canon showcase

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Morocco Pavilion | Epcot Center by Mike Buchawiecki
Via Flickr:
This is the second part of an earlier Morocco post. Where the first looked at the fountain, this looks up. I loved the architecture to it. And…it also reminds me of a Chris Nolan film. All that’s missing is Ra’s al Ghul or Saito stepping forward on the balcony!

Prince Aladdin

i just rewatched aladdin with the roommates and it got me thinking

aladdin wishes to be made a prince, but all genie does is get him a lot of stuff and money. that’s not what a prince is. a prince is the son of the king, someone in line for the throne. someone with a lot of money is just - rich. so what i think is:

genie goes okay, that’s a big one - and i can do it! but not on my own, not if you want to do it right. not if you truly want a chance to marry your princess for real, as a prince. and aladdin is a foolish, moral, kind boy - and he agrees. he’s fallen in love with jasmine, an innocent all encompassing love, and he’ll do anything for this sweet, clever girl he only knew for a few hours. so genie takes him across the desert, far from agrabah, and plops right in the middle of a skirmish and is like okay, good luck! and aladdin is like ?????

but there’s assholes with swords attacking a young girl, and aladdin doesn’t even have to think about that, just like when he stood in front of the whip for those little kids. there are three men against him, but he’s fast and clever and has been against a dozen trained palace guards. so it’s not easy to get out of there alive, especially with the little girl to protect, but he manages it with only a thin slice on his upper arm, and he’s endured worse for less. so he picks up the little girl and says “i think we should get out of here, hmm?” and she’s in a pretty red silk getup with tiny jewels encrusted on her like stars against sunset. and she nods and throws her arms around his neck. she won’t talk, only points in the direction of home, but aladdin’s okay with that, he’s used to quiet, scared kids. so he keeps up a steady stream of stories of agrabah, which seems almost like this other desert land. but there are more men with swords and aladdin is like what the fuck is going on, but he hides the girl in a corner and fights them too. and that’s how it goes all the way home. there’s no one on the streets really, and they all scatter when the men attack, and they keep on attacking, he fights his way all the way through the city with the girl on his hip or hidden away.

and he should have known, of course, but he was tired and bruised and bleeding by the time he realized the little girl is silently guiding him to the palace and he’s like why can’t you princesses stay inside??? but he walks up and the guards get one look at the child in his arms and whisk him through and multiple people try to take the girl away but she won’t budge from him, a stubborn pout to her lips as her hands remained locked behind his neck. and he’s finally tossed into a throne room where a tall old man is sitting in agony and two young men pace in front of him, each at least a decade older than aladdin. “they’ve taken our sister!” one of the younger men hiss, “i don’t care about their power or their connections, they’ve taken esfir, and we must go get her!”

“uh,” he clears his throat, “hi?”

and all three men whirl on him and the old man stumble-runs to him. esfir finally lets go of aladdin to picked up and twirled around by her father. the two men are rahim and shapur and they look in wonder at this dirty boy of fifteen who’s returned the girl to them, and he speaks with an accent and clearly is not from here and they get the story from him - he’s traveled across the desert because those in his own country want him dead. “you know,” rahim says as the king clutches at esfir in desperate relief, “you could have held her for ransom. you almost died saving her, and we would have paid handsomely to have her returned safely.”

and aladdin gives him a flat disapproving look, appearing in this moment four times his age, and says “people are not objects or bargaining chips. especially not lost little girls.” and rahim and shapur share an impressed conspiring look and they each grab one of his arms and lead him away. “hey! what are you -”

“do be quiet little brother,” shapur says cheerfully, “we really have to get you out of your rags.”

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Headcanons for Showcases

Pokemon Showcases are a girl’s only Kalos exclusive competition that happens yearly, the entire thing is called The Kalos Queen Cup. There are Performance halls in almost every big city and some smaller ones. They are made up of two rounds. A theme round and a freestyle round. The Theme round can be anything from baking to fashion shows, to variety show segments. The Freestyle round consists of the trainer and any number of their party participating in an appeal or dance.

The only real difference between the Freestyle round of a Showcase and an Appeal round is that the Freestyle round can have six pokemon in it, while the Appeal round is limited to one or two depending on individual contest rules. Although another difference is that Pokemon Performers tend to join in the dance with their pokemon.

The winner of a Showcase wins a Princess Key and a monetary award. Any Performer with three Princess Keys qualify for the Master Class Showcase, the winner of which becomes Kalos Queen. The Kalos Queen tends to get sought after to be the face of different products and brands, and may have offers to be produced by successful agencies.

Girls who perform in Pokemon Showcases are called Pokemon Performers. They tend to also become idols as they win Showcases. Pokemon Performers of all kinds are held to harsh standards including but not limited to keeping a their same figure, not dating, constant public appearances, keeping a ladylike role model esque personality. Ultimately, there are some Performers who can get away with going against the grain and still be successful.

They take advantage of Poke Vision to keep their fans interested. It isn’t unusual to team up with other Performers in exhibitions, concerts, or Poke Vision recordings for the enjoyment of their fans. These range from tense truces to more friendly agreements. If it’s the latter then they may end up forming units together.

These units can’t compete but they do do exhibitions together. If they go the idol route, they may also hold concerts together, or do other jobs. Performers in units usually focus on their solo work and the Kalos Queen Cup during the season, and do most of their unit work in the off season. The creation of performance units is directly inspired by coordinating units.

There is usually at least one performance in the season where most if not all Performers put on a show together. There’s no Princess Key at the end of it, but it does give them good publicity, and since it is usually funded through donations and sponsors of the Kalos Queen Cup. In this performance there is usually one big group performance, and each girl who participates gets a solo slot, there are places for units if they sign up ahead of time. There is usually a mix of singing and exhibitions on that weekend. There are also usually stalls set up around the venue, and handshake events.

They don’t often battle since it isn’t necessary for Showcases. However, it isn’t uncommon to train until a pokemon fully evolves, or so they can learn an interesting move. It isn’t necessary. There has been one Kalos Queen who got her title with only a Skitty on her team.

Performers tend to know several skill that don’t directly relate to Pokemon Training. The most common of which is Pokepuff baking, the second most common is fashion. This is because they need to be prepared for the theme events.

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Mexico Pavilion | Epcot Center by Mike Buchawiecki
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This is one of those shots I attempt a lot when at Epcot. The lighting always gives me a hard time.

I’m all for casual shipping. Ship all you want, as long as you aren’t trying to force it irl on the idols or people you’re shipping. But when you start to take your shipping seriously and get genuinely mad when your ship isn’t “canon” or showcased in a comeback, that’s when it turns toxic and negative. Don’t let your fantasy get in the way of real life.

My thing is these guys have never explicitly identified their sexual preferences. Whether or not they are straight or gay or bi, that’s none of our business. Trying to force a sexuality that they have never claimed is equally as bad as everyone thinking they’re straight bc it’s “normal”. They have NEVER. DISCLOSED. their sexuality. Screaming in the comments or on twitter that “WHAT?!? _____ MEMBER IS GAY AND THEYRE PAIRING HIM WITH A GIRL?!?! PREPOSTEROUS!” is like trying to expose a kid who isn’t ready to come out yet. If they are actually truly queer, they will tell us in due time. Until then, respect them.

Please just be positive and try not to spoil this comeback with negativity. It’s a TEASER. We don’t know the full story yet anyway. I’m sure bighit will answer all our questions with the plot eventually.

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Donald Duck by disneylori

Kamigami no Asobi OC - Hoder

Set to match the official group.

The Norse mythology being so wonky in this game/anime/manga has always bothered me, so I made a character and created a backstory to hopefully fix some of the more glaring errors lol.

Thor is the eldest son of Odin and therefore technically the ‘crowned prince’ of Asgard. Loki was born sometime between Thor and the twins (obviously not related to them in the games), and he and Thor were good friends for a while (secretly because the Gods notably didn’t like Loki for his mixed giant/divine blood). Balder and Hoder are the youngest, and Thor is put in charge of watching over them. (Bragi is ACTUALLY the youngest, but the twins were the youngest for a long time prior to his birth.)

Balder’s powers were strong from the very beginning and thus he blinded his brother in the womb. Hoder is also weaker than the others because, unbeknownst to him, Balder also siphoned his powers when they were developing – meaning that HE was originally meant to be the God of Destruction to match and balance out Balder’s God of Light. Instead, he is the God of Shadows, and doesn’t manifest in his godform very often.

While Balder is clumsy, Hoder is forgetful and gets lost easily. However, while Balder attracts attention due to his powers, Hoder is generally forgotten – in fact, his own family can forget him if he doesn’t interact with them often enough, and his presence often comes to a surprise to many if he doesn’t announce himself. (Think Kuroko from Kuroko no Basket).

Now, onto the mythos bit:

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Tulkas the Humiliated?

(warning: long post, sorry in advance) 

We need to talk about this. This old canon is just too good in my opinion to ignore. (And I beg pardon if it sounds like I’m fangirling at any point. Tulkas is one of my favorite Valar and I have no intention of hiding it!) Plenty of truncated versions of events in the Silmarillion exist in the HoMEs, some still legit, some abandoned, some revised but still used, you know the drill. But right now, I want to talk about the earliest (possibly the very first) version of the war that went down at Utumno when the Valar finally captured Melkor. I know some don’t enjoy this version and that’s cool, but frankly, I love this version of the story. I love it so much that part of me despairs that Tolkien abandoned it, even if I understand the whys and wherefores. And part of me to this day wishes that Tolkien had kept it in the final version, just for the sake of how frickin’ cool it is for two main reasons: 

1.) This old canon really showcases the love the Valar had for each other and especially for Manwë. Though it’s mentioned and even elaborated on in later texts, the more finalized ones (particularly the Silmarillion) don’t focus much if at all on that aspect of the Valar. Yes, Manwë was King and had their complete allegiance and steadfast loyalty, and they were very much like one big family. But this old canon shows that the Valar also loved him, loved him and respected him so much that it actually played an integral part in how the story climaxed (and then concluded). And – 

2.) Because of what Tulkas does. That’s all I’m going to say. 

As a quick catchup, Tulkas has already introduced Melkor’s mouth to his fist. Aulë has already crafted Angainor. And the Valar have finally come together exchanging ideas on subduing Melkor and how to assail Utumno to do it. 

But the desire of the Gods was to seek out Melko with great power – and to entreat him, if it might be, to better deeds; yet they did purpose, if naught else availed, to overcome him by force or guile, and set him in a bondage from which there should be no escape. 

Though he’s not mentioned by name, I can see Manwë’s influence all over this. Anyway, though Aulë had crafted Angainor for the sole purpose of binding Melkor, it was unmistakably to be only used as a last resort if Melkor didn’t concede to their practically begging him to correct his ways. “To overcome him by force or guile.” In the finalized accounts, the Valar conquer Utumno through their might and power alone (and so subdued Melkor with the same), but in this old canon, they elect the route to beguile, which is somewhat different from the more straightforward (and honest) approach the Valar tend to act with. 

Fastforward. The Valar get themselves armed and head to war “in great power and anger”. I know I’m glossing over it here, but I do encourage reading the passage if you have the book because the descriptions are certainly on the glorious side; among them Manwë being styled to have climbed in his blue chariot pulled by three of Oromë’s whitest horses while carrying a great white bow that would “shoot an arrow like a gust of wind across the widest seas”, the Feänturi riding together in black and grey, Tulkas having no weapon save a gauntlet on his right hand (I can’t be the only one who smiles at that deliberate effrontery. As it’ll be pointed out, Melkor clearly remembers Tulkas’ blow to his mouth and here Tulkas is, encasing his fist in iron as his sole “weapon”), and Aulë going all-out Thor with his epic hammer. Melkor sent out servants to stop the Valar on their way, but “all their ways availed nothing to hinder them”, and when they finally arrived at the huge gates of Utumno, Melkor himself slammed the doors in their faces. 

That made Tulkas angry (like, really angry) to the point where he actually punched the gate “thunderously” with his own fist. It didn’t work, but Oromë fixed that by blowing his horn next, and the blast that emitted from it was so great that the gates flew open immediately. Manwë “raised his immeasurable voice” and ordered Melkor to get his butt outside, but Melkor had already fled back inside to the lowest halls. He heard Manwë but refused to come out (to think Manwë’s voice traveled that far, hehe), instead sending his servant to try to sweet-talk them, saying that he would gladly welcome the Valar but his abode was just so poorly that he couldn’t possibly entertain more than two of them (a load of bullhockey, right?). 

Now, Melkor was sincere in letting in two Valar, yet he “begged” (Tolkien’s word) that neither Manwë nor Tulkas be one of them. Because Tulkas would’ve demanded “hospitality of great cost and richness” BUT that Manwë would’ve “merited” it. It may just be me, but that’s a rather intriguing opinion to have of someone you hate. :) 

Anyway, Manwë, Tulkas and the Valar got mad about this too (‘furious’ is a better word) because Melkor kind of blew it by ending his placations with an insult, in that if the Valar didn’t want to do the two-Valar-only thing, he would do as Manwë said but only to hear what his Brethren wanted so badly that they would leave “their soft couches and indolence of Valinor” just to come for him who merely “laboured humbly and did his toilsome work.” 

So yeah, the Valar got furious. Tulkas actually started to rampage down the stairs to Melkor’s lair, but Manwë and the others held him back. Aulë calmed him down and suggested that they play on Melkor’s fear of either Manwë or Tulkas entering his halls. Aulë didn’t know how, but he thought that maybe if Manwë and Tulkas could come upon Melkor without him realizing it, it might scare Melkor enough into correcting his ways. Even now, the Valar’s main objective was to get their brother back, even if fear must be the driving factor to see it done. In the end, Manwë agreed with Aulë since he didn’t believe all their combined might would get Melkor out of his stronghold, so he assented using deceit but warned to be careful because they would be attempting to deceive the master of deception. Melkor’s greatest chink in his armor was his pride, so Manwë said to use it against him. 

So now the Valar cooled their tempers and pretended to appease Melkor themselves this time, the words coming from Manwë himself. Manwë’s practically kissing Melkor’s feet by this point with his words, praising him and begging his forgiveness for making his big brother angry. (Yes, it’s as sickening as it sounds) But Melkor doesn’t budge and Tulkas was horrified by what Manwë was saying, enough that he actually refused to do as Manwë said. But Manwë (either ignoring him or calming him) kept going and further announced that Tulkas would be bound “with violence” while they begged Melkor’s pardon and pleaded with him to come home, that he could stay wherever he wanted until Aulë could build him a house that towered higher than Manwë’s own Taniquetil. 

By this point, Tulkas was not happy to say the least. 

But Melkor liked what he was hearing: 

“At last do the Gods speak fair words and just, but ere I grant their boon my heart must be appeased for old affronts. Therefore must they come putting aside their weapons at the gate, and do homage to me in these my deep halls of Utumna: – but lo! Tulkas I will not see, and if I come to Valinor then I will thrust him out.” 

Tulkas isn’t getting any less furious. :) Melkor practically says, “finally, you’ve come to your senses!” but wants them to apologize first for everything they did to him. And then they can disarm and enter Utumno to pay homage. I can’t help but wonder what’s going through Tulkas’ head right now, and I don’t doubt for a moment that he only became more enraged at Manwë’s response: 

Manwë returned answer that the Gods would do as Melko’s heart desired, yet would Tulkas come and that in chains and be given to Melko’s power and pleasure; and this was Melkor eager to grant for the humiliation of the Valar, and the chaining of Tulkas gave him great mirth.

Then the Valar laid aside their weapons at the gates, setting however fold to guard them, and placed the chain Angaino about the neck and arms of Tulkas, and even he might scarce support its great weight alone; and now they followed Manwë and his herald into the caverns of the North. 

I’m not sure I want to know what Melkor’s “power and pleasure” entails, but here, Tulkas was the first Vala to be chained in Angainor, which had been crafted solely for Melkor. Talk about ironic. Were the Valar muttering soft or palliative words to him while they wrapped the links around him? Assuring him that this humiliation was just for the sake of getting inside? That it wouldn’t extend to him actually being surrendered to Melkor? What was Manwë saying? Or was he silent, simply holding Tulkas’ gaze while the others bound him in that hellish chain? Tulkas really had an astounding depth of faith in Manwë in that moment. And to think that Angainor was so heavy that Tulkas himself could barely tolerate its weight. It took four Maiar to merely transport it to Utumno, so woof. 

I can only imagine Tulkas’ opinion of all this, but hey, they got in. All the way down to where Melkor sat on his throne, where then Manwë again started flattering him like no tomorrow, greeting him courteously, saluting him, doing whatever it took to maintain their ruse (got to give it to Manwë, though. If he had any pride at all, he definitely never let it get in the way. Pride may be Melkor’s weak spot, but it certainly isn’t Manwë’s). He ends his whole speech with another heartfelt plea to “come now and be in Valinor”, and I have no doubt Manwë is very sincere in this beseeching. He really does want his brother to come home with him. 

But Melko might not thus easily forego his sport. “Nay, first,” said he, “wilt thou come Manwë and kneel before me, and after you all the Valar; but last shall come Tulkas and kiss my foot, for I have in mind something for which I owe Poldórëa no great love.” Now he purposed to spurn Tulkas in the mouth in payment of that buffet long ago, but the Valar had foreseen something of this and did but make play of humiliation that Melko might thereby be lured from his stronghold of Utumna. In sooth Manwë hoped even to the end for peace and amity, and the Gods would at his bidding indeed have received Melko into Valinor under truce and pledges of friendship […] Now however was scant mercy left for him within their hearts, seeing that he abode in his demand that Manwë should do homage and Tulkas bend to those ruthless feet. 

It just amazes me. Even after that incredibly debasing, humiliating command of Manwë (let alone Tulkas. Death-glare, anyone?), Manwë is still willing to do what Melkor wants to keep up the ruse. Tulkas’ humiliation was purely for the fist to the mouth Melkor received at their last confrontation, but Manwë’s humiliation….This, this here changed the game entirely. Manwë doesn’t even hesitate to disgrace himself in this manner, but this was the final straw for the rest of the Valar; Manwë just had to say the word and they gladly would’ve “received Melko into Valinor” in all sincerity and forgiveness. But this, his demand that “Manwë should do homage and Tulkas bend to those ruthless feet”, it eradicated practically any and all compassion and tolerance they had for him. Melkor’s crimes against them, against Arda, against the Quendi, all of that they were merciful enough to forgive. Yet this was the deal breaker. 

That is one heck of a massive transition. Good job, Melkor. You now just lost the favor and patience of pretty much everyone except your brother. 

But what comes after in the text is what I absolutely love: 

Nonetheless the Lord of Gods and Elves approaches now the chair of Melko and makes to kneel, for such was their plan the more to ensnare that evil one; but lo, so fiercely did wrath blaze up in the hearts of Tulkas and Aulë at that sight that Tulkas leapt across the hall at a bound despite Angaino, and Aulë was behind him and Oromë followed […] and the hall was full of tumult. 

Please tell me I’m not the only one enthralled by this visual. Manwë silently steps forward and starts bowing, is halfway to his knees, and Tulkas becomes so wrathful at the sight that he can’t contain it anymore and essentially explodes. Aulë too (and as read, the others as well), but Tulkas just erupts. Remember when it said that Angainor was so heavy that he could barely endure its weight? That weight now doesn’t even register as he charges for Melkor. I think that says something to either Tulkas’ might or to the power emitted when comes Tulkas Unleashed, or both. 

As it says, chaos erupts in the hall and Melkor himself leaps up from his throne before Tulkas can reach him. Everyone starts fighting and Melkor’s minions join in the fight. 

Then lashed he at Manwë with an iron flail he bore, but Manwë breathed gently upon it and its iron tassels were blown backward, and thereupon Tulkas smote Melko full in his teeth with his fist of iron, and he and Aulë grappled with him, and straight he was wrapped thirty times in the fathoms of Angaino. 

I really wanted to include the first sentence because the image of Manwë calming standing there and breathing on a cruel instrument much like the cat-o-nine-tails as it’s being whacked at him so that it flies backward is just too majestic. :) And Tulkas…the irony of this whole part of the story is noteworthy, even funny. Tulkas punched Melkor in the mouth once, encased said fist in iron as a reminder that he did, the very punch that Melkor is now demanding Tulkas kiss his feet for, and now Tulkas literally deals Melkor the exact same fist to the mouth that he did before. I know I can’t be the only one giving him a hearty cheer at reading that. Melkor just can’t get a break where Tulkas’ fist is concerned! And all because Tulkas couldn’t take the sight of Manwë kneeling. 

Part of me wonders if Manwë scolded (or gently rebuked) Tulkas for blowing their cover/plan like he did. Yes, it still resulted in Melkor being captured and taken to Valinor, but with how Manwë was adamant to not use force because the chance of success was far too small to trust, I’m curious if Manwë had anything to say about Tulkas’ loss of control. :) 

Another reason I adore this old canon is because even though the events that occur and accompanying details are dramatically different than the final or latter versions, the characterizations of the Valar still fall so beautifully in line with how Tolkien characterizes them later (which leads me to believe he never really tweaked their actual character traits all that much through all the revisions; just changed the way things in the story happened). 

But this is one of my favorite passages concerning the Vala of War, purely because Tulkas “even in policy could not endure to see the majesty of Manwë bow before the accursed one.” 

**texts from HoME The Chaining of Melko I.107-11
(quick thanks to @glorfindelsbitch for prompting me to do this)

Discourse

Right, so after listening to a friend of mine who finished watching the latest of RWBY, I decided to write this. 

So basically, there were a lot of excessive amounts of Blake and Sun interactions as the story shifted to Blake’s point of view six months after the destruction of Beacon Academy. It’s basically the story building up chemistry between the two to set them up as a romantic couple, something the writes have been setting up since Volume 1. 

My friend, along with any and every fan with similar feelings, is right to be mad at the excessive interactions between the two. 

They have the right to be mad because this makes any and every accusation of queer-baiting valid. This makes Miles, Kerry and even Monty guilty of queer-baiting fans since Volume One. They are four volumes in, they have little to no plausible excuses to justify the lack of queer characters that they’ve promised. They are pushing for a pairing that doesn’t have as much backing, unlike Blake and Yang, also known as Bumbleby, which is already endorsed by the voice actors themselves.

“But they need time to write gay characters, they need the write moment!” 

I don’t think you understand the level of difficulty it takes to write a queer character. Wanna know what it takes? An incredibly small effort. Like, showing the entirety of Blake and Yang dancing, someone outright saying they’re a bisexual or even two people of the same gender kissing. It’s that simple, I promise you. 

Lindsay Jones did this in X-Ray and Vav and Josh Flannigan did the same in Day Five. Miles Luna doesn’t have an excuse when his coworkers have easily done this. 

“But I like Black Sun! Let people ship what they want!”

There’s nothing wrong with you shipping it. What is wrong is if you can’t recognize that the writers are queer-baiting fans with by setting up Sun as Blake’s romantic interest instead of Yang. 

Blake and Yang have canonically been shown to care each other a lot. Bumbleby is important because this is something the writers can make canon to dispel those queer-baiting accusations. If they can’t do that, then they’re still guilty of queer-baiting.

“But what about Sunny Bees? We can fix this with poly-relationships!”

With what I’ve said about the writers, do you honestly trust them with writing a poly-relationship correctly? 

They even had a perfect opportunity to do so in Volume Two with the Jaune-Weiss-Pyrrha love triangle fiasco and look how THAT turned out. 

“Why is this even important, it’s just a ship.”

Queer representation in the media is a sensitive topic to bring up, for a reason. When they’re not being portrayed correctly, they are sidelined or killed off. There is a list of over 120 queer women in media who have been killed off. Remember that number because writers in other shows keep making that number go higher. 

The reason why Bumbleby is so important to the RWBY community is because there is a chance to have proper queer representation, a chance to properly showcase a canon queer relationship between two girls and to have it in a healthy light as well. 

To remain ignorant of these queer-baiting accusations is to also aid the writer’s use of queer-baiting as well. Fans have been promised queer characters since Volume One, promised even by the show’s creator as well. 

They cannot continue to be fans of the show if the writers are willing to bait their fans like this. As a writer and a storyteller, I promise you that Black Sun becoming canon will cause a large portion of the RWBY community to drop the show and remove RWBY content from their social spaces.

However, to make Bumbleby canon is to invite more fans into the show, to show that it is as progressive as it was told. They will gain old fans back and even a new influx of fans as well. 

TL;DR: The writers working to make Black Sun canon validates any and every accusation of queer-baiting towards the writers and to make Bumbleby canon instead will help the show a lot more. 

anonymous asked:

Lately I've been think about /discourse/, and I've been trying to figure out where the line lies between like Reylo and Twilight and villain/hero ships versus, say, Fifty Shades of Gray. Like, there's clearly a line 50 crossed into glorifying abuse and being all-around despicable, but where was it? Is it due to authorial intent, actual content, or what? And /discourse/ is only confusing me on this issue. You have v good opinions; any thoughts?

I think it comes down to how willing the text is to examine the relationship dynamics it’s introducing.

Twilight is often lumped into the Unquestionably Problematic, Indefensible, and Harmful category. It shouldn’t be. The relationship between Edward-Bella in the first book raises the issues of immortality, power dynamics, self-esteem, and familial love. Edward consistently questions whether they can be together, not because he for one half-second wants Bella to feel inadequate, but because he’s been telling himself he’s something monstrous and unlovable for a century. That’s his central flaw, and when his self-loathing causes him to behave in a way that is unacceptable to Bella, she articulates the problem and tells him to stop. He listens. Bella plays a vital, active role in her own story by clearly communicating her desires and making informed choices that have a real impact on her arc. What makes the story work for a lot of people is that both characters have conversations about the stakes of the world, their obstacles, and what being together for them means. Those questions are an integral part of the story, and it makes for great tension that–because they usually succeed at talking things out–leads to relationship development that earns the way the author wants us to feel about it. 

But what makes the story work for most readers isn’t enough for others who would have preferred more questions, more obstacles, or different conclusions. It’s possible for readers to think certain aspects of the series were handled very well, whereas others were taken for granted in a way that didn’t allow them to be thoroughly developed. 

And that development is all that people are really asking for when they try to Discourse about stories. The Discourse will frame underdeveloped stories/moments as “glorification,” “romanticization,” or “apologism,” when really it’s just a flat moment that doesn’t introduce enough complications to sell the story’s tone and dynamic.

If development is the primary factor that we’re trying to pinpoint, then we can get away from the whole flawed discussion about Tropes Themselves being harmful. We all have certain tropes that immediately appeal to us, and usually that’s because we’re already doing the mental narrative work that it would take to examine where a fictional relationship could go and what hurdles it would need to overcome in order to succeed. Or, if we’re not thinking of it as endgame, what issues would need to be raised to keep this interesting? 

As long as the text continues to generate questions for me, even if the characters don’t come to definitive, moral conclusions (and often they can’t, because it’s an ongoing series that hasn’t ended yet, or because they’re hard questions that are only going to generate answers the characters can live with), then I’m there for the dynamic. If those questions are evident in canon, great. If those questions are raised and answered in fic, awesome. 

If the text simply fails to raise believable questions, that’s usually when they begin to lose me. A good example (for me, not necessarily every viewer) is Rumpelstiltskin/Belle on Once Upon a Time. I am primed to love Beauty/Beast dynamics in nearly every form. It’s inherently appealing to me because it cracks open a set of questions I am interested in. But I felt that Once Upon a Time wanted to use Beauty/Beast as a shorthand pasteover for a relationship that they didn’t take sufficient steps to explore. This is a Beast who kills often and selfishly, and Belle does not consistently question this or hold him to account, which means his attempts to perhaps move away from that behavior either never come or never feel sincere, because it’s just occasionally raised as a source of conflict. It does not have a coherent, chronological progression that makes me feel like I understand where it’s headed. So I move away from it.

But my willingness to move away from a trope/dynamic depends on a lot of other things. I expect far more development from a canon story, because I’m reading that story to experience catharsis, to explore intriguing questions, to learn about how to empathize with characters that aren’t like me. In fic, I don’t necessarily need the same level of development of problematic/intriguing elements in every instance, because I’m not reading with the same goals. I’m reading to imagine a world where the characters have already dealt with those questions and are making out in pretty ways. Or I’m reading to have fun by imagining them in a totally different AU. Or, occasionally, I want to find questions in fic that aren’t showcased in canon, even if it’s something as simple as, “Did this character have a strong emotional reaction to violence that we didn’t get to see? What if we saw that moment? What would it tell us about this character’s psychology and motives?”  

Fans of villain/heroine ships are just fascinated by the specific set of questions that happen when evil characters and good characters interact. We don’t even need them answered–in many cases, we will feel as passionately about two characters working together to become better people as we do about two characters who regularly hurt each other and sabotage their own emotional attachments. Occasionally we’ll find canon storylines that deal with those questions exactly the way we want them to (Psycho-Pass! Arkham Knight! Strange Magic! Phantom of the Opera!) and sometimes something about the story doesn’t answer those questions in a way that feels believable (for me, Hannibal, to some extent, which I sort of feel hand-waved too many questions after a while; Once Upon a Time, Fifty Shades of Grey–and I’m not saying all those stories disappointed me in equal ways, just that I can tell you how they fell short for me). But when people LOVE a villain/hero(ine) ship that hasn’t quite come to its full fruition yet, they’re filling in the blanks themselves in a way that satisfies their narrative requirements (which, like I said, change depending on what they want out of the story). They know what it takes to sell the thing, and they’re doing it, whether they’re slapping that disclaimer on every post they make or not.

The most important thing is that stories develop the questions that need raising in a believable way that’s consistent with the tone (Is this story about redemption? Or is it about finding solace in something darker?). And at a certain point, you have to realize that not every reader even cares about those questions and thinks there’s nothing remotely interesting about asking them. And those people will always think a story about these issues is some form of abuse apologism, regardless of how much nuance the author delivers re: a particular dynamic. Villain/hero(ine) is a language they don’t speak, a trope they don’t like, and there’s no amount of development that you could do to turn them around. So I think just talking about stories from a craft level is your best bet; it avoids the weird mismatch that can happen between authors and readers, between the story’s intent and how it’s landing to a very disparate audience. It can’t be abuse apologism if no one who’s reading it is looking to the story for relationship advice. And it’s not the author’s job to tell them not to do that. Their job is to just tell a convincing story, look at difficult moral/interpersonal issues, and let the characters figure it out. 

tl;dr Your Mileage Will Vary. Stories are stories are stories; bad ones leave important stones unturned; good ones don’t take anything for granted. Readers all have different questions they want explored, and just because someone has fewer questions on their list than you doesn’t make them dismissive of those questions when they come up in real life.

anonymous asked:

I feel that the perception of ss arc changed now,ppl don't view Rukia as the girl who changed ichigo's world ,all they see now is Ichigo as renji's wingman .It doesn't help that 'the bond between Ichigo and Rukia that transcends time and lifespans' was nowhere to be found last arc(unless it's for bait and or failed"full circle' epilogue)and IchixRenji brotp took center stage as the main ichixshinigami relationship instead .

I would be very hardpressed to believe that anon. Soul society arc was and will always remain the only thing that ever made Bleach shine. It’s the only thing that made Bleach famous in first place, it’s what created the legacy that could still be milked years later despite the manga’s chronic failings over the years. The last arc simply doesn’t have enough impact on the readers to undo the previous arcs, nor does the last arc has as broad a fan base because many of the people who still support SS arc did not care about/read/support later arcs. THIS is the popularity curve of bleach, look at that catastrophic nosedive. It is natural for long running mega hit series’ to lose fans over time, but this kind of failure is unheard of in WSJ’s diary for a series that debuted as big as bleach did.

Rankings, source

Sales  source

The fandom that is still invested in bleach is merely a fraction of what it used to be in its glory days, and the opinions of such limited pool of people (if you can even call it that because the pro ending section is even smaller) has a very limited impact on Bleach early days/Soul Society arc’s legacy, because it is a time that people associate with the most. They do not remember the later arcs with as much enthusiasm, if at all. Anime fans are either oblivious to or don’t care in great number about the overall ending, for them bleach ended after FB arc and that will remain as such if anime doesn’t return. Besides there is no merit for them to invest in last arc when Ichigo became someone even lesser than FB arc by the end. It’s better for them to treat FB arc as the true end of bleach. Ichigo and Rukia are and will always be the main protagonists of bleach, and though R/enji is a famous character as part of the nakama squad, he is nowhere near the likes of Ichigo, Rukia, Byakuya, Aizen, Toshiro and Kenpachi. So Ichigo being R/enji’s lackey is a laughable concept at best, it’s the other way round. R/enji can’t hold his own against Ichigo, R/enji is not one the same level as Ichigo. It is not an opinion, it is a canon showcased fact even in last arc where Byakuya deemed Ichigo someone worthy to entrust soul society’s rescue to but shot Re"nji down as someone unreliable. 

bliissfulgold-blog  asked:

Hey Shalashaska, do you have links to where this Sasuke's Hair x Sakura getting knocked up dealio has supposedly been 'confirmed'. All I'm finding is what sounds like notches in the rumormill to take a hit at SS. It'd be ironically hilarious to have made SS canon just to showcase the actual circumstance their 'ending up together' could actually be even remotely believable. It's going to be my headcanon for the dreadful end either way.

http://nagisayuu.tumblr.com/post/115238900659/for-the-record-i-am-too-upset-to-pull-out-any#notes Allegedly this translator confirmed upper post

itachiaesthetic also talks about it so scroll through the channel.

http://gweatherwax.tumblr.com/post/115308612747/cheridori-kiwi-sblog-sakura-hiden-confirmed 

http://itachi.flower.is/post/115317413325/sauske-isnt-even-salads-dad-i-m-fcuking-scremaing Also this post but it was taken down though you could see by url name she wrote about Sasuke not being her dad xD

http://nagisayuu.tumblr.com/post/115220058109/271-273-to-me-it-was-quite-delicious-it#notes

http://nagisayuu.tumblr.com/post/115244333424/yourturntowatchmyback-une-nuit-pour-se-souvenir#notes

Also asexual-sasuke said its confirmed by translator and I trust her.

Though now that I go through tag I cant find direct confirmation describing them having sex or hinting it

Anyway,it does start to smell fishy now since they realized that no one uploaded the sentence from novel.

can we stop for a second and notice how EVERY TIME there’s a huge lucaya moment….where lucas says something to maya about her being a great artist and wanting her to be happy (with zay making comments about him “looking at her now”) or how lucas told zay that maya was “the blonde beauty”….the camera either shows or COMPLETELY PANS to riley…watching and listening with a surprised look on her face and do you know why? because lucas friar is showing this supportive side of him and is giving it all to maya, the best friend, the “other one”, and it’s obviously bordering crush-zone.

like this is not even debatable because RILEY SEES IT and this is what I want!!! Riley is such a heartwarming, beautiful character but she’s constantly showcased in canon to have a very poor, tunnel-vision ideal about love and she’s really naive about it and how relationships are supposed to be and that’s okay but this is “girl meets world” not “girl gets the guy in seventh grade and they fall in love whee rainbows!!! bunnies!!!”

yeah it’s gonna hurt because this is a first experience for riley - watching the guy you like fall for your best friend…but it’s gonna teach her so much about relationship between lovers and her friends….she’s gonna grow so much and come out stronger than ever and she’s gonna be happy, even if she’s not with the cute blonde ranger from texas. she’s gonna be supportive because that’s what maya’d do for her, she’s gonna watch them fall in love and be happy and it’s gonna be okay because maybe it’s not her turn yet, but it will be.

she’s gonna be okay. she’s going to grow.

its like yea, skinny white lesbians mayb arent the best representation + yea the game could def use More, + i not saying that fans shudnt continue to push for more lgbt representation but i personally think its really cool tht ovw’s poster character is actually, canonically a wlw + they showcased her + her girlfriend in actual, canon material. like i mean i dont instantly forgive blizz for all its wrongs + i hpe that from here the game + characters can continue to grow and diversify, but honestly im genuinely happy that tracer’s gay and i dont get why so many ppl are..like..upset

Person: “I’m so disappointed that Sakura hiden will be about her love for Sasuke whY CANT WE GET MORE OF HER OWN DEVELOPMENT OH MY GOD”

Person: *fully supports The Last revolving entirely about NaruHina and not about Hinata’s character development alone*


I’m sorry, why is it okay for naruhina to get an entire movie to develop it’s relationship but when sasusaku has the possibility of a novel (that’s not really even canon) helping to showcase their relationship, it’s obviously wrong and degrading to Sakura’s character? Do you HEAR yourself? I seriously cannot stand how bias some people are.

vague thoughts about apprenticeship

I think when you get down to it, Ahsoka and Obi-Wan actually had extremely typical apprenticeships and are representatives of what the Jedi Order was in their time period. This is probably part of why JA doesn’t work well for me, because I feel like it’s creating conflict for Obi-Wan within the Order where it’s not actually meant to exist in the text. He and Qui-Gon play the important roles of establishing what Jedi are, something that is easy to forget when you consider the wealth of canon after showcasing Jedi and Master-Apprentice relationships. 

Obi-Wan is 25 in TPM and considered close to the Trials, though it is apparently nothing he or Obi-Wan has actually brought up with the other. Their relationship seems to have fallen largely into one of companionship. Yes, Obi-Wan could move on, but there’s no urgency and he feels content enough to remain at his Master’s side. It’s not either laziness nor attachment, but its own kind of learning – how to become an equal and a partner rather than merely a student.

Ahsoka, on the other hand, goes from initiate to Commander in a war with a sort of vague nod toward her apprenticeship because if they weren’t looking to put boots on the ground, they would keep their initiates in the Temple and apprentice them to librarians, creche masters, and healers. She is instead pushed to the front lines and her apprenticeship is in service of many causes at once: her own studies, Anakin’s because one learns best while teaching, and the war.

Personally, I do believe that they have shared experiences in terms of what an apprenticeship is like. It’s not hard to imagine Qui-Gon having a similar relationship to Obi-Wan as Plo did to Ahsoka (or perhaps Yoda having that relationship with Obi-Wan), nor the idea of Obi-Wan going on several missions with other Masters to round out his education. The utter strangeness of Anakin’s apprenticeship, however, is much more difficult to envision. The idea that Obi-Wan wouldn’t have had a solo mission until less than a year out from knighthood is jarring and odd; and obviously Ahsoka handles solo missions within TCW. The partnership between Anakin and Obi-Wan is another strange thing because it sometimes seems like it is probably similar to Obi-Wan’s last few years as Qui-Gon’s apprentice, yet without the clearly delineated roles (and I do feel that is a cause for tension at times).

tl;dr I feel like Obi-Wan shows what the Council thinks Jedi should be and Ahsoka shows what it has become during the war, but they both highlight how the Jedi Order itself has become untenable. Obi-Wan because he chooses not to reform and adheres to tradition, even when it means putting aside his own feelings and slowly dying inside, and Ahsoka because she IS reform and the Order explicitly rejects her.

Anakin is, of course, a complete weirdo caught between the two of them.