shift into a quasi-British accent for fragments of it is anyone’s guess. But I’m tickled by the line, “I’m fine with my spite and my tears and my beers and my candles.”

I’m torn about the vague imagery and vague music of the first few verses of the album’s final, title track. But when Vernon, in full multitracked upper-register Bon Iver mode, kicks in for the duet in the middle, there’s a jolt of urgency that lands the redemptive ending—whether it’s about a crisis in love or the collective crisis of the pandemic or perhaps a bit of both—and satisfyingly rounds off the album.

#taylor-swift #pop #rock #country-music

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violethowler · 4 years

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The Things That Matter

I’ve talked a lot over the last two months or so about the many different ways that the characters, story, and themes of the Kingdom Hearts series align with the framework of the Heroine’s Journey. For the final chapter in this series of essays, I’d like to talk about what it means for this series to follow this narrative formula. Because the fact that Kingdom Hearts fits into this storytelling pattern is critically important now more than ever.

The three most recent series I know of that aligned with the Heroine’s Journey framework all ended up missing the landing in various ways. Two of the three - Voltron: Legendary Defender and the Star Wars sequel trilogy - abandoned the formula in their final installments, while the third one - the Frozen movies - managed to fit into the formula almost completely, but suffered in the second movie from a lack of clarity as to which of the two leads is the main protagonist and which is the Animus. Two of these were under the Disney umbrella, and all three have had evidence found that executive meddling or other behind-the-scenes conflicts over story direction played a role in how the final installments ended.

As I mentioned in my essay “Into the Unknown,” when a story deviates from the structure it appears to be following, it produces a visceral sense of wrongness in the audience. In stories which up toward the end aligned with the Heroine’s Journey, that effect is amplified. The framework of the Heroine’s Journey was designed to uplift the experiences of identities outside of what society considers the default option in storytelling. The lived experiences of those identities are mirrored in the narrative’s themes. So when a story set up around calling out prejudices and double standards about those identities that are ingrained into the audience’s culture deviates from that formula, the result inevitably ends up reinforcing those biases instead, on top of the brokenness of the narrative in general.

In terms of how this applies to Kingdom Hearts, Sora and Riku’s individual character arcs have been noted by many LGBTQ+ fans to have notable parallels with elements of their own lived experiences:

Riku’s arc of learning to accept his darkness as something natural that’s a part of him and which he can express in a positive way mirrors how many LGBTQ+ people grow up with the idea that same-sex attraction is “sinful” and “unnatural” and have to unlearn that mindset in order to realize that there’s nothing wrong with them. Likewise, Mickey’s line in Re:COM about how spending time with Riku has positively changed his opinion about Darkness can be read as an analogy for straight people who are initially unsure of or hostile to LGBTQ+ identities changing their minds with education and first-hand interaction to become staunch allies. Esmeralda’s talk with Riku about how “There are just some things we need to keep separate from the world at large, at least until we have time to figure them out”[1], while on one level is referencing Riku’s Darkness and his inner turmoil relating to Ansem, can also describe the common LGBTQ+ experience of being in the closet and hiding that part of yourself from the people around you[2].

As for Sora, in Kingdom Hearts III he responds to Davy Jones’ comments in The Caribbean about the romantic relationship between Will and Elizabeth by saying that “I still have a lot to learn about love[3],” indicating he lacks understanding of his own feelings in the area of romance. This is supported by the official Kingdom Hearts Character Files book published by Square in February 2020. Short stories in this book featuring Sora’s POV depict him as actively confused about what romantic love is[4], and struggling to define the nature of his relationship with Riku[5][6]. This can be a common experience for LGBTQ+ youth growing up surrounded by media that only ever depicts romantic relationships as one boy, one girl. Many people who grew up like this—myself included—have had similar experiences of struggling to understand our own feelings about someone of the same gender because for our entire lives up to that point we had little or no exposure to the idea that being romantically interested in someone of the same gender as you was an option.

Sora and Riku are each written in ways that speak to common LGBTQ+ experiences, and the fact that so many things—the canon parallels to Disney romances, the match with how love interests are portrayed in the Heroine’s Journey, the fact that one of the series’ Lead Event Planners Michio Matsuura was described by the Co-Director Tai Yasue to be “head over heels for the bond between Riku and Sora’s hearts[7]”, in connection with his enjoyment of “pure love dramas[7]”—are all pointing to the conclusion that these similarities did not happen by accident, but by design.

It makes so much sense for Heroine’s Journey narratives to be used to tell LGBTQ+ stories because there are so many ways that homophobia and transphobia overlap with and are rooted in the very same gender and cultural norms that the framework challenges. Many countries have come a long way towards public acceptance of LGBTQ+ identities, but in terms of the stories that we tell, mainstream fiction is still skewed in favor of stories with protagonists who are straight and cisgender. Storylines with straight romance are treated as a society-wide default, while creators in countries like the U.S. who want to include even the smallest background references to LGBTQ+ relationships have had to fight and push back against corporate pressure to remove them.

This is especially true for media aimed at children and teenagers, as the fact that being openly LGBTQ+ is still widely considered problematic in many countries is frequently used by entertainment executives in ostensibly more progressive countries as an excuse for censoring LGBTQ+ storylines and characters. Multiple creators working on animated shows for Disney and/or its competitors have spoken out in recent weeks about the resistance they faced to including LGBTQ+ relationships[8][9][10] and how they were told that openly acknowledging characters as non-straight was too controversial or “inappropriate for the channel"[9].

As a consequence of this environment, creators wishing to depict non-heterosexual relationships have had to resort to creative methods of getting the implications past the censors in a way that LGBTQ+ audiences would recognize while still maintaining plausible deniability so that the executives could make money off the story in anti-LGBTQ+ markets. The downside to this is that because these efforts are more subtle, most straight audiences will either not notice the implications, or else dismiss them as an accident. Some will go as far as coming up with alternate explanations to justify why any potential LGBTQ+ subtext about a character or relationship could not possibly have been put there by the creator intentionally.

This extends not only to audiences, but also to people who interact with these stories in a professional capacity, such as translating and marketing a story’s international release. Animated shows that feature same-gender relationships have had international dubs change the gender of one character in the pairing to make it straight, for instance. Or there's the infamous example of how the English dub for Sailor Moon in the 1990s changed two girls from lovers to cousins in order to provide an explanation for their closeness that didn't involve acknowledging that the characters were not straight. In terms of the Kingdom Hearts series, the English localization has routinely downplayed LGBTQ+ subtext in the series while in some cases adding romantic undertones to interactions between a male and female character that did not exist in the original Japanese script. Kingdom Hearts III was one of the most egregious examples of this:

Hercules’ recollection of how he dove into the River Styx to save Megara’s soul in KH2 is thematically connected to Riku sacrificing himself for Sora at the Keyblade Graveyard through the phrase taisetsu na hito (literal meaning: “precious person”) when Hercules is talking to Sora in Olympus and when Mickey is talking to Riku in the Realm of Darkness at the beginning of the game. The English version translates this as “person I love most” for Hercules, while changing it to “what matters” for Riku and Mickey to call back to his meeting with Terra in Birth by Sleep, which the scene includes a flashback to. While Mickey and Riku’s original meaning can still be deduced from the conversation around it, especially with Mickey saying "sometimes you care about someone so much," changing the line for the sake of a callback downplays the evolution of Riku’s goals from protecting “things that matter” to protecting “the *person* who matters”.

Donald and Goofy’s teasing Sora in the scene at Galaxy Toys where Sora comments on how much he or Riku resemble Yozora is framed in the English version as “Riku would be a great action figure because he’s cool, unlike Sora.” However the original Japanese indicates that the teasing is centered around the fact that Sora said a character who looks like Riku was good-looking.

When Kairi offers Sora a paopu fruit, she says in the original Japanese that it’s simply a good luck charm so that they don’t get separated, while in the English localization, she says “I want to be a part of your life no matter what, that’s all.” While “that’s all” still fits with how the parallels to Winnie the Pooh indicate her connection with Sora has weakened and she wants to maintain it, the first part of the English line calls back to the legend of the fruit introduced in KH1, which was openly referred to as romantic by Selphie in the original and localized versions of the first game. As a result, this adds romantic implications that contrast with Sora’s unreceptive body language and facial expressions[11] as he reacts to the initial offering of the paopu fruit.

In the original Japanese, Riku’s words to Sora before his sacrifice at the Keyblade Graveyard translate to “I believe in you. You won’t give up.” The English localization changed it to “You don’t believe that. I know you don’t.” Not only does it remove a callback to the original game, but this phrasing dowplays Riku’s faith in Sora and ignores Sora’s very clear feelings of inadequacy.

During the scene where Sora and Kairi are floating through the dark tunnel toward the Keyblade Graveyard, Sora’s line in English, “I feel strong with you,” was originally an acknowledgement of Kairi’s strength that called back to how he wouldn’t let her come along on the return trip to Hollow Bastion in the first game because he thought she’d “kind of be in [his] way”[12]. Removing this callback takes the focus away from Kairi’s growth and brushes aside one of the ways the game shows that Sora’s view of her has changed over the course of the series.

Some fans defend changes such as these insisting that the development team had to have approved of them. However Testuya Nomura himself feels strongly enough about the subject: he stated in a 2018 interview several months before KH3's release that “an incorrect or defective translation risks compromising the comprehension of the whole story,” referring especially to the Kingdom Hearts series[13], and the English localization of Re:Mind—which was much more accurately translated than the base game—directly references the original meaning of Kairi’s words during the paopu scene in one of the DLC’s Kingstagram posts. This all indicates that changes such as these that remove important connections or change the meaning of the conversation are ones that the development team very much do not approve of.

LGBTQ+ fans of Kingdom Hearts who recognize their own experiences reflected in Sora's and Riku’s journeys know that Disney has not had a good track record when it comes to depicting LGBTQ+ characters in properties they are affiliated with. The most we ever get in their movies are background moments or nameless characters that are only there in one scene that easily can be cut out for distribution in countries with heavy anti-LGBTQ+ legislation. And that’s if the character’s orientation is even mentioned out loud in the film at all instead of simply being confirmed by interviews before or after release but never acknowledged on-screen. Television has fared better, but until recent years we never had any main characters who were confirmed in-show to be anything but straight. But things are slowly starting to improve. Within the last few years shows like "Andi Mack" and "The Owl House" have depicted major characters as openly interested in others of the same gender[14], and Pixar recently released a short as part of their Sparknotes program called “Out”, which openly centers on a man worrying about telling his parents he’s gay.

This is why it is so important that the Heroine’s Journey of Kingdom Hearts follow through to a structurally appropriate conclusion, with the development team being given the freedom to tell their story in full without restriction or censorship. Deviating from the formula this late in the series would represent a continuation of the recent trend of Heroine’s Journey narratives being structurally broken by inference from forces other than the main creative team. But if the Kingdom Hearts story is able to complete it’s Heroine’s Journey without executives or localization teams getting in the way of the intended story, then the LGBTQ+ themes already present in Sora and Riku’s journey will break so many barriers,challenge people’s expectations of what is possible, and convey powerful messages of self-discovery and acceptance—just like the framework was designed to.

Sources

[1] Kingdom Hearts 3D: Dream Drop Distance; Square Enix; 2012.

[2] Tumblr post by @blowingoffsteam2; December 3, 2019. https://blowingoffsteam2.tumblr.com/post/189461796759/blowingoffsteam2-dont-mind-me-over-here-just

[3] Kingdom Hearts III; Square Enix; 2019.

[4] Translation of KH Character Files Beast’s Castle story by @lilyginnyblackv2; February 3, 2020. https://lilyginnyblackv2.tumblr.com/post/611420864489062401/character-files-beasts-castle-story-english

[5] Translation of KH Character Files Arendelle story by @lilyginnyblackv2; March 3, 2020. https://lilyginnyblackv2.tumblr.com/post/611490139845345280/character-files-arendelle-story-english

[6] Translation of KH Character Files Arendelle story by @notaseednotyet; March 1, 2020. https://twitter.com/notaseednotyet/status/1233993459670765569

[7] “Message from the KINGDOM” Updates!; April 11, 2012. https://www.khinsider.com/news/-Message-from-the-KINGDOM-Updates-2427

[8] “”Steven Universe” and “She-Ra” creators on Representation”; Paper Magazine; August 5, 2020. https://www.papermag.com/rebecca-sugar-noelle-stevenson-2646446747.html

[9] Twitter thread by Gravity Falls creator Alex Hirsch; August 9, 2020. https://twitter.com/_AlexHirsch/status/1292328558921003009

[10] Twitter thread by Owl House creator Dana Terrace; August 9, 2020. https://twitter.com/DanaTerrace/status/1292321440029478917

[11] Frame by frame analysis of Sora and Kairi’s body language during the KH3 paopu scene by @notaseednotyet; September 14, 2019. https://twitter.com/notaseednotyet/status/1172774158167506944

[12] Kingdom Hearts; Square Enix; 2002.

[13] “Nomura stresses the importance of direct translations on story comprehension, and talks about world development as well as the Gummi Ship;” August 27, 2018. https://www.kh13.com/news/nomura-stresses-the-importance-of-direct-translations-on-story-comprehension-and-talks-about-world-development-as-well-as-the-gummi-ship/ [14] Disney’s The Owl House Now Has a Confirmed Bisexual Character; August 9, 2020. https://io9.gizmodo.com/disneys-animated-series-the-owl-house-now-has-a-confirm-1844665583

#kingdom hearts and the heroine's journey #kingdom hearts meta

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arowrimo · 4 years

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AroWriMo 2020 Writing

Here’s a masterpost of the 36 works from Aromantic Writing Month 2020 (under the cut)

Do share, like, and comment on the works you enjoy!

Poetry:

Screams by @exhausted-queer

Prompt: Self-love Language: English Words: 464 CWs: self harm, depression, death, grief, abuse, sex, sexual abuse

Let Me Be by Anon (via ask)

Theme: Loveless Prompt: Acceptance Language: English Words: 86 CWs: Ableism, Aphobia

Ballrooms and Waves by @aro-ace-and-hungry

Theme: Loveless Language: English Words: 655 CWs: Romance mention, Anxiety

Loveless by @soph00bear

Theme: Loveless Language: English Words: 207 CWs: Aphobia mention, Arophobia mention

Am I A Monster? by @wish-ful-thinking513

Theme: Loveless Language: English Words: 157 CWs: Arophobia, Blood, Aphobia, Gore

Short stories:

Loveless by @kitkatt0430 Ao3 link

Original fiction Prompt: Acceptance Language: English Words: 753 CWs: Emotional/Psychological Abuse, Unhappy relationship, Gaslighting, Implied/Referenced Alcohol Abuse/Alcoholism, Amatanormativity Summary:

She’s never been in love. It’s an odd realization to have as she’s packing her things and he’s given up on asking her to stay. Now he just obstructs her on occasion, arguing that things which are hers are really his.

Some things are worth the effort to fight for. Others are not.

He is not.

Two by @junietuesday Ao3 link

Original fiction Theme: Subverting romantic tropes Prompt: Community, Acceptance Language: English Words: 953 CWs: Sex References (character is aroallo), Homophobia, Brief Mentions of Racism + Ableism, Internalized Amatonormativity Summary:

The girl is a loner.

Of her own will and desire, of course. Not because she’s a little too open about her opinions (particularly about romance), and a little too closed-off when they ask her why she has them. Not because she’s terrified what her fellow ninth graders will do to her when they realize she has no soulmark. Not because she figures that she might as well just push them away first, before they can push her.

To Unmask A Witch by @agnezztealeaf

Original fiction Language: English Prompt: Friendship Genre: Fantasy Words: 4457 CW: Discussions around amatonormativity and heteronormativity, references to blood and violence

Summary:

It wasn’t that the cottage at the outskirts of the village was actually run-down or dilapidated, but if you squinted and looked at it through your eyelashes in dim light, you could imagine that it could be. It wasn’t that it was a ruckle, it was that the children thought it should be one.

You see, if a witch lived in a cottage, then that cottage should be falling apart, its windows murky with mould, the roof broken and roof shingles scattered on the garden path and in the flowerbeds, and the garden a mess of weeds and rotting greens. It felt insulting, the children thought, that an otherwise perfectly scary and threatening witch should live in such a charming and well-kept little house. So, when they hid in the forest near the cottage, staking it out, or walked past it on their way to a friend’s house, they squinted and imagined what should have been there, instead of what really was.

Annie of Anglesey by @writelikeanaro

Original fiction Language: English Theme: Subverting romantic tropes Prompt: Self-love Genre: Historical fiction/folk tale Words: 4,676 CWs: Past marriage, Unwanted romantic interest, Public proposal, Grief

Summary:

Annie is living quite happily alone in the mountains, when the king comes to her for aid in a competition. Hoping to get something for herself out of the situation, she agrees to help him.

Seed of A Memory by @skylights422

Original fiction Language: English Theme: Subverting Romantic Tropes, Fantasy Prompt: Friendship Genre: Fantasy, Drama Words: 1907 CWs: Brief mentions of racism and arophobia

Summary:

Fiera Casales takes a stroll with her pretend boyfriend and ponders the importance of things like love and memory.

Should Auld Acquaintance Be Forgot by @wellintentionedbibliophile

Original fiction Language: English Theme: Subverting Romantic Tropes Prompt: Friendship Genre: Fiction Words: 1088 CWs: Breakup, End of the World, Neopronouns

We’re not quite a gang (more like a strange family) by @amanita-cynth Ao3 link

Original fiction Language: English Category: Short Stories Prompt: Friends and Pride Genre: Superheroes/Slice of Life Words: 5232 CWs: Background romantic relationship mentioned, discussion of aphobia and amatonormativity, bomb mention

Summary:

Some scars aren’t physical and can be all the worse for it. But maybe a woman brimming with her own hard-won self confidence and the new friends they pick up afterwards can help Allen overcome the hurtful words from his past. After all, if a dozen new friends think you’re great and a literal god chose you as a Champion it shouldn’t be so hard, right?

“Oh.” He blinked. “People usually say it’s weird that I don’t want people- women- flirting with me.”

“Boundaries are boundaries.” She waved a hand dismissively. From the depths of her hood, her eyes gleamed with light from a passing car and briefly lit up more details; the casual ease of her expression, her slightly lidded eyes, the soft curves of her warm, brown face. Shame it didn’t do much for him beyond the realisation that she really was that nonchalant about it, and also quite beautiful.

And A Monster Steals Your Children by @arosnowflake

Original fiction Language: English Prompt: none/belonging (loosely) Genre: Fantasy Words: 2170 CWs: heavy ableism (including internalized ableism), off-screen child murder, ableist language, mild amatonormativity.

Summary:

It is said that, in a tower rising above the valley, a monster lives, and that it steals children’s souls. Netel, one of those stolen children, goes to kill it.

Untitled by @wish-ful-thinking513

Original fiction Language: English Genre: Sci-fi Words: 951 CWs: Needles, injections

Summary:

This is a short story based on a prompt from @lgbtqwritingprompts. I don’t usually write sci-fi, so this was a fun change… I feel like it was obvious that science isn’t really my thing though. I tried to keep stuff vague (ie: are clones human??? The more I thought about it, the less sure I was)… well, I tried my best!

November: The Hell Week to End All Hell Weeks by @eadrey-the-iptscray Ao3 link

Fandom: Pacific Rim (2013) Language: English Theme: Subverting romantic tropes Prompt: Community and acceptance Genre: Slice of life Words: 2,776 CWs: Bigotry mentions, light marital romance

Summary:

The Shatterdome baristas meet the regulars. Teasing, pranks, and awkward small talk ensue.

Traditional by @amanita-cynth Ao3 link

Fandom: Leverage Language: English Theme: Subverting romantic tropes Prompt: Acceptance Genre: Character study Words: 1393 CWs: References to sex (aro character is aroallo), romantic relationship in the background and referred to, marriage mentioned

Summary:

Eliot doesn’t so much fall in love as come to the realisation that he’s going to die for them.

Or: How Eliot learns some new things about himself and Parker and Hardison learn just how to stay with him.

February - Leap Year Sucks by @eadrey-the-iptscray Ao3 link

Fandom: Pacific Rim (2013) Language: English Theme: Subverting romantic tropes Prompt: Family and self-love Genre: Slice of life Words: 2,866 CWs: Lingering grief over a parent’s death, light marital romance

Summary:

The Shatterdome baristas and regulars slog through a soggy February with all kinds of struggles. At least they've got each other to commiserate with.

Skywalker by @kitkatt0430 Ao3 link

Fandom: Star Wars Sequel Trilogy Language: English Prompt: Family Words: 2,964 CWs: Major character death, indentured servitude/slavery

Summary:

Rey’s family was never coming back for her. In learning to accept this and move on, Rey builds herself a whole new family, one choice at a time.

A Place to Start by @kitkatt0430 Ao3 link

Fandom: Supergirl (TV 2015) Relationships: Kara Danvers/James “Jimmy” Olsen Language: English Prompt: Acceptance Words: 2,993 CWs: Break up

Summary:

“I’m doing that thing again,” Kara told the duck. It ignored her for the corn. “Always happens. I was trying so hard not to do it this time, but there it goes. Happening all over again.”

(In which Kara doesn’t need Alex to tell her that dating James is making her miserable. But she does wish someone would tell her why every time she starts dating someone, her romantic feelings fizzle out shortly afterwards.)

The Only Trope for Me is You by @tommytonebender Ao3 Link

Fandom: The Venture Bros Relationships: Billy Quizboy/Pete White Language: English Theme: Subverting romantic tropes Genre: Supernatural, character study Words: 4,338 CWs: Discussions of amatonormativity, non-explicit sexual humor, most references are there to make fun of fanfic tropes, language, brief heavy themes.

Summary:

Supernatural forces ensnare our heroes, forcing them to… have a grown-up conversation? [A fake episode B-Plot]

April - Confessions and Epiphanies by @eadrey-the-iptscray Ao3 link

Fandom: Pacific Rim (2013) Language: English Theme: Subverting romantic tropes Prompt: Friendship and pride Genre: Slice of life Words: 2,261 CWs: Martial affection and love confessions

Summary:

Finally, communication!

Miss You by Dain Ao3 link

Fandom: Star Wars Original Trilogy Language: English Prompt: Friendship Words: 484

Summary:

Luke huffed. “Maybe I don’t want to leave.”

“You do,” Biggs said. “You know it’s worth it. You’ll do fine.”

Baby I’m Not Made of Stone, It Hurts by @emjenwrites Ao3 link

Fandom: Peaky Blinders BBC Language: English Genre: Angst, Hurt/Comfort, Character Study Words: 22.6K (only the first 1.7K on tumblr, follow the links to AO3 for the rest) CWs: romance (character is demiromantic), implied/referenced sexual content, implied/referenced pedophilia (basically the same level of implication as canon), implied/referenced suicide, one instance of antiziganism, internalized arophobia (so much internalized arophobia), arophobia, self-hatred, canon-typical language, child abuse, parentification, codependency, prostitution, kidnapping, emetophobia, PTSD, traumatic brain injuries, headaches and migraines

Summary:

Things with the Russians and Section D had started bad and ended worse, and that was before Polly, Arthur, John, and Michael went and got fucking arrested. Or Tommy Shelby grapples with loneliness, guilt, health issues, and romantic orientation in the aftermath of s3.

Unease by Dain Ao3 link

Fandom: Star Wars Original Trilogy Language: English Words: 1,227 CWs: One-sided attraction, Unwanted romantic interest

Summary: Beritt was new, and not in Luke’s squadron, but you got to know people. There’d been barely anything to do for the last week but mingle.

Which would have been enjoyable, if not for the fact that Beritt was…interested in Luke.

July - Come Back Home, And Soon by @eadrey-the-iptscray Ao3 link

Fandom: Pacific Rim (2013) Language: English Theme: Subverting romantic tropes Prompt: Belonging and comfort Genre: Slice of life Words: 1,271 CWs: None

Summary:

Summer break means quiet days at The Shatterdome and the same old conversations with family.

The Only Demons Here are Mine by @amanita-cynth Ao3 link

Fandom: One Piece Language: English Prompt: Belonging and Comfort Genre: Character/Relationship Study Word count: 3048 Content warnings: Mental health issues including dissociation and suicidal thoughts and ideation. Medical/bodily things discussed. Spoilers for Law’s backstory and violence therein.

Summary:

But he’d said it, hadn’t he, at Dressrosa? That if it all went wrong Law wanted to die by his side. Naturally, it had been 80% about Doflamingo, but there had been a part of him screaming: he’s here and in danger because of you, because he does the right thing just because he can, because he is selfish and insanely determined about those he calls friends and you knew that and still let him get close, because he looked at you and called you a good man and the least you can do for someone like that is die alongside them.

Or: dealing with a pirate war and a sudden lack of life goals is bad enough without trying to figure out confusing new feelings.

Chapter 2 of The Coffee Shop AU by @theinvisiblegurlz

Fandom: Assassin’s Creed Movie Language: English Theme: Subverting romantic tropes Genre: Coffee shop AU CWs: Amatonormativity mention Summary:

A non-romantic coffee shop AU.

To Our Future by Dain Ao3 link

Fandom: Star Wars Original Trilogy Language: English Word count: 999 Content warnings: Grief, Anxiety

Summary:

Luke couldn’t keep the smile off his face.It was such a simple expression; the flexing of a few muscles, and not nearly enough to give full voice to his soaring, unrestrained joy, the lightness and fullness of spirit that made him ache until he thought he might burst with the strength of it.

Microfiction:

Rain by @wellintentionedbibliophile

Original fiction Language: English Genre: Science fiction Word count: 319 CWs: none

Novel:

The Crystal Heart by @twilight-lukos

Language: English Theme: Fantasy Genre: Speculative Fiction / Fantasy

Excerpt 1

 Word Count: 931 CWs: Feeling pressure to choose a romantic partner

Summary:

Prince Haraq visits Princess Chareith, who has a reputation for being difficult to suitors. The two bond over a legend Chareith loves about the lost Crystal Island. Haraq expresses interest in her opinions but shows no romantic interest.

Excerpt 2

Words: 695 CWs: none

Summary:

After Chareith expresses her frustrations, Haraq suggest the two sneak out for a day and do some exploring. Chareith agrees, thinking to find some interesting relics in the nearby desert and marsh, maybe in relation the legend of the Crystal Island.

Excerpt 3

Words: 587 CWs: feelings of forced romantic normalcy or amatonormativity

Summary:

While on a secret outing, Chareith is abducted by a sorcerer and taken to an isolated tower with a mysterious history. The sorcerer tells Chareith that she has magical potential. Finding this to be true, she wonders what this means for her now.

Excerpt 4

Words: 846 CWs: none

 Summary:

While on a secret outing, Chareith is abducted by an invisible, flying creature. Haraq sets out to find her. The stone fragment he and Chareith found has led him into a strange place, bordered by mist. A/N: this occurs before Excerpt #3; I wasn't going to post this but I've had it all nicely prepped to go since early February and I did want to share it, even if it's vaguer about the aromantic angle in-story

Non-fiction:

Aromantic Writing Month! by @anonymousaroace

Language: English Theme: Acceptance Words: 487

Kricket’s First Zine by @autcore Direct link

Language: English

Summary:

Super short aro perzine about questioning and being lonely whilst aro

Game:

To Be Aspected (WIP) by @anonymaceally Latest update itch.io game link

Ally submission Language: English Theme: Fantasy Prompt: Mythos, fables Genre: Friend sim/Fantasy CWs: Some unwanted flirting. Discussions about gender and sexual identity. Adult language and situations like taxes. Content might be unfinished.

Summary:

The reader walks into a tavern owned by a squad of Aces called “Queen Anne’s Ace” . The reader stays for a week and enjoys has interesting conversations with the patrons there.

#aro #arospec #aromantic #writing #writeblr #AroWriMo 2020 #Masterpost #if anything's missing #or anyone wants info adding/updating #just let me know

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brokenmusicboxwolfe · 3 years

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Seems like a good time to dump this from the drafts....

You know, I think I was kinda lucky about when I saw Star Wars the first time.

First off, I was tiny. It was my first PG rated movie and my mother was worried about me going to see it. It’s a bit funny, considering I’d seen worse on tv since I’d always watched whatever my parents watched.** While Mom took my baby brother to a park, Pop and I saw the movie. I was little enough that he whispered the subtitles for Greedo to me. I gripped Pop’s hand tightly when Vader first appeared, but otherwise I was bothered at all. In fact I was thrilled. I came out of it bouncing and hyper, insisting we had to take the others to see it the next day. It was the greatest movie EVER, or so I felt at the time, and I wanted everyone to see it too. I was watching it at an impressionable age.

Secondly, this was the original release, so Star Wars mania was exploding. I’d gone in knowing nothing more than what I’d seen in tv ads (not even theatrical trailers), and I was the first of my friends to see it, but almost instantly Star Wars was everywhere. There is a gag from SNL I’d see many, many years later where Bill Murray plays a lounge singer everyone keeps requesting sing the Star Wars theme, and honestly that sort of sums up the enthusasim for the movie at the time. *** It was a pop culture moment that must have been annoying as hell if you hated the film, but great if you were a little girl determined to be Princess Leia when you grew up.

Thirdly, and most importantly, only Star Wars existed. One film. One film that no one knew yet would have a sequel. In fact, when I first saw it Marvel was just publishing the comic adaptation, there was a novelization....but no spin off media yet. Even the action figures hadn’t hit the shelves. And this meant the possibilities were endless!

See, I like that. I like imagining and figuring things out around the blank spaces left in fiction. For instance, “The Clone Wars” sounded epic and mysterious, and I was free to imagine anything I wanted, once I found out what clones were. Armies of clones fighting each other? Non- clones fighting clones? Fighting over the ablity to clone? A war where clones joining in saved the day? The fantasies of a kid just learning to tie her shoelaces was as valid as anyone else’s ideas.

Even once spin off media occured, it was still a bit limited and hardly felt as official as movies. Marvel comics were fun, but even as a kid I felt they were there own seperate universe. And the novel “Splinter of the Mind’s Eye” that Mom read us on a car trip better be non-canon because little me sure was annoyed Leia couldn’t swim but desert dwelling Luke could just so she could be the weaker (AKA “the girl”) one in the scene. I could ignore anything I wanted as long as it wasn’t on screen, and I did.

But somewhere, post Jedi (look, I grew up not using episode titles or letter soup for the short version of the then trilogy. It was “Star Wars”, “Empire”, and “Jedi” to me) the blanks started getting some serious filling in. I was still into the whole “Making of” but I started skipping a ton of the spin off media, and certainly wasn’t interested in having every detail explained away.

Now it’s a fandom where a third stormtrooper to the left in a two second shot will “officially” have a name, a back story, and might just show up again later. Everything ties together in what to most seeks like an elaborate web, or maybe a net snaring their interest, but to me it’s more like a big boring old knot.

Once upon a time, or should I say a long, long time ago, Star Wars felt like a universe I could slip in through the gaps and go play, and now it’s like those gaps have been filled with cement.

I admit I prefer goofing around in headcanon to policing actual canon with my fandoms. Always have. It’s kind of the desire to explore over being told all the “rules”. Sure I can still imagine anything I want, but it’s less fun you when you know there is an official version out there. And who wants to mention a playful idea and get hit with “Well, actually...” lectures about how a novel in the 1990s or an interview with Lucas five years ago “proves” you are wrong.

Don’t get me wrong, I get most fans like to see everything, know everything, and connect everything. There is nothing wrong with those that want every detail sketched out, and devour in universe lore. It’s as old as geeky interests. Tolkein’s appendixes (that my father actually insisted I read to him when I read the books to my parents) is proof of that. Lots of Middle Earth fans have them practically memorized. Lots of Star Wars fans are wired that way too, it just isn’t me.

I just think I got lucky to be a little child during that little window when Star Wars films suited a kid like me. The pages were still mostly blank and I could draw whatever I wanted. And did.

Oh well, at least I still have Doctor Who where the spin off media doesn’t just contradict itself, the show itself contricts it's itself too.

*** Funnily the day after seeing the movie I was humming the theme loudly as I played on the trampoline in my yard and the boys (I was the only girl in the neighborhood at the time) wanted to know what it was. “The best music from the best movie ever!” Weird how it stuck in my head so fast.

#movies #star wars #rambles

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smokeybrand · 3 years

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Rise of the Skywalker

This sh*t with Lucasfilm is wild to witness. I’m not really one to buy into entertainment gossip but i am emotionally invested in Star Wars. I’m an Eighties kid, man. Star Wars helped to shape our childhood growing up. Vader is one of my all-time favorite antagonists. Ahsoka has grown to rival him in my heart as a beloved character. As a cat who creates, myself, i can’t help but adore the passion and creativity i n the entire world lore around the Skywalker legend. I mean, look at everything built around those first three films. Just taking Legends into account, you have the absolutely excellent Shadows of the Empire and the Thrawn trilogy. More than that, and probably one of the best game franchises ever realized, you have The Knight of the Old Republic. F*ck, dude, Revan? Nihilus? Bastila? Kreia? HK-47? This is Bioware at it’s finest, save Mass Effect 2. And then Disney cam in and f*cked it all up.

Kathleen Kennedy has been a poison to the franchise, and not because of her identity politics. Look, you can work in your ideals and messages without being so goddamn heavy-handed with it but this chick, and her “writer’s group.” can’t craft a story to save their lives. That’s the problem here. Not Rey or Finn or Poe. Not Holdo or Rose Tico. Not even Snoke. It’s how these characters were presented, it’s how the writing shaped them. I’ve written at length about how Rey was a missed opportunity and, according to the original leaked treatment, that misstep was more like an outright face-plant The Rey that was to grow throughout the Sequel trilogy, culminating in a battle between a fully realized, Jedi Knight Rey and a fully realized Sith Lord Ren, should have been the Last Jedi we got. Instead, we got what we got and it shattered the credibility of the entire franchise. Star Wars, the most successful franchise in cinematic history until the MCU came through, was on life support. Forty years of solid, narrative storytelling, ancillary material, and fan passion, squandered because the chick in charge wanted to instill everything with her identity politics, using something she had no creative credit toward, co-opting the shine of another, to secure her legacy. And she did just that; Kathleen Kennedy was the person who almost killed Star Wars. Kennedy’s legacy of failure, secure. But then, a new hope. Jon Favreau, the progenitor of the MCU, stepped forward and saved Star Wars with his show, The Mandalorian.

John Favreau is a great creator. Dude not only gave us Iron Man, but Chef, Swingers, and Elf. He gets the content but, more than anything, Favreau understands how to craft a goddamn story. He was appointed to The Mandalorian and given creative control by, at the time, CEO of Disney, Bob Iger. Favreau, in partnership with the genius pariah, Dave Filoni, architect of Star Wars: Clone Wars, Rebels, and the best f*cking character created in the modern era, Ahsoka Tano. With theses two at the helm, Mando returned to the true essence of a Star Wars tale. They created their own pocket universe, one with the evolution of the Mandalorian culture and sprinkled with shenanigans of an adorable, and marketable, Baby Yoda. That first season gave us amazing characters like Din Djaran, Cara Dune, Greef Kaga, and Moff Gideon. That first season of Mando saved the franchises and that is not an exaggeration. It felt like Star Wars. The characters were rich and developed. More than anything, the stories told were absolutely excellent. The funny thing about that? Mando isn’t expected to succeed like it did. No, everyone, including Kennedy, thought it was going to fail. She fought, tooth and nail, against what Favreu was trying to created, sabotaging him at every turn. But he was able to complete his show and the fandom received it with utmost fervor, eclipsing anything Kennedy and her idealouges every created. Then season two dropped.

I’m not going to sit her and say that the narrative for Season two was better than the first. It wasn’t. But that’s because season two of The Mandalorian was a love letter to the fans. Favreau and Filoni had a hit on their hands with Mando and, more importantly, they made Star Wars profitable again. This gave the two of them a margin of creative freedom that expanded into something truly marvelous. That second season of Mando was able to dig deep into the lore, introduce fan favorite characters like Ahsoka Tano and Bo-Katan Kreyze, reintroducing Boba Fett while giving him a bad-ass second in Fennec Shand, while expanding the universe for spin-offs and delivery a franchise altering return of a Jedi Knight, Luke Skywalker! Kennedy spent her entire sequel trilogy, discrediting and marginalizing the old trilogy, typified by the complete destruction of Luke in The Last Jedi, only for Mando to overturn, redeem, and empower Luke with a two minute gauntlet of Force awesomeness that rivaled the utter dominance displayed by his father at the end of Rogue One. That tidbit about Vader? Yeah, Kennedy fought against that, too. The Mando came through and proved that fallowing Lucas’ path was the true way of the Star War and Chepek agreed. We now have this entire blueprint of shows birthed from this one season, that will build toward an Avengers-level event. Ahsoka, Rangers of the New Republic, and The Book of Boba Fett will all culminate in a cinematic experience, most likely a theatrical film, based around Thrawn. And, more to the point, people are excited about this sh*t. People are looking forward to this sh*t. People want this sh*t. What they don’t want is more of Kennedy’s politics and bullsh*t hot-takes, masquerading as Star Wars canon. Case in point, the abject failure of The High Republic.

Before Favreau and Filoni came through and saved Star Wars, Kennedy had this entire idea for a full-on Star Wars universe, built upon token diversity and f*cking Space dinosaurs. There was a pitch meeting that showed a literal checklist and story was the third or fourth option. How the f*ck is story not the first thing on the list for an actual narrative you’re writing? Why the f*ck isn’t the Writer’s group, not putting story first, in a narrative they’re constructing by committee? That is the genesis of The High Republic. In the time that Youtube preview hit the fandom with all the force of a wet fart, Mando came through and proved no one wants that sh*t. Then season two came through and rived people want more Luke and more Lucas Star Wars, weeks before The High Republic, the jumping off point for Kennedy’s original vision for “New Star Wars” was supposed to launch. Yeah, that launch ain’t go so well. The High Republic is out, right now, and you can buy it. No one is buying it. They’re all paying for Disney+ memberships to watch Mando sh*t on everything Kennedy has done or will do. Disney announced a whole slate of Star Wars shows and material. One of which is The Acolyte, a spin-off from The High Republic tarring Brie Larson and written by Leslye Headland. The Acolyte is going to bomb for the same reasons The High Republic is bombing; No one wants to be preached to and that’s all these woke, blue hairs, want to do. I know that because they’ve told you as such.

The Force is Female. All of that sh*t with Pablo Hidalgo. The recent controversy of Justina Ireland telling people not to buy The High Republic if they don’t agree with her politics. The fact that Kathleen Kennedy has been trying to get Favreau fired for “sabotaging” her High Republic launch by redeeming Luke and galvanizing the entire fandom. The thing about this, though, is the fact that everything Kennedy has crated, is creatively bankrupt. Everything Favreau and Filoni have built with Mando, has been genuine, organic, and fun. Just to be clear, i actually like Brie Larson. I think she’s an excellent actress with very valid opinions. I think the sh*t she wants to make should be made. I don’t think she should co-opt a long running franchise with decades of lore and a ravenous fandom who are already on the outs with the current management of their beloved franchise. I can’t say i like Headland but i did adore her Netlfix show, Russian Doll. that sh*t was hilarious and dope. I don’t think her type of film making lends itself to Star Wars, however, for he same reason i don’t think Larson should have a show in the fandom either. Having opinions is fine. Installing those opinions in your writing is fine. Installing your opinions in an established property is not fine. You can do that, Back Panther was able to integrate that sh*t successfully, but they did it nuance. It didn’t get clumsy and ridiculous until the end. Kennedy’s writing group started with the awkward preaching. Those weren’t the droids yo were looking for, bro.

Ultimately, The High Republic is going to fail, as will the rest of Kennedy’s Star Wars legacy. Favreau is already working toward altering her most precious OC, Rey Palpatine. There are plans in the works to make her a Kenobi going forward, redeeming the most egregious of Darth Kennedy’s transgressions, something that wouldn’t even be necessary if they had followed the original treatments JJ left for them going forward. Rey Palpatine should have been Rey Skywalker. She should have been Luke’s daughter. She should have been trained by her pops and took that discipline into the final film where she and her cousin would have a proper reckoning. Rey should have been a proper character with an established legacy. Kennedy decided otherwise and in that hubris, she failed. She has failed, not because she is a Femanzi or has an eye toward activism or an agenda to push. Kennedy has failed because she decided to heavy-handedly force those politics down our throats with no nuance or grace, by slighting everything that came before with malicious intent, while bolstering her analogous creations with the worst kind of writing and non-existent development. Favreau succeeded by weaving a compelling tale, that mirrored the Hero’s tale which has been the bread-and-butter of a great Star Wars narrative, filled it with realized characters who became fast fan favorites, staunched in the lore that came before. He respected the genesis and built something great from it, while revering the stuff which came before. Kennedy thought she was bigger than the franchise. Favreau understands he is in service to it. That’s the difference, That’s why Mando is succeeding and The High Republic has been laid low.

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blurrypetals · 3 years

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Queen of Air and Darkness by Cassandra Clare - blurrypetals review

originally posted dec. 9, 2018 - ★★★★★

A-T. L-A-S-T.

I am so absolutely overwhelmed by everything that I've experienced in the last few days while listening to this. As Cassandra Clare's longest book to date, a whole dang fuckin' lot happens in this book. To sort my way through this review, the following paragraphs are gonna be chock full of a whole dang fuckin' lot of untagged spoilers, so continue at your own risk. I do think you're doing yourself a huge disservice if you do read this review before you've read the book, though. It's also incredibly likely I'll drop a spoiler or two on every Shadowhunters book so, if you're here and you have not, for some reason, read The Mortal Instruments, The Infernal Devices, the other two books in The Dark Artifices trilogy, and all of the short stories in The Bane Chronicles, Tales from the Shadowhunter Academy, and Ghosts of the Shadow Market, I implore you to amend that, to go and read those fourteen books and this fifteenth book before reading this review, just in case I ruin anything for you by accident. Okay, now that's out of the way, let's talk about sequels and how to finish a grand, epic fantasy story. It was difficult for me to not compare this book to three other books. The first two are, of course, Cassandra Clare's other finales, City of Heavenly Fire and Clockwork Princess. This handily bowls City of Heavenly Fire straight under the table because, even though City of Heavenly Fire is still a 5-star book, it's the weakest of The Mortal Instruments hexalogy and, other than perhaps The Bane Chronicles, it's also maybe the weakest in The Shadowhunter Chronicles in its current entirety. Clockwork Princess, by contrast, however, is, in my opinion, the best of the entire series. As a finale, Queen of Air and Darkness here sits comfortably as the second best Shadowhunters finale yet. So much happens in this book. It's split into three different parts which could have easily been split into three shorter books with near-perfect three act structures in place for each of them, making this book a nine act book with two "false" climaxes that would have made for quite the cliffhangers if they had been split up for any reason. The first act deals with the aftermath of Livia's death and, because it has a lot of rising action, it's actually a little frustrating in some ways, even if it was frustrating in an incredibly enjoyable way. One of my absolute favorite scenes in the whole book is Julian running to Magnus for help in the middle of the night because it so perfectly mirrors the scene in Clockwork Prince when another blue eyed boy named Will Herondale was at the end of his rope, desperate not to love a girl he was cursed not to be with. I loved the contrast between a Herondale's plea for salvation and a Blackthorn's last hope to avoid damnation, separated by a hundred years yet tied by the same plight and the same warlock's magic. Emotionless-Julian was a really compelling read, even if I was almost as angry and frustrated with him and Magnus as Emma was. I loved to hate how cold and calculating he became without his love and compassion around to guide his moral compass. I hated his betrayal of Emma so fucking much it hurt but I've always loved Julian's ruses, schemes, and plans, and his dealings with the Seelie Queen, the Black Volume, and a skilled calligrapher and wizard called OfficeMax. Damn. So fucking good. Also, speaking of Julian's plans and schemes, his war council and Livia's Watch is one of the most satisfying scenes in The Shadowhunter Chronicles as it currently exists; I'm so proud of my son. He is so great. Hot diggity. Speaking of reminders from past stories, we get the entire cast of The Mortal Instruments during a lot of this book. I was really excited anytime we ran into anyone from The Mortal Instruments, especially the part when Julian and Emma ended up being thrown in the same Unseelie prison as Jace and Clary were and that was Jace and Clary's first appearance in the whole novel. It could have easily gotten overwhelming; I was, in fact, rather worried that Jace and Clary would steal the spotlight for a good spell in the final act of the book, but they didn't, since Emma and Julian were, eh...too big to ignore, and the book even ends with the long-awaited Bane-Lightwood wedding of the centuries, but the story proper closes on Julian and Emma on the beach together. Even though The Wicked Powers is still yet to come, this book felt like a huge culmination of all fourteen of the prior books in a huge way. We had Jem and Tessa from The Infernal Devices, we had Jace, Clary, Simon, Isabelle, Alec, and Magnus from The Mortal Instruments, and we had Emma, the Blackthorns, and all their friends and allies from this series and it felt huge. I also felt the weight of what's to come in a super hardcore manner when it came to Kit and Ty, Dru and Jaime, and, of course, Ash. I genuinely feel as though I can't wait any longer to see how Kit and Ty's stories turn out. I'm especially pleased by the fact that Jem and Tessa decided to adopt Kit and that Kit will have the family he's longed for his whole life and, not only will he have two capable people parenting him through the rest of his adolescence, but he'll also have that younger sibling he's been longing for, someone he can teach and take care of in the way he wasn't when he was small. I really hope at least one of the two forthcoming Ghosts of the Shadow Market stories focuses on Kit and his new life and new home with Jem, Tessa, and hopefully their new precious tiny one. Thoughts of the future of The Shadowhunter Chronicles in Drusilla, Kit, Ty, and, specifically, Ash, bring me back around to the second section of the book, which is the most absolutely bananas thing Cassandra Clare has ever written but is also actually incredibly compelling. I fucking loved the alternate universe stuff, everything to do with the exciting return of not-Jace, the introduction of alterna-Livia, other-Cameron, and living-Raphael (especially the part where he begged Emma and Julian to tell Magnus and Alec to rename Rafael; I was in tears laughing about all of that biz), and the temporary absence of emotionless-Julian and how he and Emma ended up healing so much of their relationship there. I also am so totally down with not-Jace being the main villain of The Wicked Powers, or at least a main villain. I am really impressed with Cassie—which, when am I not, honestly?—in the way that second section of the book was written. It felt like a huge love letter to me as a longtime and dedicated fan of The Shadowhunter Chronicles in general because we got to see these, for lack of a better term, a fanfiction AU turned canon that doesn't read like a fanfiction in the least bit because it remains relevant, interesting, tense, and important the whole way through, even though it's literally a gigantic non-sequitur that some could argue is "pointless." I am not one who would argue that, though, because I loved it so damn much. It gave me what is probably my favorite Emma and Julian scene in all of The Dark Artifices, just after they return to the resistance stronghold. You know the scene. Okay, rapid fire because I could honestly go on forever about this book; I pinned 108 different clips throughout this book, which is the most pins or post-its I've ever put in one single book before. I adored the fact that Simon gave Julian his iron Lord Montgomery figurine before he and Emma left Idris. Michael Wayland's ghost showing up for Robert Lightwood's funeral fucked me up in a super hardcore way and the fact that Kit was the only one who could see him or even sense his presence really got to me and I really teared up because Bitter of Tongue from Tales from the Shadowhunter Academy absolutely wrecked me and this poked at that wound. Everything in regards to Mark, Cristina, and Kieran was incredibly sweet, sex positive, loving, trusting, and healthy and I just...gah they are perfect. A most excellent thruple, one for the ages. A great many of my pins have something to do with Kit growing into his inborn Herondale talent of being a master in snark (think candy gram and "Alas, poor Yorick,"). Everyone in the alternate realm being grossed out by endarkened-Emma's and endarkened-Julian's PDA was hilarious. Julian realizing art requires pain and morality about snapped my sad tiny bird heart clean in half. Feline death on a massive scale. Anytime Jace's more playful, youthful side showed because he's a happy boi now was delightful, especially the parts where he wanted to get to hold the mortal sword and when he declared, "We're the bait!" Magnus hallucinating was great, but my favorite hallucination was when he was flirting with a vase like it was Alec and then very seriously offering to buy it from the Institute. I also loved it when Magnus called Clary "biscuit". It made my heart all soft and nostalgic. Julian's smile at Emma when he got his emotions back tot me emotional, dammit! Caterina meeting Kit for the first time made my heart feel like it was too large for my body. Jace using finger guns, because finger guns are always hilarious. Dru realizing she was looking at the face of a parent when she looked at Julian. Kit responding to being called "Herondale," when Magnus said, "Stay away from my children, Herondale." Emma telling Diana that she showed her the kind of woman she wanted to be. Emma's terrible pun about Manuel being tied up. "Ragnor Lives." An old lady accidentally complimenting Julian on being tall. Emma and Julian deciding to go to the other at the exact same time. Alec would look better on the money. Mark trying (and failing) to make balloon animals and accidentally making them all snakes. That's not even a third of them all. Near the beginning of the review, I said I was having a difficult time avoiding comparing this book to three other books, two of which were past Shadowhunters books. The third book, however, is Kingdom of Ash by Sarah J. Maas, which is another very long final book in a series, one that somehow managed to get voted as the best YA fantasy of 2018 and, because of that slap in the face, I couldn't help but wonder how this book, technically the fifteenth in a series, managed to feel fresh, new, fun, and lovable from minute one to hour thirty of the audiobook even though this is the fifteenth time I've experienced a book in The Shadowhunter Chronicles for the first time and I've never come close to feeling the same sort of apathy or anger as I do for Sarah J. Maas and Throne of Glass. This is how you end a series. This is how you end one part of your series. This is how it's done. Take notes, everyone else. Get on Cassie's level.

#queen of air and darkness #the dark artifices #the shadowhunter chronicles #cassandra clare #2018 #goodreads mirror #blurrypetals

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breakingbadfics · 3 years

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Death of the author

CW: Light discussion of politics, mentions of the Alt-Right, and White Supremacists.

Consider this a “Change of Pace” entry. I’m trying to figure out what the next essay is to be about as well as the eventual long term for this blog.

I wrote this essay back in mid 2019, long before the idea of this blog would come to mind, it’s been lightly edited prior to posting and added to. and I think this essay shows some of my influences much more heavily than my other writings.

What does My Little Pony and The Matrix have in common? Death of the Author.

Death of the Author is not to be confused with “Separating the Artist from the Art,” a self explanatory concept to distance a work from a creator who’s beliefs are more than a little unpleasant, easiest example is acknowledging that, yes, H.P. Lovecraft was a Mega-racist, however, his contributions to the horror genre have created a base that is nearly ubiquitous with the genre to this day, like wise with Orson Scott Card. this concept in itself is an especially controversial subject, but is not the focus of this piece.

Death of the Author is what allowed The Matrix, a movie with a collection of metaphors about being an lgbt person, and an activist for the rights of yourself and your allies to be grossly misinterpreted as a way to justify being a bigot, the most egregious misinterpretation being that of “The Red Pill Scene.”

In the context of the film, The Red Pill Scene is the part of the traditional heroes story where the hero “accepts the call”, Neo is quite literally making the choice to leave the safe world he’s been living in behind and embark on his adventure that will result in a death and rebirth into being The One who will save humanity. In the now very much understood to be the direct metaphor, it’s a scene in which Neo, the stand-in for a lgbt person, specifically a trans person, is being told by a much older lgbt person “You are trans, you have the choice to embrace it, but regardless of what choice you make from here on out the road ahead is going to be bumpy and rough on you, because the system around you is designed to make sure people like us aren’t able to prosper, and if you join us, you won’t be able to opt out.”

That is the very understood metaphor that most people accept with the modern understanding after The Wachowski’s came out as Lily and Lana in the “post-matrix trilogy” reality of the real world.

However due to the Moral Neutrality of Death of the Author in other circles the Red Pill(and all the other metaphors in the film) takes on an alternative meaning. And I can be “polite” in my explaing the bad take on how this scene plays out, but just to hammer the point home we’ll get dirty so you can know where the take is coming from, The Red Pill Scene for White supremeacists, and The alt-right (but I repeat myself) is such. Neo, a disgruntled white person is being told that the world is controlled by soulless machines. Jews, people of color, etx. Everyone around him is mind controlled and can and will attempt to stop him from saving the people smart enough to also realise they’re being held captive by non-whites and save them all. This of course, all being told to him by Morpheus, a black man. So have fun working your head around that.

This of course the most extreme example being the most ubiquitous, poke around on chan sites and sooner or later you’ll see the phrase “red pill” having been memetically adjusted to mean “hey tell me about this thing” or even more specifically “I already had an opinion about this but either way I want you to confirm my choice.” But I digress.

These two interpretations are so wildly on the opposite ends of the spectrum that the only commonalities between them is “You will likely need to be violent at some point”

I’m naturally only covering the two interpretations, the matrix itself has been picked apart by an untold number of people and people interpret it in as many ways as possible in terms of philosophical meaning. That is the nature of Death of The Author.

Death of the Author also covers in a round-a-bout fashion, selective canon, a subjective acknowledgement of canon elements throughout a long lived franchise- see; Star Wars, Star Trek, the belief that there was never any sequels to The Matrix. This variant of the philosophy allows one to be able to continue interactions with a text, specifically a text that consists of multiple volumes (or contributions, each one made by an individual author) but also deny interactions with parts that they personally dislike.

More often than not, you can attribute the death of the author to a bad take in a case of fiction, another primary example being Fight Club, often missed for the scathing critique of unhealthy male behaviour and propped up as some sort of moral guideline for how to live your life. Which is again, not to say this is the fault of Death of The Author as a philosophy, it is morally neutral, these bad takes can more often be attribued to the simple fact that unless directly stating it most attempts at satire or parody will have a contingent of people who agree with what is said, not what is meant, and death of the author unfortunately does make that..very easy, for good, or ill.

Where does My Little Pony: Friendship is Magic fit in with all this? Well there are certainly alt-right members of the brony fandom who are painfully missing the point, but we’ve already dwelled on the negative enough, so let’s get happy.

In Episode 1 of Season 1, the first part of a two part pilot, in the background of a shot during a party scene; a pony with a grey coat and blonde mane and tail is seen in the background. This particular pony stood out the most amongst other background characters due to a mistake caused by the animation staff. According to the supervising director at the time, this particular error was spotted after hasbro greenlit the episode for air, and because it amused him he chose not to order a correction so it was left in as a nice little easter egg.

The nameless background pony would eventually be caught by 4chan among other places and very rapidly developed a following of fans and given a nickname, Derpy Hooves. This particular following and new nickname would echo back to shows staff becoming the name internally referred to by the show’s staff.

Friendship is magic creator Lauren Faust, who also enjoyed the popularity of the character when asked in an interview would state that a character named Ditzy Doo existed in an unaired episode, that would be implied to be this particular background pony, So naturally now depending on the fan this particular character would be reffered to as either Derpy Hooves, or Ditzy Doo.

Ditzy Doo would go on to become a recurring easter egg with in the show, something similar to that of “where’s waldo” but with horses. This practice would continue until episode 14 of season 2 where the character would have a set of spoken lines and would be addressed by name. This however resulted in a degree of controversy in which some people expressed concern that the presentation of the character was an offensive attempt at portraying people with mental or physical disabilities. This event resulted in the episode being altered in future airings and the character disappearing from the show for the vast majority of Season 3. Beyond Season 3 the character would continue to appear until season 5 where they would finally have a voiced role in the 100th episode of the show, and then eventually having another speaking role in the christmas special “The best gift ever.” It is also worth noting that Hasbro never gave her an “official name” with almost all of Ditzy’s merchandise either having no name present, or more often than not a singular image of a muffin in place of a name, even going so far as to have “Muffins” be the credited name she was given in all voiced instances of the show.

Muffins, Ditzy Doo, or Derpy Hooves isn’t the only case of background characters growing a large following of fans with in the show; a variety of characters have been swept up by the fans, given names and personalities built entirely out of bit gags. Lyra, Bon Bon, Vinyl Scratch, Octavia Melody, and who knows how many more have all been seen in background moments which would be built on by fans and then echo back into the staff to be integrated into the show further. One would say this is fanon but at the end of the day, the writers and show staff had very little more intent with the characters beyond “does this background character look good?” and “Does this bit part character stand out enough to automatically be recognizable for the bit they need to be doing” it is still what I believe to be an example of Death of The Author, an act of choosing to ignore the intended meaning,and giving what amounts to window dressings a full life as fleshed out characters in fan content and in small instances of the show; an interpretation separate from the writers original intent.

Now the question is does someone need to actively defy the author to participate in The Death There-of? No. I don’t believe so. In much the same fashion no one need actually be a clan member to inadvertently say or do something that's passive aggressively racist(yes a bit of an extreme, I know) one need not actively defy the author, merely ascribe to an alternate interpretation of a work of fiction. Refer to Fight Club, the film does everything it can with out directly stating “most of the people in Fight Club and later Project Mayhem are bad people, because they were already doing the things Tyler Durden was ascribing to” and almost unilaterally all the bad takes are built around this idea that they’ve achieved the perfect ideal masculine because they’re the “living in the moment, violent psychopath” nihilist the movie is actively condemning.

The simple fact is that death of the author ultimately, in a grand scale amounts to this; did a writers intent show through hard enough for their intent to be heard? And Subjectively, how much does a person believe in the meaning that they, or the writer themself have imparted into the story?

#change of pace

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