I told an anon that I wouldn’t be doing this, yet here we are. This fic rec list is dedicated to fandom’s dedication to mutual pining + tropes that shove Cassian and Jyn together. All are either post-Scarif AUs, or canon missing scenes.
Diego Luna's accent in Rogue One is a rebellion in its own; or why the representation of accents matters in the US
You know what else I really love about the diversity in Rogue One? The presence and non-issue of Diego Luna’s accent. Prior to Cassian (at least in my memory) if a Star Wars character had an accent other than English/American then they were an alien or otherwise a foreign or aberrant being. Not a single character in Rogue One signals that they can’t understand Cassian, or corrects his pronunciation, nor does anyone ever point it out or even justify his accent by saying he is from whatever planet. The film therefore implicitly takes place in a world where accents don’t mark someone’s otherness; accents aren’t a marker of un-education, illiteracy, or being an outsider. Granted the issue of nations and countries is a little loopy in Star Wars, but Rogue One presents to us a universe where some people just don’t speak the common tongue the way everyone else does and there’s no stigma attached to that, they are as much of a rebel as anyone else.
I’ve read time and time again, and experienced time and time again, that a foreign accent is everything in the way people perceive you. People are more likely to think you are stupid, untrustworthy, or just downright confusing. Even if an immigrant in the United States has been living here for 40 years, if they have an accent, everything is going to start working against them. That’s why so many immigrants fret over their English and go to accent reduction classes or avoid speaking in public too often. Because no matter who you are, as soon as you open your mouth, people think of you as a joke. No matter how smart, how patriotic, how hardworking you may be, your otherness is always spelt right there on your own tongue.
You’ve heard it a million times and here is a million and one: representation matters y'all. I was born in this country so I don’t have a Spanish accent, but my whole family does. My whole community does. I happen to live in an area heavy with Latinxs so here the stigma isn’t so obvious, but I’ve seen this kind of discrimination happen to Latinxs all over the country while I get to keep the privilege of the facade of whiteness because of my natural American accent. So I’m goddamn elated that Diego Luna performed Cassian in a unabashed Mexican Spanish accent in a mainstream film and it did not have a single repercussion on his character except for making millions of Latinx feel validates for they way they express themselves. My whole life, pronouncing Star Wars “Estar Wahrs” has been deemed the incorrect way. And now, it’s one of of many, equally valid ways. Amen to that.
Supposedly, I should have presented your rogue’s blog (twilightdrawn), but I hope it’s okay if I give it to your personal instead. It’s just a little edition mixed with my art, it’s simple but I hope you enjoy it!
A Rogue distributes their aspect or distributes with their aspect
Space is the aspect of creation, physics, and the present
A Rogue of Space would be an excellent gardener. They would find joy in removing weeds so that their crops could grow. They would love the idea of equilibrium and balance. As a Space player, they would have the task of breeding frogs, but they would have no problem with taking genetic traits from other frogs to give to the Genesis Frog. They would give others ideas for how to proceed, thereby acting as a leader in the background while others take the glory.
And you know that the Rogue of Space is turning heads with their outfit!
There’s an unspoken thrill to hazardous circumstances, occurrences in which Jonathan has advanced himself to effortlessly address to gain suitable control.
When addressed once before on “What makes Nolan’s Jonathan Crane intimidating?” it’s not always what one observes on screen. It’s what transpires out of sight that often cajoles trepidation of how immoral a man can be without necessarily divulging offensive imagery for the strong rating.
“I’ve heard about your little experiments.” He’s committed atrocities within Arkham as the corrupt and not once has he roused suspicion for investigation.
When alluding to ‘realistic’ situations, it is questioned just how a Rogue can be presented as deadly and remain unidealized.
Jonathan Crane may be perceived the ‘easiest villain’ for Bruce only commencing his responsibility as the cowled Bat, and I’d like to announce my reservations to such a notion. Jonathan has the capacity to mass produce a toxin to eliminate the Narrows and immediate precincts surrounding. He is caught only after the outset and without appearing formerly suspicious. (Should we disregard the Batman Begins game in which, nothing was done of his illegal experimentation)
If one recalls the scene in which he does ignite the Bat, it can be argued that it’s the first time Bruce crosses Jonathan on the field and presumably does not know what he is capable of. It’s the very same for Jonathan. He handles the threat expertly as if it’s something he’s accustomed himself to and by calculation upon improvisation. He does not know of the Batman and within moments, ascertains what it is he’s capable of. Crane faces a man trained by Ra’s and has him sent through a window and incapacitated in only a few moments under idle discussion, rather than inconveniencing himself of menial combat.
In these films, it’s never fully evinced what Jonathan is capable of. With such little screen time of the trilogy, it’s not requisite to show everything. This allows for analysis and exploration to character and with logic, detail evinces.
What is to be known, comparable to what is observed is that the good doctor has the means to do far more than what is revealed on screen. Elucidation will exhibit for your reading below.
Jonathan Crane is not to be underestimated.
What is widely known is Jonathan does utilize his toxins on patients he descries as ‘subjects’ or (when subdued by his vexation) ‘crazies’. This garners the comprehension that as a man of science, it is necessary to see his patients react without restraint. It’s compulsory to observe what his compound can do should it be used for those he’s to face in the future. (Does it evoke hostility, does it ease a patient to writhe, questions demanding his analysis.) With enhancement or modifications of what he regularly creates, there are always new counteractions of patients bound or mobile. It’s all part of unethical experimentation.
It’s also proven well that he’s a low tolerance of pain.
Provocation of an already ruptured mind is a dangerous activity. Gratuitous experimentation and recreation of toxin to dispense once more may very well gain the more adverse reaction of those committed. His patients are men committed to Arkham for the criminally insane and with men capable of atrocious crimes lunging unpredictably, he will have to remain agile to circumvent and appropriately react. Throughout the film (preceding his capture) he is unscathed, visibly relaxed when in the vicinity of threat, composed.
Because the Narrows is descried heavily unsafe, it’s fascinating he explore the city with the arsenal he carries as it requires close vicinity to employ should it not be driven through syringe. With the knowledge of low tolerance and necessity to remain close in proximity, it’s logical to comprehend that he’s agile. Jonathan is rapid in step and counter because he has to be.
Jonathan’s line of work lines to intellectual disorientation. The toxins are lethal and to those enduring, it poses threat. If ever imprecise, it’s a lethal error. Fixated on the idea of completing a task, of rupturing cerebral constructs, Crane does need to remain steps ahead of his adversaries or any standing between himself and set objective.
Jonathan is a man of genius intellect. Irrespective of subjects he’s addressed with when pertaining to speech, he’s amassed the instantaneous counter to ensure silence to those tempted to gain suspicion to the point of ensuring doubt. He fashions words to coax one’s idiocy, to intangibly dissect and explore to tease slivers of what lasts of their mind for fleeting inspection and destruction if need be.
This ties into behavior when faced with a threat.
Through the scene pertaining to his suggestion of disposal to shipments and the Bat’s unanticipated arrival, Jonathan appears to have immediate reactions regardless of what could possibly transpire. It’s revealed that he is a man to inspect the physical prowess of his opponent, agility in strike, and predictability thereafter. He gauges probabilities under an instant and has will not waste his energy on what interrupts. He will either dispose of his subject or in later occurrence, attempt to execute.
With both intellect, agility, and the upper hand of gauging the opponent’s skill set, this leaves Jonathan an immediate threat.
To the most influential men of Gotham revolving crime (Falcone), striking ‘fear’ to the intrepid standing in his wake, Jonathan is visibly unintimidated. He allows for discourse. The men determined powerful will not incite his fret.
Having experimented with deadly patients, emerging virtually unscathed, Crane retains a variation of method to disarm and react to situations. Observance to what is to occur in combat allows him the upper hand. Rapid step allows him to fully gain analysis of detail, and thus allows for predictability to turn patient’s attempts in survival to their downfall.
Expressionless features allow for unforeseeable counter to his opponents. From a single glance, it’s unknown what transpires in Crane’s mind. It also aids in the ‘upper hand’. He is a man practiced and suitably discerned a Rogue in Nolan’s trilogy. He’s the quickness and precision to incapacitate in close proximity and rapidity in strike to immediate improvisation when necessary because it’s written by the creators that Jonathan does not intend to be vulnerable.
Jonathan Crane is a deadly man. What makes him terrifying is both the incapability to determine what the good doctor is going to do next and the notion that those capable of observing what he can do are no longer alive, save for the Bat later trained to handle Jonathan’s reaction in combat.
Do not undervalue Arkham’s Rogue Gallery.
Do not underappreciate Nolan’s interpretation of Jonathan Crane.
It unknown what he can commit under fervent desire to kill. My analysis falls from what I observe in the film itself. It’s left to the imagination to what more he can truly do.
We all know that Rogue ‘stole’ Sting’s power by killing him, and that when Frosch (let’s assume that he’s a boy) died he “became one with the shadows”. I thought Rogue was just another victim to fate, lost in the path of vengeance, but then the present Rogue admitted that he just helped his dragon die and my whole view changed.
It was simply euthanasia. So I thought, what if the same thing happened with Sting? Rogue could have helped him die and absorbed his power afterwards because Sting wanted him to do it to help Rogue get stronger. The same reason why Sting’s dragon asked to be killed.
That’s all fine and dandy, right?
Then this came up. He basically told us that Sting was his lifeline. In a nutshell it means that Sting is his salvation.
So if Sting is his salvation then why did Rogue tell Natsu that it was only after Frsch died that he ‘fell’?
I think that after Sting died - after the shadow lost its light - Rogue turned to Frosch. He became Rogue’s new lifeline, and when he too died, there was no one left to anchor him to the light.
Rogue could have snapped because he couldn’t protect anyone, and because of that he obsessed over power and became one with the shadows.
We’ve just finished the first part of our story and our DM begins prepping us for the next part.
DM: Well then, my precious adventures! And by “precious” I mean that someone has suffered serious financial losses. And they are going to suffer even more to get rid of the problem that you damn well present.
Rogue: Why didn’t they just give us cash instead?
Sorcerer: “Here’s a hundred gold for you, go kill yourself!”