On Death and Dramatic Declarations: The Star Wars Trope I Hope the Writers Keep Far Away from Reylo
I hate mid-fight kisses and just-before-death declarations of love.
I love it when characters kiss each other in the tense, quiet moments between battles, when the dust has settled and they feel secure but they don’t know how long the peace will last. I don’t want to hear them make promises if they’re not sure whether they’ll have to keep them. It comes off as cheap to me. Anyone can say anything if they’ll never be held to it. I’d rather them refuse to say they love the other person to spare that person more pain if they die and know the truth in my heart than see them take the selfish, easy route.
It’s like tossing a coin in the air and saying: heads, I’ll love you for the rest of our lives, tails, I’ll love you for a few minutes.
This trope has never struck me as romantic. There’s no true commitment. It’s like gambling with the other person’s heart.
But Star Wars loves to use this trope. The only reason I tolerated it with Han and Leia was because they had their first kiss in the quiet moment before all hell broke loose. And they talked about Leia’s fear that Han is going to leave the first time he has the chance on Bespin. So when Leia made her last-ditch declaration, Han got it. He understood and he already knew. He didn’t actually need to hear her say the words and he actively chose not to return them. He just reassured her that he knew.
With Anidala, I felt the same trope was executed (pun intended) terribly. In the quiet moments by the lake and the fire, Padme turns Anakin away. When the choice is present and she has the opportunity to weigh her decisions, she says no. She chooses to honor other things that are important to her. But when there’s an imminent threat, when she knows they’re both going to be executed, she tells him she loves him because there’s no consequences… they don’t have to deal with the Jedi or the Senate anymore. Except that’s not reality, and it plagues the rest of their relationship when they don’t die as planned.
While I personally dislike this trope, I understand why some people see value in it: mid-fight declarations of love build suspense, force otherwise internal characters to make an external declaration, and make battles high-stakes. For some reason, perhaps the “reverse Anakin” theme that gets applied to Kylo and the fact that so much of the dynamic between Rey and Kylo is hidden under the surface, a lot of people love this trope specifically for Reylo.
But why would you use this trope when you have the theme of two characters who are searching for and finding their belonging in each other? The whole point is not to make superficial promises to a person that has only known loneliness their entire life. Rey in particular would see through this in a heartbeat: words don’t mean anything to her anymore. She’s spent most of her life waiting for the fulfillment of a promise. When I think of a Reylo kiss, I think of something really intimate and private. I think they are extremely unlikely to make any kind of public declaration or openly show physical affection at all in these films, even in IX. I am fairly certain if we get a declaration at all, it will between the two of them and no one else.
A love letter to animation through and through! Using CGI, traditional animation, flash, stop motion, puppets, clay animation, among others, a show solely created to exploit and push the possibilities this wonderful medium offers, with top-notch tongue-in-cheek humor alongside more slapstick one, that can give you very emotional moments when it sets itself to do so in ways that never feel manipulative, the best from both Europe and America.
Courage the Cowardly Dog
Like Gumball, another love letter to animation, but with the added bonus that it’s also a love letter to classic horror films; very surreal, experimental at times, with a writing that can take you anywhere, from scaring the shit out of you, leave you uneasy, leave you uncomfortable, to just downright bittersweet feelings that never once feel forced or hamfisted, the only Cartoon Network show that has ever been nominated to an Oscar.
Ed, Edd & Eddy
It’s surreal as fuck and it captures the feel of the old, golden era shows from the 30′s and 40′s, plus it has the best ending of a cartoon I’ve ever seen.
It’s cute, it’s uniquely animated, it’s chock full of great characters, and it will constantly remind you of how great it was being a kid; plus, it has the thirstiest, gayest fucking bunny rabbit you’ll ever see, and you will love every second of his appearances. It’s the purest cartoon you’ll ever get to see!
King of the Hill
Relatable characters, relatable storylines, absurd situations that nevertheless always feel real enough, an MC that couldn’t be more different than us, and yet we one way or the other end up identifying with, one fo the very few adult cartoons that don’t have to rely on violence or sex to convey a mature feeling.
Star vs the Forces of Evil
Basically, america taking the magical girls genre from Japan, and just doing it right. The animation goes to shit around mid-season 1, but it recovers in season 2, the writing, however, just improves. One of the very few shows to pull off romance right, and with a constant knack at game-changing events after each season, a true example of how to do overarching plots that actually respect the audience.
Rick and Morty
Basically everything Futurama ever wanted to be: A love letter to sci fi, with dark yet compelling storylines that are always fun as fuck, fundamentally broken characters that continually evolve without losing their essences, gracious violence, lack of reliance on tired tropes, and surprisingly emotional moments that never feel out of place nor forced.
Golan the Insatiable.
Uniquely animated, with a very bizarre, borderline ADHD writing that nonetheless always keeps it entertaining, a pity it’s so short.
While the current season is the best animated series I’ve ever seen period, the older seasons are just a great, if much more lighthearted and a bit unfocused (mostly due to the old setup of stand-alone episodes), and while it’s true you can watch the new episodes without watching the older ones, as the season has been designed to be enjoyed like that, you can get a much better view of Jack and his current struggles by knowing what he already went through and how he used to tackle his old challenges, which makes the new ones much more striking.
Edit: Having finished season 5, I must say, the first half is still the best animated series I’ve seen period, the second, however, now belongs in the mentions with an *.
Wander Over Yonder
The closest we got to a return of the old slapstick-era cartoons of the golden age, at first a bit superficial, but as the series progresses you learn to love all of its characters, which all go through their own character arcs, alongside a big overarching plot that spans the entire second season, with an excellent ending worthy of its legacy.
The Grim Adventures of Billy and Mandy
An everpresent dark humor that never takes itself too seriously, broken unlikable characters you will learn to love, a constant improvement in the animation as the show moves forward, an expanded secondary cast that help bring a breath of fresh air to the formula, and just plain awesome movies and crossovers.
A completely slice of life show that just works! Sure, the MC can get annoying, and the first season relies too heavily on gross-out humor, but from the second season the show finds its footing, with characters that are just filled with personality, settings that vary from mundane to just complete bizarre and yet always feel like part of the same universe, and plots that just serve to remind you how it felt to be a kid. Plus, there’s a teacher character that’s completely broken, and yet she always ends up being the most competent character of them all!
And finally, special mentions with a big asterisk:
The Loud House
At its core, it’s a great, unique show with a diverse cast of characters and an interesting animation that while simplistic, has a ton of charm, and when its properly exploited, is fun as hell, but sadly, more often that not it falls into old, tired tropes, making it a frustrating chore to watch, and so far those episodes outnumber the good ones, so it’s still a mixed bag.
Everyone and their mom will tell you this is the greatest cartoon ever made, but once you disregard the “muh deepest lore” and “muh mysteries”, it kinda falls apart, mainly due to an overfocus on the first MC, Dipper, heavily distracting from most of the lore in many episodes, the complete flanderization of the second MC, Mabel, originally a great character with tons of charm that eventually devolves into a selfish bastard that never learns from her mistakes or faces consequences for her actions, and finally, a lackluster second half of the final season that kinda throws away all the build-up lore and mysteries.
Phineas and Ferb
Great songs, great characters, very creative settings, and a fucking Top Gear’s trio cameo! But man if the formula just gets old, some of the songs are just god-awful, and many neat concepts and characters get terribly underused in favor of the same old tropes. Plus the simplistic designs of the main characters tend to clash a lot with the more polished ones found in later seasons.
Anonymous Asked: “Hey! Do you happen to have any prompts for two old friends who bicker a lot and are just discovering they have feelings for each other? You know, typical rivals to lovers trope… Plus an awkward confession, if it isn’t too much? Thank you in advance! I love your blog a lot!”
Anonymous Asked: “Hi, could you please write a hitman/spy guy trying to apologize to the girl he had to give to the hitman boss and also trying confess his love for her?”
I’ve gotten several other requests that partially included confessions as well, so I figured I’d tackle them all here.
Different confession prompts:
As an apology:
1. “Look, I know this doesn’t make up for anything, but… I did it for you. So you’d be safe. Because I… care about you. A lot.”
2. “I know this isn’t the best time, but I thought you deserved to know: I… I love you. I have for… Longer than I can remember.”
3. “I didn’t have a choice. They never give me a choice. I could either let the one I love die-that’s you, by the way-or they’d… They’d go after your family.”
4. “Even if you can never forgive me, you deserve to know the truth. You’re the best thing that’s ever happened to me.”
5. “No, I won’t calm down! You almost died, and I can’t lose you! … Not you. Please, not you.”
6. “Don’t you get it? I-I’ve tried to tell you, so many times, but it’s like you aren’t listening!”
7. “Why? Because I love you, okay? Because I. Love. You.”
8. “Please, just think about this! If you do this, you could die! I can’t lose someone else that I-”
Awkwardly: (Popular request,)
9. “I-You know I’m not good at this stuff. Words, and junk. But… You’re important. To me.”
10. “We need to talk. About something important. I… I l… I love your face. And the stuff in it. and around it. Just you, in general.”
11. “So, the thing is-you know how we weren’t even friends? But then, you know, we were? Are? So…. What if I don’t want to be friends anymore? Not that I want to go back to hating you, more like… I want to start… Dating you.”
12. “We should date. For science. Because I like science. And you.”
13. “If I kissed you, would you punch me? Because I want to kiss you, but not if you’re going to punch me.”
14. “The thing is, it’s you, okay? It has always been you, for as long as I can remember. And even if you never feel the same, that won’t change.”
15. “I will always choose you. Every day. Every time. No matter what. Because I love you that much.”
16. “I’ll sing it, if I have to. Shout it from the rooftops. Whatever it takes to make you believe it.”
17. “When I look at you, I see something I haven’t seen in a long time: A future. But only if you want it.”
As A Goodbye:
18. “I know this is too little, too late, but you deserve to know.”
19. “We’ll see each other again, right? I still need to spend the rest of my life telling you how much I love you.”
20. “Shhh. Everything’s okay now, my love. I mean-No. No, that is what I mean.”
what if black hat loses control of his corporeal form every once in awhile though? it’s not easy for an eldritch to contain Its abominable form for such a long period of time. it comes at a terrible price. when he loses control…the transformation completely violates his body and mind, and it’s horrifying. his body transforms against it’s own will, into bloody pulp and writhing tentacles, and his body is swelling, scattered, stret ct ched all over the place. what he becomes can’t even be called a body anymore, it’s just internal organs, pulsating hearts and tumors, bulging eyes decorated everywhere.
and he - It - is so lost and confused and, and - afraid - It shouldn’t know fear, but It is A F R A I D in the truest sense, because It doesn’t know how to stop because It can’t stop and oh gods, It’s in so much p a IN because It can feel e v e r y t h i n g -
Why do I love ShrunkyClunks! so much, Viper?! WHYYY???
Oh man, if you ever find the answer to that question please do tell me, because I’d love to know as well!!
Idk, maybe it’s cause it lets us go with a more or less canon setting and a familiar world, but taking away all the tragic aspects and the brainwashing and the ouchies?
We get a Steve who still becomes Captain America without Bucky – because he never just did because of Bucky, it was always going to happen, whether HYDRA had captured Bucky or not –, and a Bucky who’s still very much Bucky, except without the sadness, and it gives Steve something nice to hold on to upon waking up alone in the 21st century, a kindred spirit and a sense of belonging.
Plus, so many plot possibilities!!
Basically, it means we get all the benefits of canon!fic, but without (or with less) pain, and with the possibility of a meet-cute! – and let’s be real, we’re all suckers for meet-cutes here.