Automobile cooling fan relay instructions

Darksiders 3 is a hack and slash adventure game developed by Gunfire Games. Released in 2018, Darksiders 3 asks the question, "How much more obvious do we have to make it that the developer has an underground BDSM kink?"
We play as Fury, one of the more reasonable members of the Riders of the Apocalypse who have been charged with fixing the ever growing screw up that was the supposed end of the world.
Gameplay is a mix between a hack and slash brawler and souls-lite. Enemies are numerous and swarming but also kill you in two hits if you don't time your dodges just right. Some metroidvania elements exist with backtracking to open up secrets/new areas as you gain new attacks.
The Good
One thing I do loves is when series games acknowledge and call out mistakes they made in the past. In my review of Darksiders 2 I griped about how every single quest comes in 3's. It's always get 3 this, find 3 that, kill 3 this. Early on in DS3 you come across a chamber where you have to gather 3 swords and the protagonist mutters, "It's always 3 isn't it? I hate it when the Creators take shortcuts." I felt seen.
Level design is great. Every area flows into the next and then back again, which I enjoy. I love when games feel like a connected world. Given the variety of environments this is a rather impressive feat. DS3 also features that timeless graphic style popularized by World of Warcraft so even 20 years from now the game will hold up visually.
The Bad
It tries to be a souls-like, hack and slash, metroidvania hybrid and falls a bit short on all accounts. Enemies have fast instant lunge attacks, auto-hit tracking and come in packs of 4+ but you fight like you're in dark souls with narrow dodge windows and animation locking. It's the first game in a long time where I had to set my controller down because I was getting sick of the games bullshit.
You'll pass numerous locations you need items you get later to access, but there's no mapping feature to keep track of this. Remembering the 40+ blocked off locations you passed can be a bit rough so your options are either to backtrack the entire game, use a 100% spoiler guide or just not bother with it.
The Ugly
The controls take awhile to get used to and you can't change them. For some ungodly reason dodge is R1 instead of the B button. Swapping combat forms in battle has a delay and feels very unnatural. Whip swinging often decides to just not work. Trying to select and use a buff item in combat is an exercise in futility.
To compound on that, one nitpicky issue I did have is also many puzzles/levels require you to be in a specific 'stance' or elemental form. Switching between them has a bit of an input delay so if you hit the wrong one you tend to huff as you wait to switch again. If you swap to the wrong form or are doing a puzzle which requires frequent swapping it gets a bit obnoxious.
Final Thoughts
The level layouts are fun and the boss fights are cool. It's when the game tries to marry hack and slash with souls-like that it starts to crack. There's a fine line between difficult and stupid and too often the game leans into stupid territory. As obnoxious as it is, the rest of the game is redeeming enough to make it tolerable. The story is pretty rad, especially if you're a fan of the apocalypse.
Interesting Game Facts
There, of course, is a nude mod. However, far more interesting are the model replacer mods. Eventually I got curious enough to try them out. It's a lot harder to take the end of the world as seriously when you're playing as Fiona from Adventure Time.
Thank you for reading! I'd love to hear your thoughts and experiences with Darksiders 3!
My other reviews on patient gaming

What are folks using to cool a 7960x in a 4u rack? My chassis is a CSE-846BA. I was looking at https://noctua.at/en/nh-d9-tr5-sp6-4u/specification, but based on https://ncc.noctua.at/cpus/model/AMD-Ryzen-Threadripper-7960X-1766 they say it doesn't have the necessary cooling capacity. It also has nearly no reviews on Amazon except for one guy saying that it was inadequate for his 7965WX (pro version of 7960x).
The only noctua coolers that are "green" on that page are all too tall. I'd like to have an active cooler and no shroud so I can run my Supermicro case fans on not ludacris speed. I'd rather not do liquid or AIO, preference is definitely air. I'm just having trouble finding one that can provide enough cooling and would actually fit.
My thoughts right now are to just get the nh-d9-tr5-sp6-4u and try it out anyway. Any other options?

I've wanted to go all in to code a WP plugin from scratch with the goal of listing on their WordPress plugin marketplace. But I had no idea what to build.
The goal was to see if I could also make money, to pay off some debt and go from there.
I'm not a fan of tutoritals either, "Hello World" pisses me off.
I've done a bit of freelance work outside my 9-5 coding job. Mainly building WordPress plugins. And they've all been very tailored to what the customer wants.
I'm trying to get myself out there on social media. As well as start a tech/starup based newsletter. That's hard to getting going as well. Then it hit me. Could I create a WP plugin for my blog that helps grow my newsletter subscribers.
I'd seen this cool popup that wasn't intrusive and said "Press B to Buy now". Could I steal it on do "Press S To Subscribe" to see if I can get newsletter sign-ups.
Also, I wanted an excuse to sign-up to Github Coplit too. Using the 30 day trial to see if I could build the plugin without forking out any dosh.
It took me about 14 days part time in the evening using VS Code and Github Copilot to get it built and hosted, finally install on my WP blog too. Result.
Got a subscriber in the first week too without doing any extra work. Well happy.
Anyway, I've recorded a few walkthrough on my YT channel if you want to see how I did it
But the main reason I'm posting is to get honest feedback on the plugin and the website. I've called this little business idea SuperSub. You can check it out here https://supersub.site

I'm walking through a bustling underground train station. I push and shove my way through all the other commuters onto the platform. As I look around, there seems to be endless rows of platforms in both directions, stretching well into a dense fog. Further ahead, neat lines of railway tracks extend out from the fog and through the platforms. I instinctually look up at the info screen
Next train in ### minutes
I furrow my brow, squint to try and focus on the numbers but they're heavily pixelated and illegible. I look around at the other commuters, who stream onto the platform completely unaware of the anomaly. Most people are on their phone, or wearing headphones while some are talking to each other. No one seems to notice the malfunction with the screen.
That's when the absurdity of the situation clicks for me. Endless platforms, a wall of fog, unreadable numbers and people that don't care. It's all a dream. I bring my hand up to my face and pinch my nose, trying to breathe through it. An old reality check I remembered from back when I was trying to learn to lucid dream.
My heart rate jumped when I realised, that I couldn't breathe through my nose. Before I could even process this, another problem presented itself. I didn't know why I was here. I didn't know where I was going and I definitely did not know how I even got here. It seems as if reality ceased to exist right before I walked onto this platform. Just like it typically feels in a dream, you spawn in out of nowhere and don't really know what happened prior - except this wasn't a dream.
I knew I was sure of it because deep inside my bones I felt this anxious urgent message. I need to catch this train. It was a primal feeling.
At this point, my head is spinning and I need to sit down somewhere. I choose a silver bench with a middle aged woman sitting on it. She shuffles further to the left as I sit down next to her clutching my head and racking my brain to try and figure out what it is happening. This is what amnesia feels like, I thought to my self as I gnawed at scraps of messy muddled memories. Each image that came into my mind was just a fragment - A school, a library, sickeningly white walls. It hit me that I didn't even know my name. I was starting to hyperventilate but then my body kicked into autopilot. I started to take deep breaths, focusing on my diaphragm and calming myself down. It felt like I was trained to do this. I started to focus on the current situation.
Where was my ticket? Instinctually, I knew I had to have gotten one on my entry to the train station. I reached into my pockets and pulled out a scrap of paper. Scrawled in very familiar cursive:
*In case of memory loss, read the journal in your backpack*
Strange message but I didn't have any choice then to at least give the instructions a try. I removed my backpack and rummaged through it for the journal. I wouldn't really call it a backpack - more a tattered and frayed bundle of cloth that was reminiscent of a backpack. I finally found a series of small thick journals, bundled in cloth with their leather covers on the verge of disintegration. The pages still seemed in good condition though. Each cover was sequentially labelled which I'm guessing corresponded to the chronological order of the writings within.
The lady next to me was weirdly getting agitated. She kept stealing glances, her body shaking and eyes burning with a fierce rage. I slowly got up from the bench and began to step backwards. My backpack bumped into a pillar. The dull thud it made seemed to cause a drastic change to everyone around me though. They all snapped their heads, locking eyes on me and staring through my very soul. I felt exposed.
The rumble of an arriving train stole away their attention and within a split second everyone was ignoring me again, going back to their usual activities. It seriously felt like I had just imagined it and it was becoming more and more clear that I was having some sort of mental breakdown. Nevertheless, as the train slowed to a stop on the platform, I walked into it and found a seat. The train seemed to be old and new at the same time. Typical blue seats with abstract dirty patterns complete with a modern sleek interior of gentle curves clashing with a boxy dull metallic exterior and doors that looked like they belonged on a rusty submarine.
I opened the first of the journals and began to read. I soon realised that the handwriting was mine and within the next few moments I was attacked by a barrage of memories that had remained repressed and buried in the back of my mind.
*
My name is Jacob and I have been stuck here in this place called *The Limbo* for an eternity. When I say 'eternity', I don't mean it lightly. Back when I used to keep track I counted over 500 years through my wristwatch that never seemed to run out of battery. Now I know counting is meaningless. There have been periods like this where my mind falls into a deep trance and I lose my whole identity as I mindlessly wander in this place much like the entities that inhabit it. Occasional periods of lucidity breach this trance and then I find myself lost and confused. It's why I keep the journals with me. I think its some sort of psychological survival mechanism that human brains develop when faced with the infinite vastness of The Limbo.
Speaking of The Limbo, I've come to learn a few things about its nature through my stay here. Some of its been through people that I've come across (Yes others are also stuck here) and some has been through my own experiences. Perhaps the most important is the question of where I get my food and water. The answer is weird. I have never felt hungry or thirsty. The sensation of having cool water slide down my throat remains a memory so distant that it feels like the snippet of a childhood dream.
I guess the next natural topic about this place would be time. Through various experiences of mine (that you'll get to read about) and discussions with others, the leading theory of mine is that The Limbo exists outside of time itself. While I myself have fallen here sometime during 2001, I've met many others from various years like the 80s, 90s and even one recent fellow from 2043.
Most people in The Limbo eventually fall into a trance, withering away until they become one of the entities or become mere tools for them. It's probably naive but I keep going through this place with only two hopes. The first is to somehow get out of here at the right time point and see my son, who I never got to see. The second is to come out of this place and die so that I no longer have to live out the empty agony of eternity (I'll explain how you can't age or die in The Limbo later). Perhaps my hopes will dwindle as the centuries pile and I will become just like those who I look upon in pity now.
I am writing this consolidated diary of my experiences for several reasons. I'd like someone to know of my unending journey in this place. To be aware of the capacity of the human spirit to keep going in the worst of situations. I have never had a long term friend in The Limbo, but know that I consider you the reader a dear friend even if I never get to meet you because you will know my story. I'm also sharing this in hopes that there is more awareness of The Limbo. Perhaps the military and scientists can actually figure out what it is. Perhaps all of us can be brought home. Or maybe this can serve as a survival guide to those who may be unfortunate enough to fall through.
There are small holes in The Limbo. Most of them are barely large enough for a pinkie finger to fit in let alone a person, but sometimes I've come across one large enough for this journal to go through. I'm not sure what time or place these holes lead to, so the safe passage of this book into a person capable of reading it has about the same chances as me ever leaving this place.
The train I'm on supposedly leads to the edge of The Limbo, where the holes are large enough for humans to fit through. It's really more of a legend amongst the poor souls that are trapped here and I've followed trails and clues for a long time to even find this train.
There are only two ways this goes. Both outcomes would lead to you reading this book in your hands. I'll either find my way out of this hell or give up hope and slip this journal through a Hole. You will find my fate at the end.
I should stop rambling now though. It would be best to start at the very beginning.
*
I was rushing out of work in pure ecstasy. My wife had gone into labor while I was at work and been rushed to hospital. I needed to get there fast. People were glancing over at me over their cubicles in confusion as I packed up my work bag and rushed out to the elevators. I couldn't stop thinking about seeing my first son as the elevator made its way down. The elevator doors finally opened and I rushed out.
The ground entrance of the building I worked at, particularly near the lobby, is an intersection of various hallways. I was already walking to close to the wall when someone came rushing around the corner and bumped me right into the wall. I was only able to hear half their apology when I fell *through* the wall like it was just a holographic projection. In hindsight, I find it oddly funny how easy it is for a life to get ruined. Just when you think you've got it all, when everything is going smoothly, a small incident like that is enough to take it all away.
I found myself in a room that resembled a classroom. It looked as if someone who had never stepped inside a classroom was asked to imagine the space. Desks were arranged in messy uneven rows with the chairs facing various directions. The board at the front of the room was a seamless patchy mixture of both chalk and modern whiteboard and mounted way too low on the wall, nearly hugging the floor. A large teachers desk sat in the front of the room. The walls were filled with posters of absolute gibberish along with diagrams and pictures that seemed like they showed something tangible but no matter how close you looked you could never identify anything in the picture.
The initial confusion was replaced by an immense panic. My heart was drumming against my chest as I searched the room for a doorway to exit it. My mind was trying to rationalise the situation. I was trying to convince myself that this was just some old part of the building and I had fallen into a hallway instead of the wall.
I ran through the doorway at the far end of the room and found myself in a large hallway that seemed to extend forever in both directions. The walls were a muted grey and the floors were that typical dirty linoleum. Soon I would find out that the regularly spaced doorways on either side of the hall led to other nonsensical classrooms.
I ran down the hallway screaming for help in pure panic, which was a terrible mistake in hindsight. I stopped running down the hallway when I suddenly heard the distinct scratch of chalk against board. In this large empty space, the sound echoed and boomed. Since I was still refusing to buy in to the reality of the situation, my hopes were momentarily increased by the supposed presence of another person here.
I slowly walked over to the doorway that the sounds were coming from. My stomach filled with an uneasy dread. This deep primal instinct within me urged me to hold back. I peeked carefully in the classroom and saw a woman with their back turned to me drawing something on the chalkboard.
It took me a few moments to notice that it was a very realistic portrait of my face.
She was drawing lines across my throat, her long dark hair swaying as she drew in the details. The drawing was completed with a terrible slash across the throat, blood gurgling out. I was frozen in place, transfixed on the hauntingly beautiful realism of the picture.
She began to turn around slowly while humming a high pitched tune. To this day I can't describe the face I saw. It is still etched into my mind. A face full of so much hatred, so much anger that I don't think its possible for a human to make that face. It expressed an emotion beyond human understanding. No artist in the world could ever render the expression on the paper. No words could describe the pure fear that coursed through my veins as she stared at me and began to approach.
I turned around to run, only to realise that a bunch of school children had gathered around me. They were headless, the bleeding stumps dripping thick blood onto the floor in a rhythmic patter. Somehow they were laughing.
I shoved through the group and ran down the hallway. I wasn't sure where I was going. My whole world had shattered and now I was completely aimless in some nonsense dimension with horrors beyond imagination that wanted me dead.
*
The extract above is from this journal I found at the foot of a large tree on a hiking trail. It's a miracle that I spotted its faded leather cover given that it was almost buried under rotting leaves. I really don't know what to make of what I'm reading, so I'll be slowly transcribing bits of it in separate posts over the next few days.
I know this subreddit is good for this sort of stuff. I'd love if someone else could share anything they know about The Limbo. This whole journal feels like some sort of prank, but the words and memories within feel way too real.
I can't help but feel a connection to this story. My mum doesn't speak much of my Dad, who I know left before I was born. No one ever found out where he went.
I was born in 2001
X

I've wanted to go all in to code a WP plugin from scratch with the goal of listing on their WordPress plugin marketplace. But I had no idea what to build.
I'm not a fan of tutoritals either, "Hello World" pisses me off.
I've done a bit of freelance work outside my 9-5 coding job. Mainly building WordPress plugins. And they've all been very tailored to what the customer wants.
I'm trying to get myself out there on social media. As well as start a tech/starup based newsletter. That's hard to getting going as well. Then it hit me. Could I create a WP plugin for my blog that helps grow my newsletter subscribers.
I'd seen this cool popup that wasn't intrusive and said "Press B to Buy now". Could I steal it on do "Press S To Subscribe" to see if I can get newsletter sign-ups.
Also, I wanted an excuse to sign-up to Github Coplit too. Using the 30 day trial to see if I could build the plugin without forking out any dosh.
It took me about 14 days part time in the evening using VS Code and Github Copilot to get it built and hosted, finally install on my WP blog too. Result.
Got a subscriber in the first week too without doing any extra work. Well happy.
Anyway, I've recorded a few walkthrough on my YT channel if you want to see how I did it. Also check out the plugin, I've called it SuperSub haha

I've wanted to go all in to code a WP plugin from scratch with the goal of listing on their WordPress plugin marketplace. But I had no idea what to build.
I'm not a fan of tutoritals either, "Hello World" pisses me off.
I've done a bit of freelance work outside my 9-5 coding job. Mainly building WordPress plugins. And they've all been very tailored to what the customer wants.
I'm trying to get myself out there on social media. As well as start a tech/starup based email. That's hard to getting going as well. Then it hit me. Could I create a WP plugin for my blog that helps grow my subscribers for a weekly email I'm trying to grow.
I'd seen this cool popup that wasn't intrusive and said "Press B to Buy now". Could I steal it on do "Press S To Subscribe" to see if I can get email sign-ups.
Also, I wanted an excuse to sign-up to Github Coplit too. Using the 30 day trial to see if I could build the plugin without forking out any dosh.
It took me about 14 days part time in the evening using VS Code and Github Copilot to get it built and hosted, finally install on my WP blog too. Result.
Got a subscriber in the first week too without doing any extra work. Well happy.
Anyway, I've recorded a few walkthrough on my YT channel if you want to see how I did it. Also check out the plugin, I've called in SuperSub haha

Any cool fanfic stories squeal for oneshot? i cant stop crying, either niko meeting the player or good twoshot fan stories

Hi Reddit!
I am looking to build a PC with Intel Xeon CPU and dual RTX 3090s for machine learning, and have some questions about the choice of motherboard and cooling issues related to the dual GPU build.

• Does the type of fan in the individual GPU (e.g., founders edition, open air or blower style) matter for cooling? Or is it more of how they are oriented/separated and the overall airflow in the case?
• Are PCIe risers/extenders an effective way to physically separate the two GPUs to ensure adequate cooling?
• About the choice of motherboards, something like Supermicro X13SRA-TF should work, right? Its spec. says "3 PCIe 5.0 x16 Slots, support up to 3 Single Width/2 Double Width/2 Triple Width GPU cards", so I should be able to plug in two 3090s?

Please also let me know if you have other favorite motherboards that work for dual GPUs! Thanks a lot!

What more can I do? The people who live under me insufferable. they constantly complain to me about me making noise! It started by them saying my dog barked all night the first night he was left alone. I got off work 4 hours early that night (2 am) and didn't go inside for about an hour because i was enjoying the cool night. And I wanted to see if he was barking, but he didn't make a peep. Additionally the neighbors on either side listened for him after I left for work at 6 pm (and we can all hear eachothers tv's) but they didn't hear him. They (all 3 neighbors) had my number but nobody texted. They just complained when I saw them the next day.
​
Almost every time the people under me see me they complain about the noise. So I've done everything in my power to keep it quiet while actively making every effort to avoid them. My dog stays at my moms house most nights when I'm working and when that's not possible and he's home alone he's got his bark collar on and I give him his anxiety medication to help him sleep. They still say he runs around all night but that's not possible because he's crated. i thought it could be the cats but when I'm home the cats sit in their tree and sleep and that's all they do all night until about 6 am when they get their morning treat.
​
I put some area rugs down to try to help. But that hasn't done anything.
​
I even did these neighbors a favor and let them use my washer and dryer (even though they did 3 times as many loads as I do alone) to try to get on their good side until they started complaining about cat hair allergies and I didn't want to risk one of them passing out in my apartment so I had to put a stop to it.
​
This morning at 5 am the woman texts me that she heard my dog running around and he's kept them up all night. No. last night I was home and I watched my dog and cats, nobody ran around. Nobody made noise. Nobody barked. Nobody meowed. I paced back and forth to the bedroom a few times when I needed to, and I try to step as light as I can but I have a bad leg. I limp so it's probably not as light as a normal person could walk. if she heard anything it was me. Everyone else was asleep and I was in my chair with my leg propped up watching twitch most the night. I can only do so much. I'm not going to make myself uncomfortable by tip toeing around my own apartment that I pay for. But if it really kept you up all night why did you wait until 5 AM to say something?
​
I sent an email to the office and asked to swap apartment because I don't want to disturb them anymore and I know two ground floor apartments are going to open up over here soon. But I know they aren't going to let me. The office staff is the least professional group of people I've ever met and they don't like work.
​
And don't get me wrong... I mean I get it. I know it's an old apartment complex. It's poorly insulated. and I'm sorry if they really do hear noise from up here. but what else can I do? I'm seriously not making much, if any noise. The only thing that's making any noise is my fan. but I can't imagine how they could be hearing that. I'm doing the best I can. When you move into a bottom apartment isn't a little bit of noise to be expected? I would understand if we were really being disruptive, playing loud music, barking, or even running around and playing all night I could see where that kind of thing would be disruptive. But we aren't. I wake up in the afternoon, do my cleaning, cooking, until 9 or 10 and then sit down and watch twitch until i'm tired enough to go back to bed sometime in the morning. I'm depressed as hell, I literally have no desire to do anything. Unfortunately I do still care about others.
​
The person on my right has told me to not worry about it, she's told me they complain about everyone. And honestly that statement was proven as for the couple weeks they were doing laundry at my apartment. The woman started to buddy up to me and complain about other residents. I suspect at least part of the complaints are really because I no longer letting them use my laundry. But it still makes me feel bad. Suggestions? i don't know what to do to make these people happy.
​
All i really want is to be left alone and in peace. I try to be quiet. I try to be as helpful and respectful as I can be to other people. I don't ask anything of anyone. I don't complain. when my apartment needs a repair I usually don't even call maintance if it's not an emergency because I don't want to bother anyone. what am i supposed to do? maybe it's the depression but more and more things just keep going wrong and those dark thoughts keep creeping in. i don't know what to do anymore.

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Minutes feel like entire hours while I wait for GalaxyTaco to return, and my anxiety is just mounting up like crazy! So instead of becoming a victim of my own fear, I decide to take a moment to explore the forum and see what I can find that's interesting!

The Sleeper section is by far the most active, with people commenting on their daily lives, talking about media, food and experiences in general. It’s so casual it almost makes me feel nostalgic for the good ol’ days!

I am… surprised. Mages watch anime too? I guess that makes sense, as magic is usually viewed as an intellectual endeavor, and it is not rare for intellectuals to have this sorta hobby.

“They even have an old timer section, for old timers like you.”

What? Old timer!? I am 21!

“Alright then, youngster. What anime is popular right now?”

Chlorine is pretty popular!

“That’s one of the Big Three and won’t stop being popular for a while, not to mention it’s all filler these days, that’s cheating.”

Alright then, big baby. How about Soul Devourer?

“That ended three years ago.”

What!? No it didn’t!

What about Ouran??

“Five years ago.”

Higurashi?

“Six.”

Lucky Channel?!

“Five.”

MEDUKA MEGUKA??

“Oh that one’s pretty new actually. That one was last year.”

Alright then smart guy, what is airing right now then!?

“Destiny/Zero, Girls and Tanks, Kitty Tale Black, Moon Brothers…”

What in the hell are any of those!?

“If you don’t know, I know even less! Idiot!”

I guess I am a bit of an old fashioned weeb.

“We are getting distracted. Remember what we are here for.”

Right! The Translation section! It’s rather unused, compared to the Sleeper side of it all. There are a few active translation topics but all of them seem to be focused on actual, current languages. Sure, there are a few in old Helenian and Latin but the others are surprisingly modern. Thereare some in Wohlian that immediately get my attention, but they seem like finished works.

Mostly directed by that ‘souseiseki’ bitch.

“Don’t waste time thinking of her. Focus on what you can learn from the books themselves!”

That is a good point. Once they are fully translated, the material is left available for anyone to take it! So I immediately go for the ones in Wohlian and Dobrand.

There are only five texts available, biographies all of them… except for what looks like a flier.

‘El Arte del Contrahechizo’ it read in Hesperian, ‘The Art of Counterspell’ in Dobrand. It apparently was an advertisement for a short lived ‘Combat Spell Course’ in Hesperia? Closed by the ‘Brotherhood’ for ‘breaking the sanctity of the secret’. Maybe this ‘Brotherhood’ is somewhat related to the cloaks.

Nevertheless, there is something in the flier that interests me: a Symbol!
Rune 6
I immediately start looking for it in the book… and what I find was overwhelming. This has to be the single most used symbol I’ve seen so far! It is in a lot of combined words, almost never on its own… but after keeping my eyes narrowed for a while, I find it.

Jo

As in “Hoh” or as in “Yo”? Bah, I guess I’ll find that out later, when I can actually start experimenting on my own.

Ah, damn it that’s right! I do need to go investigate the library! It’s huge too…

Hmm… What if I made a trip out of it?

The library closes at 12 for students, but if you stay inside you can spend the night working there! I could spend all night surrounded by books, coffee and the sandwiches some people sell there…

“That could mess with your sleeping schedule a bit…”

“Not to mention how useless the whole endeavor can be. What if you don’t find the damn golden symbol, huh?”

Won’t know if I try. This will be my last night staying up, I promise!

“Hmmmn… well, if you are sure about it.”

Yes!

Feeling energy surging through my body again, I immediately get up again and look for clothes, fishing for some cash and then trotting out of my room… only to be stopped by that Saints damned door again.

I swear, every time I see it’s worse. It becomes more and more ominous with each attempt to pass through it. I really, really have been going out too much these days, huh…?

“...I better talk with GalaxyTaco first, then I can go to the library.”

“Coward.”

“I can’t talk to them without the TER anyways.”

Walking back to the computer, I internally beg for GalaxyTaco to not have appeared on my contact list yet… but alas, fate is always working against me. There he is, right there. Well, at least I can solve this quickly and still get out in time… Maybe.

xXxCallMeBigCookiexXx has begun messaging GalaxyTaco to your rescue!
xXxCallMeBigCookiexXx: H-Hey!

I immediately cringe at myself for that written hesitation. Damn it, keep the emotions inside! Why must I be like this!?

xXxCallMeBigCookiexXx: This is Tav, you know, from the forum? n.ñ
GalaxyTaco to your rescue!: oh hey dude! nice, I was wondering who the hell was this lol
GalaxyTaco to your rescue!: ok, now we can talk proper.
GalaxyTaco to your rescue!: so… you just found the link somewhere, didn’t you?
GalaxyTaco to your rescue!: unless I’m totally wrong and you were just referred by some cold mf

Alright. This is it… where do I go from here? I can’t exactly lie my way out of this without knowing much of the magical world. But that doesn’t mean I have to say all of the truth, right?

xXxCallMeBigCookiexXx: …yeah u.u
xXxCallMeBigCookiexXx: I haven’t been Awake for a long time to be honest, and I found this link on a book I read at the local library.
GalaxyTaco to your rescue!: ahhhh shit.
GalaxyTaco to your rescue!: ok, that’s trouble
GalaxyTaco to your rescue!: do you have a teacher?
xXxCallMeBigCookiexXx: No u.u
GalaxyTaco to your rescue!: ok, you’re a bastard
GalaxyTaco to your rescue!: not to imply anything about your family dude, that’s just how we call mages without teachers.
xXxCallMeBigCookiexXx: Ok that’s kinda mean xD
GalaxyTaco to your rescue!: tell me about it.
GalaxyTaco to your rescue!: anyways, shit, uh…
GalaxyTaco to your rescue!: ok, do you know what an Elysium is?

I don’t. But can I just admit that? I mean… maybe I can tell him I know where to look for it?

“What are you, stupid!? He’s assuming you know jack shit! This is your chance to squeeze all the information! MILK IT!”

A-Ah! Right!

xXxCallMeBigCookiexXx: No idea. I hope you don’t mean the other world? O.o
GalaxyTaco to your rescue!: nope.
GalaxyTaco to your rescue!: an Elysium is a safeground in a city, a place where mages can go and practice legally.
GalaxyTaco to your rescue!: shit, I hope you haven’t been doing magic around people right???
xXxCallMeBigCookiexXx: No no! O.o I swear!
GalaxyTaco to your rescue!: ok good.
GalaxyTaco to your rescue!: that’d get you in trouble with the Brotherhood in no time.
xXxCallMeBigCookiexXx: The Brotherhood? o.o
GalaxyTaco to your rescue!: The Brotherood of Black Pages.
xXxCallMeBigCookiexXx: Ominous… are they like, magic police? .-.
GalaxyTaco to your rescue!: sorta
GalaxyTaco to your rescue!: you wanna avoid them as much as you can, them black cloaks.
GalaxyTaco to your rescue!: I mean, you won’t be able to avoid them if you wanna get your license but, beyond that, avoid them.

Ok, that’s confirmation of a few suspicions. The Elysium is a place, I need to find that place, and the black cloaks/brotherhood were bad news, probably super strict or something like that. I am a ‘Bastard Mage’, still not very happy about the name, and I should look for instruction before I blow myself up!

xXxCallMeBigCookiexXx: Can’t you teach me things? ;w; the meaning of these runes and stuff?
GalaxyTaco to your rescue!: sorry dude, I don’t have a teacher’s license
GalaxyTaco to your rescue!: but tell you what. I’ll get you something that will help you for sure!
GalaxyTaco to your rescue!: I just gotta talk to a few friends.
xXxCallMeBigCookiexXx: Oh okay! Good! n.n thank you so much for this, Gal
GalaxyTaco to your rescue!: hah, it’s no problem
xXxCallMeBigCookiexXx: Imma be outside of the TER for a while so, don’t talk to me about magics until I return, okay?
GalaxyTaco to your rescue!: arite, thanks for the heads up! gives me time to talk to Aoi and Mort
xXxCallMeBigCookiexXx: Ok I assume those are your friends!
xXxCallMeBigCookiexXx: I’ll be seeing you later!
xXxCallMeBigCookiexXx has disconnected.

Alright.

No more excuses. I close my computer, take a deep breath and walk to my door. I try my best to ignore the shaking of my hand as I grab the knob and open up. The air in the hallways outside was cold, making me go back in, pick up my long coat and then right out I went again!

The descent in the elevator had never felt this slow…I am excited and nervous at the same time.

“This will be fun!”

“This will be a disaster. You’ll stay up for nothing, you hear me? Nothing.”

Taking a deep breath, I walk out of the elevator as it arrives at the first floor and wave at the night guard, stepping right out and checking my phone.

It’s already a quarter past eleven. I have time… but I may need to call a taxi.


Cities are completely different at night. I have never been an active resident of Party City or anything, but I have been in the streets at the high hours of night, at least back in my old town. I assumed stuff would be quiet here too in Saüle, but turns out I was completely wrong. There were people stumbling around the streets, ladies of the night smiling and parading themselves in some of the corners, a few college students clubbing and singing…

Only now I remember we are technically on vacation. Of course everyone is partying!

Drat, does that mean the library will be closed!?

“Too late to ask the cab to take you back home. No, you'll just have to freeze for a few hours.”

The taxi leaves me in front of the University’s main entrance. After paying and waving the guy away, I let out a deep sigh of relief when I see that the lights of the place are still on.

So either they leave the lights on all vacation or they are still open despite it all.

I try to jog along the dirt trail, straight for the library! But I quickly realize my body is simply not made for running. I still try to keep the pace, panting and gasping for air. Passing right by the Pharmaceutical Sciences building and the Biology building, feeling lucky that no one can see me fighting for my life like this.

The campus is gigantic, with many different buildings focused on the different sciences and disciplines taught at the University. The Library stands in the middle of it all, a perfectly square, five story building comfortably constructed on a plateau and looking over the entire campus. As cool and impressive as that is, it also meant a long climb a massive set of stairs…

“Saints damn it all…”

It’s a miserable jog, but eventually, I make it to the gates before the Librarian closes. An ancient lady of dark skin and thin white hair, eternally dressed in a black, long dress.

“Hmph. Right on time, night owl.” She says with a mix of annoyance and playfulness in her tone, turning her back on me as soon as she closed the door. “Do not run like that inside.”

Still recovering my breath, I just nod and walk towards the machines that scan your credentials. I fish my wallet out of my pockets, scan my old card, and then walk straight in, looking around the main hall with a tired smile. Ah yes… I've always felt more at ease in libraries and the like, especially when there are no crowds of people around. Right now I could see only a few furtive shadows sliding around, and no sandwich sellers at all! With some luck, the librarian will try to gain a few extra Empires by selling stuff, but that will have to wait.
Right now, we are back on the hunt for the Golden Symbol! I need to focus all of my strength on finding it this time, because if they really want it to be both private and easy to find, it has to be here.

Any one have settings or a guide on how to get the best performance out of this CPU?
I purchased a PC overclocking service advertised by one of thoes competitive YouTube gamers and quick frankly it was not good, 1 hour service then advised to upgrade RAM from 5600mhz to 7200MHz which I did.
After RAM optimization everything was crashing but prior to that some CPU settings were changed in BIOS and did help FPS but they raised the temperatures and OCCT kept failing.
I got a full refund on this service as I proved I could get same FPS without issues going to default BIOS, XMP Enabled, GPU Overclocking done in AMD Adrenaline software instead of MSI Afterburner.
Computer Spec is below: PC Specialist Odin RS FRACTAL FOCUS 2 ARGB GAMING CASE (BLACK) Processor
Intel® CoreTM 19 24-Core Processor i9-14900KF (Up to 6.0GHz) 36MB Cache Motherboard ASUS® PRIME Z790-P (LGA1700, DDR5, PCle 5.0)
Memory Trident Z5 RGB 7200MHz CL34 1.40V 2*16gb
Graphics Card 24GB AMD RADEONTM RX 7900 XTX - HDMI, DP - DX® 12 1st M.2 SSD Drive 2TB SAMSUNG 980 PRO M.2, PCIe NVMe (up to 7000MB/R, 5000MB/W)
Power Supply CORSAIR 850W RMX SERIESTM MODULAR 80 PLUS® GOLD, ULTRA QUIET Processor
Cooling PCS FrostFlow 240 Series ARGB High Performance Liquid Cooler Thermal Paste STANDARD THERMAL PASTE FOR SUFFICIENT COOLING
5* Case Cooling fans - 2 on front, 2 on upper area of cars and 1 at rear of case
Any help with settings or a guide on how to get the best performance out of the CPU Intel 14900kf in Asus Z90-p motherboard BIOS would be greatly appreciated
Hope to hear from you

I'm am struggling with gender I been struggling with it for a while now. When I first started year's ago I tried to not think about it but now it's all I think of most of the time, what if I was born a women. I hear so many trans women talk about how much happier they are, I also heard of hrt and benefits that could come with it and it sounds magical from the softer skin, more feminine body shape and more. Also on top of that recently I've been questioning my sexuality as well I never found myself thinking a guy is cute/hot but recently I've been staring to feel that when I do see a guy who looks good and I feel bad maybe because I was raised to not think that way. However now that I'm trying to let go of all internal homophobia and transphobia taught onto me, which is why I struggle so hard trying find out who I am I so confused. I'd like to think I'm a trans women because I don't like living a male facial hair, masculine body is just something I'm not a fan of. I also think I would be a lesbian because although I thinks guys can look hot sometimes I don't think I would date a guy. It's all becoming really blurry at this point. I think I've been taught so much hate young and being around people in my earlier teens who also had those negative views affected me big time. This must be why I feel significant guilt about both my gender and sexuality, which is why I feel like I'm faking it or it would be wrong because of the things taught I was taught to be wrong is now in my life and I feel like I don't belong. I've working on educating myself on gender and sexuality and being more open minded and unlearning hate, it's helped grow so much and meet so many cool people in the LGBTQ community if you read this and have something you'd like to add or some advice thank you

I'm a big fan of big openworld games where you can just aimlessly walk around and explore. My favorite game is No Man's Sky, as well I'm a big fan of the open-world Bethesda games. Basically I'm looking to just get lost, find cool stuff, go on an adventure off the beaten path. If there's a main story-line, I want to stray far away from it.
Outside of the more obvious games, like said Bethesda games, what are the games you personally love that match this experience?

To clarify, I now know that there are different definitions of the word “ship”, but for the purposes of this article and to keep things simple I will use the definition of “a relationship that’s rushed and/or forced with no real development.” I hope you can understand as I do not know of any other single word to describe that concept. If you do, perhaps you can tell me. Also, fair warning, this is long form content (some 10 pages), if you like it but can’t read it all at once you can save it and come back to it over a period of time, or you can stop reading whenever you get tired of it and still discuss those parts of it with me that you have read. But keep it civil if you want a civil response.
With that, to qualify the title, no, Ezra and Sabine do NOT absolutely have to be a couple, but if they were to become one, it would NOT be a ship. Ezra and Sabine’s relationship has had years of development. Could they remain as simply friends? Yes, but ironically, it was their “friendship” that felt like more of a ship. It felt like the Ahsoka show, helmed by Dave Filoni, was going out of its way to tell us: “no, they’re not a couple, they’re just friends.”
I believe that Filoni made some very poor writing choices to stress something that didn’t really need to be stressed, such that it almost felt like he was in denial. The line “I love you like a sister” was never in Rebels, Filoni essentially had that retconned in, and like many I was put off by their (largely) emotionless reunion. Even if they were “just friends” I believe there would be a great deal more emotion displayed between two people that hadn’t seen each other in some ten years, especially when one of them was in a precarious situation when they parted. I also believe Ezra would be far more curious about Sabine being Force sensitive, perhaps even offering to help train her when she told him that her training hadn’t gone as well with Ahsoka. He did help to train her with the Darksaber, didn’t he? Why that never came up is another discussion, but for now, let’s focus on shipping.
In case you think I’m desperate to have them as a couple, no I’m not. I’m about the furthest thing from it. Like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers) I DESPISE shipping. Absolutely DESPISE it. With a flaming passion. Perhaps for this reason, and maybe some others, like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers), I’m generally wary of nearly all romance in fiction, and generally avoid it in my own work. The sad reality is that romance is perhaps the most abused genre in all of fiction, all throughout history. It has been so badly abused that many people, including myself for the longest time, have equated romance with shipping, though I’m slowly beginning to see that they are not the same thing, and one does not necessarily have to go with the other.
But sadly, many writers, through time immemorial, have not been able to separate them, going back into ancient times and perhaps even into pre-history, that is before languages were actually written down. Some of what is considered great literature; classics like Romeo and Juliet, are predicated on shipping, though at least the consequences of this “whirlwind romance” are shown to be fairly stark. Star Wars itself is no stranger to shipping, resulting in a very awkward incestuous kiss when Luke was shipped with Leia, then Leia was placed with Han and Lucas made Luke and Leia brother and sister, apparently having forgotten his original ship. Later Lucas essentially shipped Anakin and Padme, resulting in some of the most cringeworthy dialog in the history of film. Many fans of the Prequels even have been somewhat critical of Anakin’s portrayal, particularly in regards to the “romantic” scenes, with many describing them as “creepy”. Some have speculated that this was intentional, though personally I think it was just the result of bad writing on the part of George Lucas, and an impatience on his part for Anakin and Padme to become a couple, hence “shipping”.
One might wonder why this is so prevalent in fiction, and tragically, one does not have to look far. Fiction is merely a reflection of reality, therefore the reason that shipping is so common in our stories is that we fall so easily into it in real life. Indeed, entire cultures may be based around shipping, or at least very heavily wrapped up in it. Throughout history arranged marriages have been the norm, and the idea of marrying for “love” is something relatively new. To be fair, I’ve actually met people in arranged marriages who seemed to be fairly happy, but those same people were very open in telling me that many despise that aspect of their culture, and that it is quite normal for those in an arranged marriage to try to get out.
People might come together for “love” without marrying, but even then it often creates expectations that might turn into a burden. Even when a marriage is voluntary and for “love”, people are often left unsatisfied, such that today in the West the divorce rate is something like 50%. Happy, stable, long term relationships seem to be the exception across cultures and across the breadth and width of time. And yet pursuit of love and some kind of relationship seems to be the highest calling for many people, both in real life and in fiction. And it could be that the accumulated disgust is finally starting to boil over.
To be fair, this may not be the first time in history that the pendulum has shifted. You may recall that in Victorian times attitudes changed drastically, as compared to the previously bawdy Elizabethan times. Looking at a play from Shakespear, if you can understand the language, you’ll see all kinds of vulgar references, as well as what I believe are fairly sappy romances like in the aforementioned Romeo and Juliet, though I can’t say for certain whether Shakespear was actually endorsing that type of attitude towards “love” or presenting it as a cautionary tale, maybe even something to be ridiculed in some of his other plays.
But regardless, Victorians as you may well know had a very conservative attitude towards anything to do with romance, and would often avoid the subject in many places, or tread very carefully around it, as if walking on eggshells. It’s not that people stopped being romantic, in fiction or real life, but it was treated as something very serious and even dangerous, with many urges repressed or even suppressed entirely. This had all kinds of effects on society, both positive and negative. On the positive side, it reinforced the ideal of people being committed to their partners, and of marriage as a sacred institution rather than a “casual hookup” as was more common in Elizabethan times. Likewise it reinforced ideals of modesty and chastity, which may be coming back into vogue, though under different names. But just as there were positive aspects to these attitudes, so were there negative ones.
Just because the urges I described were repressed did not mean that they disappeared. In fact, they often morphed into things that many would consider “unhealthy”. From one statistic that I saw, in Victorian times about one in every 60 houses was a brothel, with the modern rate being closer to one in 6000. Additionally, the rights of women were often repressed, such that they could not fully express themselves and find their own identity, and path in life, as individuals. Just as Elizabethan ideals gave way to Victorian ones, so did the Victorian ideals gradually begin to erode.
Perhaps it began with the Jazz Age of the 1920’s (the “Roaring Twenties”), or with the increased interconnectivity of people traveling to different parts of the world during World War I, not to mention the cynicism that pervaded throughout the West in response to failed old ideals leading to the deadliest war in history up to that point, but many Victorian ideals began to be seen as a joke, and even resented for their “oppression”, which to be fair was not entirely unjustified. But regardless, people gradually, and at times not so gradually, became more and more “liberated” and promiscuous. This culminated in the Sexual Revolution in the late 1960’s, when what had previously been seen as a vice and even a sin was now seen as not only “normal” but as a healthy form of expression, a virtue even. And just as these ideas were embraced in real life, so too were they reflected in our films, TV shows, and other media, often to the consternation of older people and institutions, like the Vatican. The Catholic Church even went so far as to “ban” certain films, that is to declare them immoral for good Catholics to watch. Many of the films that were banned back then, or at least controversial, like The Graduate with Dustin Hoffman, are fairly tame by today’s standards.
It continued through the 70’s, at times warming and at times cooling through the rest of the century, until you could argue it reached a kind of crescendo in the early 21st century with the advent of so-called “dark romance” and the publication of books like Fifty Shades of Grey. (Ironically, many of the themes within this “dark romance” can trace their roots back to the Victorian era, yet another indication that repressing urges without addressing them often doesn’t work out as one might hope.) But as happens all too often, just as something reaches peak popularity is when it begins to go out of style, and that is what we may be experiencing right now. As weird as it may sound, we may actually have come full circle and may be on the cusp of a “New Victorian Age” (complete with “dark romance”, even). Web sites like Porn Hub and OnlyFans, as well as other similar sites, may be the new “brothels”, and what was once openly celebrated may be going underground, to an extent. The effects of this on society have been interesting to say the least, and at times I would even say bizarre.
Whilst many younger people seem content with these changes, many older people are concerned. I’ve seen a number of books, films, and other media receive positive reviews for example based specifically on their lack of romance. Many of these books/films, etc. fall into the “young adult” category, meaning that it is young adults obviously who mostly consume them. At the same time I’ve heard a number of older people, mostly boomers and Gen-Xers, criticize these same books/films for their lack of romance. Even some older millennials seem upset by the changes, as perhaps evidenced by Jennifer Lawrence’s latest film No Hard Feelings (though to be fair that film may be lampooning the older generation’s frustration as well as the younger generation’s frigidity). So just as in the past older people were concerned about the promiscuity of the youth, now it actually appears that many older people are concerned about the youth’s lack of promiscuity.
Who could have seen that coming? But to be fair, the younger generation hasn’t gone completely frigid. As stated earlier, much of the promiscuity has gone “underground”, or online, which many would argue is not very healthy as it might undermine actual relationships, whether they are romantic in nature or simple friendships. And speaking of that, friendships within stories nowadays often aren’t portrayed in a very authentic or compelling manner, perhaps because in ditching romance modern writers haven’t quite yet learned how to replace it with something else. In other words, the “New Victorian Age” may not be an exact repeat of the previous one, but may have its own twists and turns, for better and for worse.
This may all essentially be a manifestation of the Human Condition, in that we just can’t seem to find a happy medium, neither in real life nor in fiction. Thus we keep swinging from one extreme to the other, apparently getting wilder with each swing.
So where does all this leave us? What is it that we really want in our lives, and in our stories? Especially in regards to relationships? I think at some level we all want to see good and healthy relationships between people and/or characters, whether romantic or platonic. I believe at some point we would like to see good examples of both friendship and romance, and I would argue that the best examples of romance have them combined. Even a toxic relationship, if well portrayed or documented, can be instructive and serve as a good example of what to avoid in our lives that we might be happier and relate better to each other. A good relationship, by contrast, can give us something to aspire to and inspire us to not only look for the right kind of person to complement our lives, but to make ourselves worthy of that person. And here I’ll add that I’m perfectly aware that in real life (and thus in fiction) relationships can be very complicated and heavily nuanced, with elements of both “good” and “bad” in them. Just as people change over time so can the relationships between them change, at times getting better and at times worse, sometimes breaking entirely and sometimes growing stronger. Relationships can have just as many layers and dimensions as characters, more even perhaps, and a skilled writer should be able to reflect this complexity. At other times a relationship can be fairly straightforward, simplicity sometimes being the best approach. But regardless, the audience should be able to relate and identify with what they are seeing, such that hopefully they can incorporate the lessons from it in their own lives.
Where can we find good examples of relationships to study? There may be a number of them in the real world, but the trouble with studying real world relationships is that they’re often much more complicated than fictional ones (just as real people are more complicated than fictional characters), and for many of them it is almost impossible to know all the details and nuances because they are often kept private, understandably so, and even if they aren’t it can still be difficult, due to unique circumstances, to see how to relate them to our own lives. Additionally there may be far more disagreement about a real life situation than a fictional one, with many more points of view. To keep things simple, for the purpose of this article I would like to focus on fictional relationships. (And fair warning, there will be some spoilers.)
One of the best places to look, I would argue, would be the films of Hayao Miyazaki. (And this is pretty significant to Star Wars as you will see in a bit.) A film of his that stands out to me the most is Princess Mononoke. Like many of Miyazaki’s films it has elements of romance, and yet subverts them in a way that makes complete sense and feels very genuine, without taking away from any of the accompanying charm. It starts with two young people, San and Ashitaka, and as soon as they encounter each other there is a kind of expectation of romance. This may be inevitable to some degree when you have a man and a woman of about the same age encounter each other in a story, especially if they happen to be adolescents. The expectation may not be inherently bad, and Miyazaki does play with it. Both characters are thrust into dangerous situations, at various points end up saving each other’s lives, and at a certain point I think it is obvious that they have feelings for each other. I was certain that at the end of the film, they would be together, and if things had gone that way, it would make complete sense. Instead, they go in different directions, but remain good friends, and considering their backgrounds and differing worldviews, this ends up making even more sense to the story.
Essentially, Miyazaki could have gone for the more conventional, tried and true “love conquers all” narrative, where the characters’ feelings for each other would negate everything that comes between them, they would somehow find a common ground in spite of their differences, the romance would not only take over the narrative but somehow also solve all the problems in the story, and then the couple would live “happily ever after”. Such an approach is not inherently bad or wrong, and is fairly common in Western media and storytelling. We can see it in films like Fern Gully, and more recently James Cameron’s Avatar, both of which have been compared to Princess Mononoke. As you can probably guess, the problem is that at a certain point such a narrative can become fairly simplistic, and lack nuance.
Miyazaki’s films, by contrast, are very heavily nuanced, and are anything but simplistic. In Princess Mononoke the characters San and Ashitaka don’t help each other simply because they are “in love”, but because it is the right thing to do, regardless of how they might feel about each other. Yes, romantic feelings are certainly alluded to, but they are not essential to the plot, for it could have worked just as well without any romantic allusions. And ironically, this makes those allusions even more valid, even if they are unrequited. How so?
Consider that if love is essential to a given narrative, is it not relegated to being nothing more than a plot device? Again, this is quite common in Western media and storytelling, and is not inherently bad or wrong, but when it becomes a trope or cliche, I believe it is the essence of where shipping comes from. Many storytellers get caught up in this, usually without realizing it, and while a story can still work even with shipping, I believe that it usually works that much better without it.
This extends not only to Miyazaki’s handling of romance but also to other things like environmentalism, the conflict between man and nature, and the contrasting ideals of human progress vs. preserving the natural order. Movies like Fern Gully and Avatar, as already mentioned, handle these themes in a fairly simplistic and I would even say hamfisted manner, whereby all progress and technology is shown as being inherently “bad” and in service to “evil”, while everything that’s “natural” is shown to be inherently “good”. Even our notions of good and evil, and right vs. wrong, are challenged by Miyazaki, with nearly all of his characters having complex motives and multiple dimensions to them, as well as understandable reasons for doing the things that they do. Rarely can any one of his characters be branded as a simple “villain”, and rarely is any one individual the source of conflict in his stories, again in contrast to most Western narratives.
I’ll reiterate once more, a simple, straightforward narrative is not inherently a bad thing, whether the themes being dealt with are romantic or anything else. Sometimes it is in fact the best approach. But the best stories in my opinion are usually the most nuanced, that challenge our notions of what we believe to be true, and that force us to think about what we do with our lives and what we could do differently. To that end Miyazaki introduces all manner of themes and motifs within his films that are familiar to us but shows them in a light most of us might not have considered, thus giving more dimension to our understanding of things.
“How is any of this related to Star Wars?” you might ask. It is quite related, and you don’t even have to look all that closely to see it. A very influential figure within Star Wars was very heavily inspired by the works of Miyazaki, and that figure is Dave Filoni.
This video shows the connections in some detail:
https://youtu.be/Q_4L0BbSpHo?si=04jDo6qFCnZT135w
But to summarize if you’ve seen any of Miyazaki’s films, especially Princess Mononoke, I think the callbacks in Filoni’s work will be all too obvious, especially in Star Wars Rebels. Some of the scenes in Filoni’s work look like they were taken directly from Miyazki’s films, and many of the same themes and motifs often come up. The relationship between San and Ashitaka I would argue is very similar to the relationship between Ezra and Sabine, and not just because both couples rode wolves together.
Incidentally, Dave Filoni was also heavily involved in Avatar: The Last Airbender, which I would also argue was at least to some degree inspired if not by Miyazaki then by Japanese anime in general. The relationship between Aang and Katara was developed with great care and was allowed to build very slowly, as opposed to simply shipping them. Likewise other characters very gradually developed as individuals and in their relationships, at times stumbling as they did so, and making mistakes, before finding their way back to the right path.
All of this is in stark contrast to George Lucas, whose character development is often very rushed at best, and at times some might say almost non-existent. So essentially, even though Lucas has said that Filoni has been “like a son” to him, and I believe referred to Filoni as his “padawan”, I would argue that Filoni is ultimately as much a student of Miyazaki as he is of Lucas.
Again, you might ask, “What does all this mean for Star Wars?” It means a great many things. It means that Dave Filoni has taken Miyazaki’s lessons to heart, and can handle things like romance, as well as other kinds of relationships, quite well most of the time. Like Miyazaki he can play with romance, tease the audience with it at times even, leave the romance unrequited, and yet still have it feel satisfying. A prime example of this is the love triangle that Ahsoka was involved in with the young Separatist Senator, Lux Bonteri, and Steela Gerrera. As wary as I am of romance and as much as I despise shipping, love triangles I normally despise even more, but this one seemed to actually work. It never took over the main story, and even though Ahsoka’s feelings were ultimately not reciprocated, she still learned from the experience, and grew and developed further as a character because of it. The other characters involved in this triangle also grew and developed from their involvement, though unfortunately not all of them made it. All in all it was a good bit of storytelling and gave the audience something to consider.
When a relationship in one of Filoni’s stories does bloom into a full blown romance he also generally handles it quite well. For one Filoni is sparing with actual romance, so that when it does occur, it can be that much more appreciated. And rather than rushing or shipping it, Filoni normally takes his time to build it up. An example of this is the relationship between Kanan and Hera. Some might argue that this is perhaps the best developed romance in all of Star Wars, at least in Canon. Built up over four seasons, at times it wasn’t certain whether it was a romance or a friendship, or perhaps even a professional partnership. Perhaps even the characters themselves were not certain, though it was hinted all throughout the narrative that something was going on. To this day I don’t believe anyone can say definitively when it became an actual romance, and I believe Filoni did this intentionally because he wanted to be subtle, rather than making things too obvious and having the romance take over the narrative, as it usually does. When it finally did become obvious as to what was happening, it felt very much earned, in a way that is seldom accomplished in other works of fiction, including Star Wars.
The relationship between Ezra and Sabine was also fairly well written, for the most part anyway, at least in Star Wars Rebels. Ezra was almost immediately smitten with Sabine, but being a young teenage boy, it was understandable that he would feel that way about an attractive girl. Over time he learned to see her more respectfully, as a colleague and even as part of his adopted family, not just as a pretty face. Sabine for her part found Ezra annoying at first (c’mon, what teenage boy isn’t?), but as he matured and she found out more about him she came to understand and respect him more, and see him as a friend and almost a brother, with there being potential for something more.
There were times when the relationship could have been better written, like in the episode “Blood Sisters”, where Ezra was written to be a bit too immature to make Sabine look wiser. But overall, the bond between them developed fairly well; both saved one another at various times, and took risks and made sacrifices for each other’s sake. Both reassured and comforted the other when they needed it, and it was endearing to hear their banter when they became more familiar and trusting of each other.
So why then was I so disappointed in how they were portrayed in the Ahsoka show? The thing is, after how well their relationship was built up in Rebels, as I’ve already mentioned it was strange to see how lackluster and uninspired their reunion was.
Within the Ahsoka show itself Sabine was shown to be almost obsessed with finding Ezra, living in what used to be his home, watching a recording of him over and over again, and calling out his name as she woke up in the middle of the night. She even risked bringing Thrawn back into the Galaxy, which ultimately happened, just so she could see Ezra again. After all that, when she finally does encounter him, her reaction seems fairly casual, as does his, as if they’ve been apart for no more than a week, rather than 10 years. Not too much happens between them afterwards either. Like I said Ezra does not appear all that curious about what happened with Sabine, how she found him, and how it was that she was now Force sensitive. Sabine likewise did not seem curious about what had happened with Ezra, and how he had gotten away from Thrawn. And with Ezra rescued and returned home, suddenly it didn’t seem as though Sabine was all that interested in him anymore, nor he all that concerned with her, though they were just as far apart as they had been at the start of the show. To be completely honest it made me wonder what the point of the whole show was. Were they just working to set up Thrawn’s return to the Galaxy? As some have said, Ezra felt like nothing more than a Macguffin in the show. Was Sabine and Ahsoka’s search for him just a plot device?
Considering how skillfully Dave Filoni had written his stories in the past, what happened in this latest project of his does not make much sense. Was he so concerned about “shipping” and so desperate to avoid it that he inadvertently “shipped” them in the other direction? Was there some sort of external pressure on him about how to write this story to have more of an appeal to “modern audiences”? Maybe some combination of those factors?
And here I’ll add that when I say “modern audiences” I don’t mean that in a contemptuous sense, though you may think I do. If there is any contempt on my part it is for those in charge of telling our stories, or those in charge of those telling our stories, who do not seem to grasp these basic truths. The truth is that audiences at their core don’t really change throughout the ages, only superficially so. Trends come and go but certain truths and ideals are eternal, and universal. How people relate to each other fundamentally does not change, whether they are friends, or more than friends. And deep down, I believe everyone (or nearly everyone at least) wants the same things. Nearly everyone at some point wants some kind of a connection with another human being, to know that they are not alone in the world, and to know that there is someone else who sees and understands things as they do. While this desire can certainly lead to abuse, and absolutely has, it is still innate to us and is not inherently wrong. Finding ways of connecting and relating to other people is one of the great challenges of life, but many would argue it is the most worthwhile of challenges. It may be the whole point of life if you think about it. As complex as it may be, many would argue it is what makes life worth living, and likewise makes for the best stories. Just as it may be the whole point of life many would say that is what most stories are about at their core: people trying to relate to one another.
Sadly, just as in real life, most stories unfortunately don’t quite get it, and the Ahsoka show in my opinion was an example of this, made all the sadder by the fact that Dave Filoni had done quite well with these characters up to that point. We may never know for certain what exactly went wrong and why, or if it can ever be “fixed” at this point, but I can’t help but feel curious. Maybe in the future Filoni will find a way to make it make sense, but I’m not sure how. And to be completely honest I don’t feel quite as enthusiastic to find out as I used to.
Also for the record I would like to add here that there are other factors that put me off from the show, such as Sabine’s Force sensitivity, that came about without much build up. But in this article I specifically wanted to focus on shipping because there seems to be so much misunderstanding around it.
I hope that I was able to clarify some, if not most of this misunderstanding, so that people could better appreciate what shipping is, where it comes from, as well as what it isn’t. Many people today are understandably sick of shipping characters, myself included. But I hope people realize that in overcompensating for something, we often come back around into the very thing that we are overcompensating for. Or sometimes, into something even worse. This may apply to nearly every facet of life, by the way, not just shipping. Finding a happy medium in how we portray our fictional relationships may help us to better understand relationships in real life, as well as how to navigate them. Neither fictional nor actual relationships can ever be perfect but they can always be better. To this understanding then I hope that I was able to give my own modest contribution, and if nothing else I hope we can connect on that.

To clarify, I now know that there are different definitions of the word “ship”, but for the purposes of this article and to keep things simple I will use the definition of “a relationship that’s rushed and/or forced with no real development.” I hope you can understand as I do not know of any other single word to describe that concept. If you do, perhaps you can tell me. Also, fair warning, this is long form content (some 10 pages), if you like it but can’t read it all at once you can save it and come back to it over a period of time, or you can stop reading whenever you get tired of it and still discuss those parts of it with me that you have read. But keep it civil if you want a civil response.
With that, to qualify the title, no, Ezra and Sabine do NOT absolutely have to be a couple, but if they were to become one, it would NOT be a ship. Ezra and Sabine’s relationship has had years of development. Could they remain as simply friends? Yes, but ironically, it was their “friendship” that felt like more of a ship. It felt like the Ahsoka show, helmed by Dave Filoni, was going out of its way to tell us: “no, they’re not a couple, they’re just friends.”
I believe that Filoni made some very poor writing choices to stress something that didn’t really need to be stressed, such that it almost felt like he was in denial. The line “I love you like a sister” was never in Rebels, Filoni essentially had that retconned in, and like many I was put off by their (largely) emotionless reunion. Even if they were “just friends” I believe there would be a great deal more emotion displayed between two people that hadn’t seen each other in some ten years, especially when one of them was in a precarious situation when they parted. I also believe Ezra would be far more curious about Sabine being Force sensitive, perhaps even offering to help train her when she told him that her training hadn’t gone as well with Ahsoka. He did help to train her with the Darksaber, didn’t he? Why that never came up is another discussion, but for now, let’s focus on shipping.
In case you think I’m desperate to have them as a couple, no I’m not. I’m about the furthest thing from it. Like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers) I DESPISE shipping. Absolutely DESPISE it. With a flaming passion. Perhaps for this reason, and maybe some others, like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers), I’m generally wary of nearly all romance in fiction, and generally avoid it in my own work. The sad reality is that romance is perhaps the most abused genre in all of fiction, all throughout history. It has been so badly abused that many people, including myself for the longest time, have equated romance with shipping, though I’m slowly beginning to see that they are not the same thing, and one does not necessarily have to go with the other.
But sadly, many writers, through time immemorial, have not been able to separate them, going back into ancient times and perhaps even into pre-history, that is before languages were actually written down. Some of what is considered great literature; classics like Romeo and Juliet, are predicated on shipping, though at least the consequences of this “whirlwind romance” are shown to be fairly stark. Star Wars itself is no stranger to shipping, resulting in a very awkward incestuous kiss when Luke was shipped with Leia, then Leia was placed with Han and Lucas made Luke and Leia brother and sister, apparently having forgotten his original ship. Later Lucas essentially shipped Anakin and Padme, resulting in some of the most cringeworthy dialog in the history of film. Many fans of the Prequels even have been somewhat critical of Anakin’s portrayal, particularly in regards to the “romantic” scenes, with many describing them as “creepy”. Some have speculated that this was intentional, though personally I think it was just the result of bad writing on the part of George Lucas, and an impatience on his part for Anakin and Padme to become a couple, hence “shipping”.
One might wonder why this is so prevalent in fiction, and tragically, one does not have to look far. Fiction is merely a reflection of reality, therefore the reason that shipping is so common in our stories is that we fall so easily into it in real life. Indeed, entire cultures may be based around shipping, or at least very heavily wrapped up in it. Throughout history arranged marriages have been the norm, and the idea of marrying for “love” is something relatively new. To be fair, I’ve actually met people in arranged marriages who seemed to be fairly happy, but those same people were very open in telling me that many despise that aspect of their culture, and that it is quite normal for those in an arranged marriage to try to get out.
People might come together for “love” without marrying, but even then it often creates expectations that might turn into a burden. Even when a marriage is voluntary and for “love”, people are often left unsatisfied, such that today in the West the divorce rate is something like 50%. Happy, stable, long term relationships seem to be the exception across cultures and across the breadth and width of time. And yet pursuit of love and some kind of relationship seems to be the highest calling for many people, both in real life and in fiction. And it could be that the accumulated disgust is finally starting to boil over.
To be fair, this may not be the first time in history that the pendulum has shifted. You may recall that in Victorian times attitudes changed drastically, as compared to the previously bawdy Elizabethan times. Looking at a play from Shakespear, if you can understand the language, you’ll see all kinds of vulgar references, as well as what I believe are fairly sappy romances like in the aforementioned Romeo and Juliet, though I can’t say for certain whether Shakespear was actually endorsing that type of attitude towards “love” or presenting it as a cautionary tale, maybe even something to be ridiculed in some of his other plays.
But regardless, Victorians as you may well know had a very conservative attitude towards anything to do with romance, and would often avoid the subject in many places, or tread very carefully around it, as if walking on eggshells. It’s not that people stopped being romantic, in fiction or real life, but it was treated as something very serious and even dangerous, with many urges repressed or even suppressed entirely. This had all kinds of effects on society, both positive and negative. On the positive side, it reinforced the ideal of people being committed to their partners, and of marriage as a sacred institution rather than a “casual hookup” as was more common in Elizabethan times. Likewise it reinforced ideals of modesty and chastity, which may be coming back into vogue, though under different names. But just as there were positive aspects to these attitudes, so were there negative ones.
Just because the urges I described were repressed did not mean that they disappeared. In fact, they often morphed into things that many would consider “unhealthy”. From one statistic that I saw, in Victorian times about one in every 60 houses was a brothel, with the modern rate being closer to one in 6000. Additionally, the rights of women were often repressed, such that they could not fully express themselves and find their own identity, and path in life, as individuals. Just as Elizabethan ideals gave way to Victorian ones, so did the Victorian ideals gradually begin to erode.
Perhaps it began with the Jazz Age of the 1920’s (the “Roaring Twenties”), or with the increased interconnectivity of people traveling to different parts of the world during World War I, not to mention the cynicism that pervaded throughout the West in response to failed old ideals leading to the deadliest war in history up to that point, but many Victorian ideals began to be seen as a joke, and even resented for their “oppression”, which to be fair was not entirely unjustified. But regardless, people gradually, and at times not so gradually, became more and more “liberated” and promiscuous. This culminated in the Sexual Revolution in the late 1960’s, when what had previously been seen as a vice and even a sin was now seen as not only “normal” but as a healthy form of expression, a virtue even. And just as these ideas were embraced in real life, so too were they reflected in our films, TV shows, and other media, often to the consternation of older people and institutions, like the Vatican. The Catholic Church even went so far as to “ban” certain films, that is to declare them immoral for good Catholics to watch. Many of the films that were banned back then, or at least controversial, like The Graduate with Dustin Hoffman, are fairly tame by today’s standards.
It continued through the 70’s, at times warming and at times cooling through the rest of the century, until you could argue it reached a kind of crescendo in the early 21st century with the advent of so-called “dark romance” and the publication of books like Fifty Shades of Grey. (Ironically, many of the themes within this “dark romance” can trace their roots back to the Victorian era, yet another indication that repressing urges without addressing them often doesn’t work out as one might hope.) But as happens all too often, just as something reaches peak popularity is when it begins to go out of style, and that is what we may be experiencing right now. As weird as it may sound, we may actually have come full circle and may be on the cusp of a “New Victorian Age” (complete with “dark romance”, even). Web sites like Porn Hub and OnlyFans, as well as other similar sites, may be the new “brothels”, and what was once openly celebrated may be going underground, to an extent. The effects of this on society have been interesting to say the least, and at times I would even say bizarre.
Whilst many younger people seem content with these changes, many older people are concerned. I’ve seen a number of books, films, and other media receive positive reviews for example based specifically on their lack of romance. Many of these books/films, etc. fall into the “young adult” category, meaning that it is young adults obviously who mostly consume them. At the same time I’ve heard a number of older people, mostly boomers and Gen-Xers, criticize these same books/films for their lack of romance. Even some older millennials seem upset by the changes, as perhaps evidenced by Jennifer Lawrence’s latest film No Hard Feelings (though to be fair that film may be lampooning the older generation’s frustration as well as the younger generation’s frigidity). So just as in the past older people were concerned about the promiscuity of the youth, now it actually appears that many older people are concerned about the youth’s lack of promiscuity.
Who could have seen that coming? But to be fair, the younger generation hasn’t gone completely frigid. As stated earlier, much of the promiscuity has gone “underground”, or online, which many would argue is not very healthy as it might undermine actual relationships, whether they are romantic in nature or simple friendships. And speaking of that, friendships within stories nowadays often aren’t portrayed in a very authentic or compelling manner, perhaps because in ditching romance modern writers haven’t quite yet learned how to replace it with something else. In other words, the “New Victorian Age” may not be an exact repeat of the previous one, but may have its own twists and turns, for better and for worse.
This may all essentially be a manifestation of the Human Condition, in that we just can’t seem to find a happy medium, neither in real life nor in fiction. Thus we keep swinging from one extreme to the other, apparently getting wilder with each swing.
So where does all this leave us? What is it that we really want in our lives, and in our stories? Especially in regards to relationships? I think at some level we all want to see good and healthy relationships between people and/or characters, whether romantic or platonic. I believe at some point we would like to see good examples of both friendship and romance, and I would argue that the best examples of romance have them combined. Even a toxic relationship, if well portrayed or documented, can be instructive and serve as a good example of what to avoid in our lives that we might be happier and relate better to each other. A good relationship, by contrast, can give us something to aspire to and inspire us to not only look for the right kind of person to complement our lives, but to make ourselves worthy of that person. And here I’ll add that I’m perfectly aware that in real life (and thus in fiction) relationships can be very complicated and heavily nuanced, with elements of both “good” and “bad” in them. Just as people change over time so can the relationships between them change, at times getting better and at times worse, sometimes breaking entirely and sometimes growing stronger. Relationships can have just as many layers and dimensions as characters, more even perhaps, and a skilled writer should be able to reflect this complexity. At other times a relationship can be fairly straightforward, simplicity sometimes being the best approach. But regardless, the audience should be able to relate and identify with what they are seeing, such that hopefully they can incorporate the lessons from it in their own lives.
Where can we find good examples of relationships to study? There may be a number of them in the real world, but the trouble with studying real world relationships is that they’re often much more complicated than fictional ones (just as real people are more complicated than fictional characters), and for many of them it is almost impossible to know all the details and nuances because they are often kept private, understandably so, and even if they aren’t it can still be difficult, due to unique circumstances, to see how to relate them to our own lives. Additionally there may be far more disagreement about a real life situation than a fictional one, with many more points of view. To keep things simple, for the purpose of this article I would like to focus on fictional relationships. (And fair warning, there will be some spoilers.)
One of the best places to look, I would argue, would be the films of Hayao Miyazaki. (And this is pretty significant to Star Wars as you will see in a bit.) A film of his that stands out to me the most is Princess Mononoke. Like many of Miyazaki’s films it has elements of romance, and yet subverts them in a way that makes complete sense and feels very genuine, without taking away from any of the accompanying charm. It starts with two young people, San and Ashitaka, and as soon as they encounter each other there is a kind of expectation of romance. This may be inevitable to some degree when you have a man and a woman of about the same age encounter each other in a story, especially if they happen to be adolescents. The expectation may not be inherently bad, and Miyazaki does play with it. Both characters are thrust into dangerous situations, at various points end up saving each other’s lives, and at a certain point I think it is obvious that they have feelings for each other. I was certain that at the end of the film, they would be together, and if things had gone that way, it would make complete sense. Instead, they go in different directions, but remain good friends, and considering their backgrounds and differing worldviews, this ends up making even more sense to the story.
Essentially, Miyazaki could have gone for the more conventional, tried and true “love conquers all” narrative, where the characters’ feelings for each other would negate everything that comes between them, they would somehow find a common ground in spite of their differences, the romance would not only take over the narrative but somehow also solve all the problems in the story, and then the couple would live “happily ever after”. Such an approach is not inherently bad or wrong, and is fairly common in Western media and storytelling. We can see it in films like Fern Gully, and more recently James Cameron’s Avatar, both of which have been compared to Princess Mononoke. As you can probably guess, the problem is that at a certain point such a narrative can become fairly simplistic, and lack nuance.
Miyazaki’s films, by contrast, are very heavily nuanced, and are anything but simplistic. In Princess Mononoke the characters San and Ashitaka don’t help each other simply because they are “in love”, but because it is the right thing to do, regardless of how they might feel about each other. Yes, romantic feelings are certainly alluded to, but they are not essential to the plot, for it could have worked just as well without any romantic allusions. And ironically, this makes those allusions even more valid, even if they are unrequited. How so?
Consider that if love is essential to a given narrative, is it not relegated to being nothing more than a plot device? Again, this is quite common in Western media and storytelling, and is not inherently bad or wrong, but when it becomes a trope or cliche, I believe it is the essence of where shipping comes from. Many storytellers get caught up in this, usually without realizing it, and while a story can still work even with shipping, I believe that it usually works that much better without it.
This extends not only to Miyazaki’s handling of romance but also to other things like environmentalism, the conflict between man and nature, and the contrasting ideals of human progress vs. preserving the natural order. Movies like Fern Gully and Avatar, as already mentioned, handle these themes in a fairly simplistic and I would even say hamfisted manner, whereby all progress and technology is shown as being inherently “bad” and in service to “evil”, while everything that’s “natural” is shown to be inherently “good”. Even our notions of good and evil, and right vs. wrong, are challenged by Miyazaki, with nearly all of his characters having complex motives and multiple dimensions to them, as well as understandable reasons for doing the things that they do. Rarely can any one of his characters be branded as a simple “villain”, and rarely is any one individual the source of conflict in his stories, again in contrast to most Western narratives.
I’ll reiterate once more, a simple, straightforward narrative is not inherently a bad thing, whether the themes being dealt with are romantic or anything else. Sometimes it is in fact the best approach. But the best stories in my opinion are usually the most nuanced, that challenge our notions of what we believe to be true, and that force us to think about what we do with our lives and what we could do differently. To that end Miyazaki introduces all manner of themes and motifs within his films that are familiar to us but shows them in a light most of us might not have considered, thus giving more dimension to our understanding of things.
“How is any of this related to Star Wars?” you might ask. It is quite related, and you don’t even have to look all that closely to see it. A very influential figure within Star Wars was very heavily inspired by the works of Miyazaki, and that figure is Dave Filoni.
This video shows the connections in some detail:
https://youtu.be/Q_4L0BbSpHo?si=04jDo6qFCnZT135w
But to summarize if you’ve seen any of Miyazaki’s films, especially Princess Mononoke, I think the callbacks in Filoni’s work will be all too obvious, especially in Star Wars Rebels. Some of the scenes in Filoni’s work look like they were taken directly from Miyazki’s films, and many of the same themes and motifs often come up. The relationship between San and Ashitaka I would argue is very similar to the relationship between Ezra and Sabine, and not just because both couples rode wolves together.
Incidentally, Dave Filoni was also heavily involved in Avatar: The Last Airbender, which I would also argue was at least to some degree inspired if not by Miyazaki then by Japanese anime in general. The relationship between Aang and Katara was developed with great care and was allowed to build very slowly, as opposed to simply shipping them. Likewise other characters very gradually developed as individuals and in their relationships, at times stumbling as they did so, and making mistakes, before finding their way back to the right path.
All of this is in stark contrast to George Lucas, whose character development is often very rushed at best, and at times some might say almost non-existent. So essentially, even though Lucas has said that Filoni has been “like a son” to him, and I believe referred to Filoni as his “padawan”, I would argue that Filoni is ultimately as much a student of Miyazaki as he is of Lucas.
Again, you might ask, “What does all this mean for Star Wars?” It means a great many things. It means that Dave Filoni has taken Miyazaki’s lessons to heart, and can handle things like romance, as well as other kinds of relationships, quite well most of the time. Like Miyazaki he can play with romance, tease the audience with it at times even, leave the romance unrequited, and yet still have it feel satisfying. A prime example of this is the love triangle that Ahsoka was involved in with the young Separatist Senator, Lux Bonteri, and Steela Gerrera. As wary as I am of romance and as much as I despise shipping, love triangles I normally despise even more, but this one seemed to actually work. It never took over the main story, and even though Ahsoka’s feelings were ultimately not reciprocated, she still learned from the experience, and grew and developed further as a character because of it. The other characters involved in this triangle also grew and developed from their involvement, though unfortunately not all of them made it. All in all it was a good bit of storytelling and gave the audience something to consider.
When a relationship in one of Filoni’s stories does bloom into a full blown romance he also generally handles it quite well. For one Filoni is sparing with actual romance, so that when it does occur, it can be that much more appreciated. And rather than rushing or shipping it, Filoni normally takes his time to build it up. An example of this is the relationship between Kanan and Hera. Some might argue that this is perhaps the best developed romance in all of Star Wars, at least in Canon. Built up over four seasons, at times it wasn’t certain whether it was a romance or a friendship, or perhaps even a professional partnership. Perhaps even the characters themselves were not certain, though it was hinted all throughout the narrative that something was going on. To this day I don’t believe anyone can say definitively when it became an actual romance, and I believe Filoni did this intentionally because he wanted to be subtle, rather than making things too obvious and having the romance take over the narrative, as it usually does. When it finally did become obvious as to what was happening, it felt very much earned, in a way that is seldom accomplished in other works of fiction, including Star Wars.
The relationship between Ezra and Sabine was also fairly well written, for the most part anyway, at least in Star Wars Rebels. Ezra was almost immediately smitten with Sabine, but being a young teenage boy, it was understandable that he would feel that way about an attractive girl. Over time he learned to see her more respectfully, as a colleague and even as part of his adopted family, not just as a pretty face. Sabine for her part found Ezra annoying at first (c’mon, what teenage boy isn’t?), but as he matured and she found out more about him she came to understand and respect him more, and see him as a friend and almost a brother, with there being potential for something more.
There were times when the relationship could have been better written, like in the episode “Blood Sisters”, where Ezra was written to be a bit too immature to make Sabine look wiser. But overall, the bond between them developed fairly well; both saved one another at various times, and took risks and made sacrifices for each other’s sake. Both reassured and comforted the other when they needed it, and it was endearing to hear their banter when they became more familiar and trusting of each other.
So why then was I so disappointed in how they were portrayed in the Ahsoka show? The thing is, after how well their relationship was built up in Rebels, as I’ve already mentioned it was strange to see how lackluster and uninspired their reunion was.
Within the Ahsoka show itself Sabine was shown to be almost obsessed with finding Ezra, living in what used to be his home, watching a recording of him over and over again, and calling out his name as she woke up in the middle of the night. She even risked bringing Thrawn back into the Galaxy, which ultimately happened, just so she could see Ezra again. After all that, when she finally does encounter him, her reaction seems fairly casual, as does his, as if they’ve been apart for no more than a week, rather than 10 years. Not too much happens between them afterwards either. Like I said Ezra does not appear all that curious about what happened with Sabine, how she found him, and how it was that she was now Force sensitive. Sabine likewise did not seem curious about what had happened with Ezra, and how he had gotten away from Thrawn. And with Ezra rescued and returned home, suddenly it didn’t seem as though Sabine was all that interested in him anymore, nor he all that concerned with her, though they were just as far apart as they had been at the start of the show. To be completely honest it made me wonder what the point of the whole show was. Were they just working to set up Thrawn’s return to the Galaxy? As some have said, Ezra felt like nothing more than a Macguffin in the show. Was Sabine and Ahsoka’s search for him just a plot device?
Considering how skillfully Dave Filoni had written his stories in the past, what happened in this latest project of his does not make much sense. Was he so concerned about “shipping” and so desperate to avoid it that he inadvertently “shipped” them in the other direction? Was there some sort of external pressure on him about how to write this story to have more of an appeal to “modern audiences”? Maybe some combination of those factors?
And here I’ll add that when I say “modern audiences” I don’t mean that in a contemptuous sense, though you may think I do. If there is any contempt on my part it is for those in charge of telling our stories, or those in charge of those telling our stories, who do not seem to grasp these basic truths. The truth is that audiences at their core don’t really change throughout the ages, only superficially so. Trends come and go but certain truths and ideals are eternal, and universal. How people relate to each other fundamentally does not change, whether they are friends, or more than friends. And deep down, I believe everyone (or nearly everyone at least) wants the same things. Nearly everyone at some point wants some kind of a connection with another human being, to know that they are not alone in the world, and to know that there is someone else who sees and understands things as they do. While this desire can certainly lead to abuse, and absolutely has, it is still innate to us and is not inherently wrong. Finding ways of connecting and relating to other people is one of the great challenges of life, but many would argue it is the most worthwhile of challenges. It may be the whole point of life if you think about it. As complex as it may be, many would argue it is what makes life worth living, and likewise makes for the best stories. Just as it may be the whole point of life many would say that is what most stories are about at their core: people trying to relate to one another.
Sadly, just as in real life, most stories unfortunately don’t quite get it, and the Ahsoka show in my opinion was an example of this, made all the sadder by the fact that Dave Filoni had done quite well with these characters up to that point. We may never know for certain what exactly went wrong and why, or if it can ever be “fixed” at this point, but I can’t help but feel curious. Maybe in the future Filoni will find a way to make it make sense, but I’m not sure how. And to be completely honest I don’t feel quite as enthusiastic to find out as I used to.
Also for the record I would like to add here that there are other factors that put me off from the show, such as Sabine’s Force sensitivity, that came about without much build up. But in this article I specifically wanted to focus on shipping because there seems to be so much misunderstanding around it.
I hope that I was able to clarify some, if not most of this misunderstanding, so that people could better appreciate what shipping is, where it comes from, as well as what it isn’t. Many people today are understandably sick of shipping characters, myself included. But I hope people realize that in overcompensating for something, we often come back around into the very thing that we are overcompensating for. Or sometimes, into something even worse. This may apply to nearly every facet of life, by the way, not just shipping. Finding a happy medium in how we portray our fictional relationships may help us to better understand relationships in real life, as well as how to navigate them. Neither fictional nor actual relationships can ever be perfect but they can always be better. To this understanding then I hope that I was able to give my own modest contribution, and if nothing else I hope we can connect on that.

In 2005 I got involved in the Ken Livingston London Mayor re-election campaign. I have vast experience when it comes to running call centres so they asked me to run the phone banks in a building attached to Euston Station.
Volunteers would come in, I’d give them a list of people to call, pointers on what we needed to know, and a script to get them going.
We had a regular volunteer who was a labour counsellor in Hammersmith, a lovely woman called Rima, we bonded over fag breaks on the fire escape outside the office.
One day her partner came to pick her up; yes, you know it, Alan Rickman. I was a fan, but because I lived in London where we are all super cool I managed to greet him with a smile, and when she told him she hadn’t quite finished I gave him a list, pointed at a phone and told him to make himself useful!
He said “With this voice?” I said go on, let’s see how long it takes the person on the other end… call one; he barely got out the name of the campaign! Calls 2, 3 and 4 similar, whilst we were all in fits of laughter.
He took it in great part and we all retired to the pub and drank a LOT of gin. He was as charming as he was reputed to be, very down to earth and very, very funny.

Recently built my first PC (thanks to those who helped here!) and am now having fun building more, but could use some feedback please.
Have got a MPG 850w PSU and a Corsair Carbide 275R case lying around and want to make a "cheap" and cheerful gaming machine for my brother.
We're talking games like League of Legends and Valheim. Not super graphics heavy stuff. Ideally want 1440p and stable frames up to 120 fps as the ideal, but HD will suffice and 60 fps is fine too.
Essentially I want it to prioritise stable performance, do not care about graphics that much, but a nice-to-have if the price to upgrade is within £20-30 or an equally "negligible" amount [I know that's a lot to some on a tight budget, so just making my limits clear!]
I'd like to spend less than the current £600-ish mark, but fine with it as an upper limit. I just don't know if it's actually worth it.
Also already have storage options so don't need that added.
Any ways people could suggest optimising this build?
Is there a better / cheaper / more efficient CPU + GPU combo I could go for? Was looking at the Ryzen 5 3600, was also looking at a Radeon RX 6600 8gb...
Do I need 32gb of ram or would 16 GB suffice?
Also not sure if it's better to go for something like a Phantom Spirit for cooling + case fans or just go with the AIO.
List here: https://uk.pcpartpicker.com/list/88KtTY
Thanks!

This is my attempt at a re-submission due to some misunderstandings on the first attempt. I now know that there are different definitions of the word “ship”, but for the purposes of this article and to keep things simple I will use the definition of “a relationship that’s rushed and/or forced with no real development.” I hope you can understand as I do not know of any other single word to describe that concept. If you do, perhaps you can tell me. Also, fair warning, this is long form content (some 10 pages), if you like it but can’t read it all at once you can save it and come back to it over a period of time, or you can stop reading whenever you get tired of it and still discuss those parts of it with me that you have read. But keep it civil if you want a civil response.
With that, to qualify the title, no, Ezra and Sabine do NOT absolutely have to be a couple, but if they were to become one, it would NOT be a ship. Ezra and Sabine’s relationship has had years of development. Could they remain as simply friends? Yes, but ironically, it was their “friendship” that felt like more of a ship. It felt like the Ahsoka show, helmed by Dave Filoni, was going out of its way to tell us: “no, they’re not a couple, they’re just friends.”
I believe that Filoni made some very poor writing choices to stress something that didn’t really need to be stressed, such that it almost felt like he was in denial. The line “I love you like a sister” was never in Rebels, Filoni essentially had that retconned in, and like many I was put off by their (largely) emotionless reunion. Even if they were “just friends” I believe there would be a great deal more emotion displayed between two people that hadn’t seen each other in some ten years, especially when one of them was in a precarious situation when they parted. I also believe Ezra would be far more curious about Sabine being Force sensitive, perhaps even offering to help train her when she told him that her training hadn’t gone as well with Ahsoka. He did help to train her with the Darksaber, didn’t he? Why that never came up is another discussion, but for now, let’s focus on shipping.
In case you think I’m desperate to have them as a couple, no I’m not. I’m about the furthest thing from it. Like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers) I DESPISE shipping. Absolutely DESPISE it. With a flaming passion. Perhaps for this reason, and maybe some others, like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers), I’m generally wary of nearly all romance in fiction, and generally avoid it in my own work. The sad reality is that romance is perhaps the most abused genre in all of fiction, all throughout history. It has been so badly abused that many people, including myself for the longest time, have equated romance with shipping, though I’m slowly beginning to see that they are not the same thing, and one does not necessarily have to go with the other.
But sadly, many writers, through time immemorial, have not been able to separate them, going back into ancient times and perhaps even into pre-history, that is before languages were actually written down. Some of what is considered great literature; classics like Romeo and Juliet, are predicated on shipping, though at least the consequences of this “whirlwind romance” are shown to be fairly stark. Star Wars itself is no stranger to shipping, resulting in a very awkward incestuous kiss when Luke was shipped with Leia, then Leia was placed with Han and Lucas made Luke and Leia brother and sister, apparently having forgotten his original ship. Later Lucas essentially shipped Anakin and Padme, resulting in some of the most cringeworthy dialog in the history of film. Many fans of the Prequels even have been somewhat critical of Anakin’s portrayal, particularly in regards to the “romantic” scenes, with many describing them as “creepy”. Some have speculated that this was intentional, though personally I think it was just the result of bad writing on the part of George Lucas, and an impatience on his part for Anakin and Padme to become a couple, hence “shipping”.
One might wonder why this is so prevalent in fiction, and tragically, one does not have to look far. Fiction is merely a reflection of reality, therefore the reason that shipping is so common in our stories is that we fall so easily into it in real life. Indeed, entire cultures may be based around shipping, or at least very heavily wrapped up in it. Throughout history arranged marriages have been the norm, and the idea of marrying for “love” is something relatively new. To be fair, I’ve actually met people in arranged marriages who seemed to be fairly happy, but those same people were very open in telling me that many despise that aspect of their culture, and that it is quite normal for those in an arranged marriage to try to get out.
People might come together for “love” without marrying, but even then it often creates expectations that might turn into a burden. Even when a marriage is voluntary and for “love”, people are often left unsatisfied, such that today in the West the divorce rate is something like 50%. Happy, stable, long term relationships seem to be the exception across cultures and across the breadth and width of time. And yet pursuit of love and some kind of relationship seems to be the highest calling for many people, both in real life and in fiction. And it could be that the accumulated disgust is finally starting to boil over.
To be fair, this may not be the first time in history that the pendulum has shifted. You may recall that in Victorian times attitudes changed drastically, as compared to the previously bawdy Elizabethan times. Looking at a play from Shakespear, if you can understand the language, you’ll see all kinds of vulgar references, as well as what I believe are fairly sappy romances like in the aforementioned Romeo and Juliet, though I can’t say for certain whether Shakespear was actually endorsing that type of attitude towards “love” or presenting it as a cautionary tale, maybe even something to be ridiculed in some of his other plays.
But regardless, Victorians as you may well know had a very conservative attitude towards anything to do with romance, and would often avoid the subject in many places, or tread very carefully around it, as if walking on eggshells. It’s not that people stopped being romantic, in fiction or real life, but it was treated as something very serious and even dangerous, with many urges repressed or even suppressed entirely. This had all kinds of effects on society, both positive and negative. On the positive side, it reinforced the ideal of people being committed to their partners, and of marriage as a sacred institution rather than a “casual hookup” as was more common in Elizabethan times. Likewise it reinforced ideals of modesty and chastity, which may be coming back into vogue, though under different names. But just as there were positive aspects to these attitudes, so were there negative ones.
Just because the urges I described were repressed did not mean that they disappeared. In fact, they often morphed into things that many would consider “unhealthy”. From one statistic that I saw, in Victorian times about one in every 60 houses was a brothel, with the modern rate being closer to one in 6000. Additionally, the rights of women were often repressed, such that they could not fully express themselves and find their own identity, and path in life, as individuals. Just as Elizabethan ideals gave way to Victorian ones, so did the Victorian ideals gradually begin to erode.
Perhaps it began with the Jazz Age of the 1920’s (the “Roaring Twenties”), or with the increased interconnectivity of people traveling to different parts of the world during World War I, not to mention the cynicism that pervaded throughout the West in response to failed old ideals leading to the deadliest war in history up to that point, but many Victorian ideals began to be seen as a joke, and even resented for their “oppression”, which to be fair was not entirely unjustified. But regardless, people gradually, and at times not so gradually, became more and more “liberated” and promiscuous. This culminated in the Sexual Revolution in the late 1960’s, when what had previously been seen as a vice and even a sin was now seen as not only “normal” but as a healthy form of expression, a virtue even. And just as these ideas were embraced in real life, so too were they reflected in our films, TV shows, and other media, often to the consternation of older people and institutions, like the Vatican. The Catholic Church even went so far as to “ban” certain films, that is to declare them immoral for good Catholics to watch. Many of the films that were banned back then, or at least controversial, like The Graduate with Dustin Hoffman, are fairly tame by today’s standards.
It continued through the 70’s, at times warming and at times cooling through the rest of the century, until you could argue it reached a kind of crescendo in the early 21st century with the advent of so-called “dark romance” and the publication of books like Fifty Shades of Grey. (Ironically, many of the themes within this “dark romance” can trace their roots back to the Victorian era, yet another indication that repressing urges without addressing them often doesn’t work out as one might hope.) But as happens all too often, just as something reaches peak popularity is when it begins to go out of style, and that is what we may be experiencing right now. As weird as it may sound, we may actually have come full circle and may be on the cusp of a “New Victorian Age” (complete with “dark romance”, even). Web sites like Porn Hub and OnlyFans, as well as other similar sites, may be the new “brothels”, and what was once openly celebrated may be going underground, to an extent. The effects of this on society have been interesting to say the least, and at times I would even say bizarre.
Whilst many younger people seem content with these changes, many older people are concerned. I’ve seen a number of books, films, and other media receive positive reviews for example based specifically on their lack of romance. Many of these books/films, etc. fall into the “young adult” category, meaning that it is young adults obviously who mostly consume them. At the same time I’ve heard a number of older people, mostly boomers and Gen-Xers, criticize these same books/films for their lack of romance. Even some older millennials seem upset by the changes, as perhaps evidenced by Jennifer Lawrence’s latest film No Hard Feelings (though to be fair that film may be lampooning the older generation’s frustration as well as the younger generation’s frigidity). So just as in the past older people were concerned about the promiscuity of the youth, now it actually appears that many older people are concerned about the youth’s lack of promiscuity.
Who could have seen that coming? But to be fair, the younger generation hasn’t gone completely frigid. As stated earlier, much of the promiscuity has gone “underground”, or online, which many would argue is not very healthy as it might undermine actual relationships, whether they are romantic in nature or simple friendships. And speaking of that, friendships within stories nowadays often aren’t portrayed in a very authentic or compelling manner, perhaps because in ditching romance modern writers haven’t quite yet learned how to replace it with something else. In other words, the “New Victorian Age” may not be an exact repeat of the previous one, but may have its own twists and turns, for better and for worse.
This may all essentially be a manifestation of the Human Condition, in that we just can’t seem to find a happy medium, neither in real life nor in fiction. Thus we keep swinging from one extreme to the other, apparently getting wilder with each swing.
So where does all this leave us? What is it that we really want in our lives, and in our stories? Especially in regards to relationships? I think at some level we all want to see good and healthy relationships between people and/or characters, whether romantic or platonic. I believe at some point we would like to see good examples of both friendship and romance, and I would argue that the best examples of romance have them combined. Even a toxic relationship, if well portrayed or documented, can be instructive and serve as a good example of what to avoid in our lives that we might be happier and relate better to each other. A good relationship, by contrast, can give us something to aspire to and inspire us to not only look for the right kind of person to complement our lives, but to make ourselves worthy of that person. And here I’ll add that I’m perfectly aware that in real life (and thus in fiction) relationships can be very complicated and heavily nuanced, with elements of both “good” and “bad” in them. Just as people change over time so can the relationships between them change, at times getting better and at times worse, sometimes breaking entirely and sometimes growing stronger. Relationships can have just as many layers and dimensions as characters, more even perhaps, and a skilled writer should be able to reflect this complexity. At other times a relationship can be fairly straightforward, simplicity sometimes being the best approach. But regardless, the audience should be able to relate and identify with what they are seeing, such that hopefully they can incorporate the lessons from it in their own lives.
Where can we find good examples of relationships to study? There may be a number of them in the real world, but the trouble with studying real world relationships is that they’re often much more complicated than fictional ones (just as real people are more complicated than fictional characters), and for many of them it is almost impossible to know all the details and nuances because they are often kept private, understandably so, and even if they aren’t it can still be difficult, due to unique circumstances, to see how to relate them to our own lives. Additionally there may be far more disagreement about a real life situation than a fictional one, with many more points of view. To keep things simple, for the purpose of this article I would like to focus on fictional relationships. (And fair warning, there will be some spoilers.)
One of the best places to look, I would argue, would be the films of Hayao Miyazaki. (And this is pretty significant to Star Wars as you will see in a bit.) A film of his that stands out to me the most is Princess Mononoke. Like many of Miyazaki’s films it has elements of romance, and yet subverts them in a way that makes complete sense and feels very genuine, without taking away from any of the accompanying charm. It starts with two young people, San and Ashitaka, and as soon as they encounter each other there is a kind of expectation of romance. This may be inevitable to some degree when you have a man and a woman of about the same age encounter each other in a story, especially if they happen to be adolescents. The expectation may not be inherently bad, and Miyazaki does play with it. Both characters are thrust into dangerous situations, at various points end up saving each other’s lives, and at a certain point I think it is obvious that they have feelings for each other. I was certain that at the end of the film, they would be together, and if things had gone that way, it would make complete sense. Instead, they go in different directions, but remain good friends, and considering their backgrounds and differing worldviews, this ends up making even more sense to the story.
Essentially, Miyazaki could have gone for the more conventional, tried and true “love conquers all” narrative, where the characters’ feelings for each other would negate everything that comes between them, they would somehow find a common ground in spite of their differences, the romance would not only take over the narrative but somehow also solve all the problems in the story, and then the couple would live “happily ever after”. Such an approach is not inherently bad or wrong, and is fairly common in Western media and storytelling. We can see it in films like Fern Gully, and more recently James Cameron’s Avatar, both of which have been compared to Princess Mononoke. As you can probably guess, the problem is that at a certain point such a narrative can become fairly simplistic, and lack nuance.
Miyazaki’s films, by contrast, are very heavily nuanced, and are anything but simplistic. In Princess Mononoke the characters San and Ashitaka don’t help each other simply because they are “in love”, but because it is the right thing to do, regardless of how they might feel about each other. Yes, romantic feelings are certainly alluded to, but they are not essential to the plot, for it could have worked just as well without any romantic allusions. And ironically, this makes those allusions even more valid, even if they are unrequited. How so?
Consider that if love is essential to a given narrative, is it not relegated to being nothing more than a plot device? Again, this is quite common in Western media and storytelling, and is not inherently bad or wrong, but when it becomes a trope or cliche, I believe it is the essence of where shipping comes from. Many storytellers get caught up in this, usually without realizing it, and while a story can still work even with shipping, I believe that it usually works that much better without it.
This extends not only to Miyazaki’s handling of romance but also to other things like environmentalism, the conflict between man and nature, and the contrasting ideals of human progress vs. preserving the natural order. Movies like Fern Gully and Avatar, as already mentioned, handle these themes in a fairly simplistic and I would even say hamfisted manner, whereby all progress and technology is shown as being inherently “bad” and in service to “evil”, while everything that’s “natural” is shown to be inherently “good”. Even our notions of good and evil, and right vs. wrong, are challenged by Miyazaki, with nearly all of his characters having complex motives and multiple dimensions to them, as well as understandable reasons for doing the things that they do. Rarely can any one of his characters be branded as a simple “villain”, and rarely is any one individual the source of conflict in his stories, again in contrast to most Western narratives.
I’ll reiterate once more, a simple, straightforward narrative is not inherently a bad thing, whether the themes being dealt with are romantic or anything else. Sometimes it is in fact the best approach. But the best stories in my opinion are usually the most nuanced, that challenge our notions of what we believe to be true, and that force us to think about what we do with our lives and what we could do differently. To that end Miyazaki introduces all manner of themes and motifs within his films that are familiar to us but shows them in a light most of us might not have considered, thus giving more dimension to our understanding of things.
“How is any of this related to Star Wars?” you might ask. It is quite related, and you don’t even have to look all that closely to see it. A very influential figure within Star Wars was very heavily inspired by the works of Miyazaki, and that figure is Dave Filoni.
This video shows the connections in some detail:
https://youtu.be/Q_4L0BbSpHo?si=04jDo6qFCnZT135w
But to summarize if you’ve seen any of Miyazaki’s films, especially Princess Mononoke, I think the callbacks in Filoni’s work will be all too obvious, especially in Star Wars Rebels. Some of the scenes in Filoni’s work look like they were taken directly from Miyazki’s films, and many of the same themes and motifs often come up. The relationship between San and Ashitaka I would argue is very similar to the relationship between Ezra and Sabine, and not just because both couples rode wolves together.
Incidentally, Dave Filoni was also heavily involved in Avatar: The Last Airbender, which I would also argue was at least to some degree inspired if not by Miyazaki then by Japanese anime in general. The relationship between Aang and Katara was developed with great care and was allowed to build very slowly, as opposed to simply shipping them. Likewise other characters very gradually developed as individuals and in their relationships, at times stumbling as they did so, and making mistakes, before finding their way back to the right path.
All of this is in stark contrast to George Lucas, whose character development is often very rushed at best, and at times some might say almost non-existent. So essentially, even though Lucas has said that Filoni has been “like a son” to him, and I believe referred to Filoni as his “padawan”, I would argue that Filoni is ultimately as much a student of Miyazaki as he is of Lucas.
Again, you might ask, “What does all this mean for Star Wars?” It means a great many things. It means that Dave Filoni has taken Miyazaki’s lessons to heart, and can handle things like romance, as well as other kinds of relationships, quite well most of the time. Like Miyazaki he can play with romance, tease the audience with it at times even, leave the romance unrequited, and yet still have it feel satisfying. A prime example of this is the love triangle that Ahsoka was involved in with the young Separatist Senator, Lux Bonteri, and Steela Gerrera. As wary as I am of romance and as much as I despise shipping, love triangles I normally despise even more, but this one seemed to actually work. It never took over the main story, and even though Ahsoka’s feelings were ultimately not reciprocated, she still learned from the experience, and grew and developed further as a character because of it. The other characters involved in this triangle also grew and developed from their involvement, though unfortunately not all of them made it. All in all it was a good bit of storytelling and gave the audience something to consider.
When a relationship in one of Filoni’s stories does bloom into a full blown romance he also generally handles it quite well. For one Filoni is sparing with actual romance, so that when it does occur, it can be that much more appreciated. And rather than rushing or shipping it, Filoni normally takes his time to build it up. An example of this is the relationship between Kanan and Hera. Some might argue that this is perhaps the best developed romance in all of Star Wars, at least in Canon. Built up over four seasons, at times it wasn’t certain whether it was a romance or a friendship, or perhaps even a professional partnership. Perhaps even the characters themselves were not certain, though it was hinted all throughout the narrative that something was going on. To this day I don’t believe anyone can say definitively when it became an actual romance, and I believe Filoni did this intentionally because he wanted to be subtle, rather than making things too obvious and having the romance take over the narrative, as it usually does. When it finally did become obvious as to what was happening, it felt very much earned, in a way that is seldom accomplished in other works of fiction, including Star Wars.
The relationship between Ezra and Sabine was also fairly well written, for the most part anyway, at least in Star Wars Rebels. Ezra was almost immediately smitten with Sabine, but being a young teenage boy, it was understandable that he would feel that way about an attractive girl. Over time he learned to see her more respectfully, as a colleague and even as part of his adopted family, not just as a pretty face. Sabine for her part found Ezra annoying at first (c’mon, what teenage boy isn’t?), but as he matured and she found out more about him she came to understand and respect him more, and see him as a friend and almost a brother, with there being potential for something more.
There were times when the relationship could have been better written, like in the episode “Blood Sisters”, where Ezra was written to be a bit too immature to make Sabine look wiser. But overall, the bond between them developed fairly well; both saved one another at various times, and took risks and made sacrifices for each other’s sake. Both reassured and comforted the other when they needed it, and it was endearing to hear their banter when they became more familiar and trusting of each other.
So why then was I so disappointed in how they were portrayed in the Ahsoka show? The thing is, after how well their relationship was built up in Rebels, as I’ve already mentioned it was strange to see how lackluster and uninspired their reunion was.
Within the Ahsoka show itself Sabine was shown to be almost obsessed with finding Ezra, living in what used to be his home, watching a recording of him over and over again, and calling out his name as she woke up in the middle of the night. She even risked bringing Thrawn back into the Galaxy, which ultimately happened, just so she could see Ezra again. After all that, when she finally does encounter him, her reaction seems fairly casual, as does his, as if they’ve been apart for no more than a week, rather than 10 years. Not too much happens between them afterwards either. Like I said Ezra does not appear all that curious about what happened with Sabine, how she found him, and how it was that she was now Force sensitive. Sabine likewise did not seem curious about what had happened with Ezra, and how he had gotten away from Thrawn. And with Ezra rescued and returned home, suddenly it didn’t seem as though Sabine was all that interested in him anymore, nor he all that concerned with her, though they were just as far apart as they had been at the start of the show. To be completely honest it made me wonder what the point of the whole show was. Were they just working to set up Thrawn’s return to the Galaxy? As some have said, Ezra felt like nothing more than a Macguffin in the show. Was Sabine and Ahsoka’s search for him just a plot device?
Considering how skillfully Dave Filoni had written his stories in the past, what happened in this latest project of his does not make much sense. Was he so concerned about “shipping” and so desperate to avoid it that he inadvertently “shipped” them in the other direction? Was there some sort of external pressure on him about how to write this story to have more of an appeal to “modern audiences”? Maybe some combination of those factors?
And here I’ll add that when I say “modern audiences” I don’t mean that in a contemptuous sense, though you may think I do. If there is any contempt on my part it is for those in charge of telling our stories, or those in charge of those telling our stories, who do not seem to grasp these basic truths. The truth is that audiences at their core don’t really change throughout the ages, only superficially so. Trends come and go but certain truths and ideals are eternal, and universal. How people relate to each other fundamentally does not change, whether they are friends, or more than friends. And deep down, I believe everyone (or nearly everyone at least) wants the same things. Nearly everyone at some point wants some kind of a connection with another human being, to know that they are not alone in the world, and to know that there is someone else who sees and understands things as they do. While this desire can certainly lead to abuse, and absolutely has, it is still innate to us and is not inherently wrong. Finding ways of connecting and relating to other people is one of the great challenges of life, but many would argue it is the most worthwhile of challenges. It may be the whole point of life if you think about it. As complex as it may be, many would argue it is what makes life worth living, and likewise makes for the best stories. Just as it may be the whole point of life many would say that is what most stories are about at their core: people trying to relate to one another.
Sadly, just as in real life, most stories unfortunately don’t quite get it, and the Ahsoka show in my opinion was an example of this, made all the sadder by the fact that Dave Filoni had done quite well with these characters up to that point. We may never know for certain what exactly went wrong and why, or if it can ever be “fixed” at this point, but I can’t help but feel curious. Maybe in the future Filoni will find a way to make it make sense, but I’m not sure how. And to be completely honest I don’t feel quite as enthusiastic to find out as I used to.
Also for the record I would like to add here that there are other factors that put me off from the show, such as Sabine’s Force sensitivity, that came about without much build up. But in this article I specifically wanted to focus on shipping because there seems to be so much misunderstanding around it.
I hope that I was able to clarify some, if not most of this misunderstanding, so that people could better appreciate what shipping is, where it comes from, as well as what it isn’t. Many people today are understandably sick of shipping characters, myself included. But I hope people realize that in overcompensating for something, we often come back around into the very thing that we are overcompensating for. Or sometimes, into something even worse. This may apply to nearly every facet of life, by the way, not just shipping. Finding a happy medium in how we portray our fictional relationships may help us to better understand relationships in real life, as well as how to navigate them. Neither fictional nor actual relationships can ever be perfect but they can always be better. To this understanding then I hope that I was able to give my own modest contribution, and if nothing else I hope we can connect on that.

This is my attempt at a re-submission due to some misunderstandings on the first attempt. I now know that there are different definitions of the word “ship”, but for the purposes of this article and to keep things simple I will use the definition of “a relationship that’s rushed and/or forced with no real development.” I hope you can understand as I do not know of any other single word to describe that concept. If you do, perhaps you can tell me. Also, fair warning, this is long form content (some 10 pages), if you like it but can’t read it all at once you can save it and come back to it over a period of time, or you can stop reading whenever you get tired of it and still discuss those parts of it with me that you have read. But keep it civil if you want a civil response.
With that, to qualify the title, no, Ezra and Sabine do NOT absolutely have to be a couple, but if they were to become one, it would NOT be a ship. Ezra and Sabine’s relationship has had years of development. Could they remain as simply friends? Yes, but ironically, it was their “friendship” that felt like more of a ship. It felt like the Ahsoka show, helmed by Dave Filoni, was going out of its way to tell us: “no, they’re not a couple, they’re just friends.”
I believe that Filoni made some very poor writing choices to stress something that didn’t really need to be stressed, such that it almost felt like he was in denial. The line “I love you like a sister” was never in Rebels, Filoni essentially had that retconned in, and like many I was put off by their (largely) emotionless reunion. Even if they were “just friends” I believe there would be a great deal more emotion displayed between two people that hadn’t seen each other in some ten years, especially when one of them was in a precarious situation when they parted. I also believe Ezra would be far more curious about Sabine being Force sensitive, perhaps even offering to help train her when she told him that her training hadn’t gone as well with Ahsoka. He did help to train her with the Darksaber, didn’t he? Why that never came up is another discussion, but for now, let’s focus on shipping.
In case you think I’m desperate to have them as a couple, no I’m not. I’m about the furthest thing from it. Like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers) I DESPISE shipping. Absolutely DESPISE it. With a flaming passion. Perhaps for this reason, and maybe some others, like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers), I’m generally wary of nearly all romance in fiction, and generally avoid it in my own work. The sad reality is that romance is perhaps the most abused genre in all of fiction, all throughout history. It has been so badly abused that many people, including myself for the longest time, have equated romance with shipping, though I’m slowly beginning to see that they are not the same thing, and one does not necessarily have to go with the other.
But sadly, many writers, through time immemorial, have not been able to separate them, going back into ancient times and perhaps even into pre-history, that is before languages were actually written down. Some of what is considered great literature; classics like Romeo and Juliet, are predicated on shipping, though at least the consequences of this “whirlwind romance” are shown to be fairly stark. Star Wars itself is no stranger to shipping, resulting in a very awkward incestuous kiss when Luke was shipped with Leia, then Leia was placed with Han and Lucas made Luke and Leia brother and sister, apparently having forgotten his original ship. Later Lucas essentially shipped Anakin and Padme, resulting in some of the most cringeworthy dialog in the history of film. Many fans of the Prequels even have been somewhat critical of Anakin’s portrayal, particularly in regards to the “romantic” scenes, with many describing them as “creepy”. Some have speculated that this was intentional, though personally I think it was just the result of bad writing on the part of George Lucas, and an impatience on his part for Anakin and Padme to become a couple, hence “shipping”.
One might wonder why this is so prevalent in fiction, and tragically, one does not have to look far. Fiction is merely a reflection of reality, therefore the reason that shipping is so common in our stories is that we fall so easily into it in real life. Indeed, entire cultures may be based around shipping, or at least very heavily wrapped up in it. Throughout history arranged marriages have been the norm, and the idea of marrying for “love” is something relatively new. To be fair, I’ve actually met people in arranged marriages who seemed to be fairly happy, but those same people were very open in telling me that many despise that aspect of their culture, and that it is quite normal for those in an arranged marriage to try to get out.
People might come together for “love” without marrying, but even then it often creates expectations that might turn into a burden. Even when a marriage is voluntary and for “love”, people are often left unsatisfied, such that today in the West the divorce rate is something like 50%. Happy, stable, long term relationships seem to be the exception across cultures and across the breadth and width of time. And yet pursuit of love and some kind of relationship seems to be the highest calling for many people, both in real life and in fiction. And it could be that the accumulated disgust is finally starting to boil over.
To be fair, this may not be the first time in history that the pendulum has shifted. You may recall that in Victorian times attitudes changed drastically, as compared to the previously bawdy Elizabethan times. Looking at a play from Shakespear, if you can understand the language, you’ll see all kinds of vulgar references, as well as what I believe are fairly sappy romances like in the aforementioned Romeo and Juliet, though I can’t say for certain whether Shakespear was actually endorsing that type of attitude towards “love” or presenting it as a cautionary tale, maybe even something to be ridiculed in some of his other plays.
But regardless, Victorians as you may well know had a very conservative attitude towards anything to do with romance, and would often avoid the subject in many places, or tread very carefully around it, as if walking on eggshells. It’s not that people stopped being romantic, in fiction or real life, but it was treated as something very serious and even dangerous, with many urges repressed or even suppressed entirely. This had all kinds of effects on society, both positive and negative. On the positive side, it reinforced the ideal of people being committed to their partners, and of marriage as a sacred institution rather than a “casual hookup” as was more common in Elizabethan times. Likewise it reinforced ideals of modesty and chastity, which may be coming back into vogue, though under different names. But just as there were positive aspects to these attitudes, so were there negative ones.
Just because the urges I described were repressed did not mean that they disappeared. In fact, they often morphed into things that many would consider “unhealthy”. From one statistic that I saw, in Victorian times about one in every 60 houses was a brothel, with the modern rate being closer to one in 6000. Additionally, the rights of women were often repressed, such that they could not fully express themselves and find their own identity, and path in life, as individuals. Just as Elizabethan ideals gave way to Victorian ones, so did the Victorian ideals gradually begin to erode.
Perhaps it began with the Jazz Age of the 1920’s (the “Roaring Twenties”), or with the increased interconnectivity of people traveling to different parts of the world during World War I, not to mention the cynicism that pervaded throughout the West in response to failed old ideals leading to the deadliest war in history up to that point, but many Victorian ideals began to be seen as a joke, and even resented for their “oppression”, which to be fair was not entirely unjustified. But regardless, people gradually, and at times not so gradually, became more and more “liberated” and promiscuous. This culminated in the Sexual Revolution in the late 1960’s, when what had previously been seen as a vice and even a sin was now seen as not only “normal” but as a healthy form of expression, a virtue even. And just as these ideas were embraced in real life, so too were they reflected in our films, TV shows, and other media, often to the consternation of older people and institutions, like the Vatican. The Catholic Church even went so far as to “ban” certain films, that is to declare them immoral for good Catholics to watch. Many of the films that were banned back then, or at least controversial, like The Graduate with Dustin Hoffman, are fairly tame by today’s standards.
It continued through the 70’s, at times warming and at times cooling through the rest of the century, until you could argue it reached a kind of crescendo in the early 21st century with the advent of so-called “dark romance” and the publication of books like Fifty Shades of Grey. (Ironically, many of the themes within this “dark romance” can trace their roots back to the Victorian era, yet another indication that repressing urges without addressing them often doesn’t work out as one might hope.) But as happens all too often, just as something reaches peak popularity is when it begins to go out of style, and that is what we may be experiencing right now. As weird as it may sound, we may actually have come full circle and may be on the cusp of a “New Victorian Age” (complete with “dark romance”, even). Web sites like Porn Hub and OnlyFans, as well as other similar sites, may be the new “brothels”, and what was once openly celebrated may be going underground, to an extent. The effects of this on society have been interesting to say the least, and at times I would even say bizarre.
Whilst many younger people seem content with these changes, many older people are concerned. I’ve seen a number of books, films, and other media receive positive reviews for example based specifically on their lack of romance. Many of these books/films, etc. fall into the “young adult” category, meaning that it is young adults obviously who mostly consume them. At the same time I’ve heard a number of older people, mostly boomers and Gen-Xers, criticize these same books/films for their lack of romance. Even some older millennials seem upset by the changes, as perhaps evidenced by Jennifer Lawrence’s latest film No Hard Feelings (though to be fair that film may be lampooning the older generation’s frustration as well as the younger generation’s frigidity). So just as in the past older people were concerned about the promiscuity of the youth, now it actually appears that many older people are concerned about the youth’s lack of promiscuity.
Who could have seen that coming? But to be fair, the younger generation hasn’t gone completely frigid. As stated earlier, much of the promiscuity has gone “underground”, or online, which many would argue is not very healthy as it might undermine actual relationships, whether they are romantic in nature or simple friendships. And speaking of that, friendships within stories nowadays often aren’t portrayed in a very authentic or compelling manner, perhaps because in ditching romance modern writers haven’t quite yet learned how to replace it with something else. In other words, the “New Victorian Age” may not be an exact repeat of the previous one, but may have its own twists and turns, for better and for worse.
This may all essentially be a manifestation of the Human Condition, in that we just can’t seem to find a happy medium, neither in real life nor in fiction. Thus we keep swinging from one extreme to the other, apparently getting wilder with each swing.
So where does all this leave us? What is it that we really want in our lives, and in our stories? Especially in regards to relationships? I think at some level we all want to see good and healthy relationships between people and/or characters, whether romantic or platonic. I believe at some point we would like to see good examples of both friendship and romance, and I would argue that the best examples of romance have them combined. Even a toxic relationship, if well portrayed or documented, can be instructive and serve as a good example of what to avoid in our lives that we might be happier and relate better to each other. A good relationship, by contrast, can give us something to aspire to and inspire us to not only look for the right kind of person to complement our lives, but to make ourselves worthy of that person. And here I’ll add that I’m perfectly aware that in real life (and thus in fiction) relationships can be very complicated and heavily nuanced, with elements of both “good” and “bad” in them. Just as people change over time so can the relationships between them change, at times getting better and at times worse, sometimes breaking entirely and sometimes growing stronger. Relationships can have just as many layers and dimensions as characters, more even perhaps, and a skilled writer should be able to reflect this complexity. At other times a relationship can be fairly straightforward, simplicity sometimes being the best approach. But regardless, the audience should be able to relate and identify with what they are seeing, such that hopefully they can incorporate the lessons from it in their own lives.
Where can we find good examples of relationships to study? There may be a number of them in the real world, but the trouble with studying real world relationships is that they’re often much more complicated than fictional ones (just as real people are more complicated than fictional characters), and for many of them it is almost impossible to know all the details and nuances because they are often kept private, understandably so, and even if they aren’t it can still be difficult, due to unique circumstances, to see how to relate them to our own lives. Additionally there may be far more disagreement about a real life situation than a fictional one, with many more points of view. To keep things simple, for the purpose of this article I would like to focus on fictional relationships. (And fair warning, there will be some spoilers.)
One of the best places to look, I would argue, would be the films of Hayao Miyazaki. (And this is pretty significant to Star Wars as you will see in a bit.) A film of his that stands out to me the most is Princess Mononoke. Like many of Miyazaki’s films it has elements of romance, and yet subverts them in a way that makes complete sense and feels very genuine, without taking away from any of the accompanying charm. It starts with two young people, San and Ashitaka, and as soon as they encounter each other there is a kind of expectation of romance. This may be inevitable to some degree when you have a man and a woman of about the same age encounter each other in a story, especially if they happen to be adolescents. The expectation may not be inherently bad, and Miyazaki does play with it. Both characters are thrust into dangerous situations, at various points end up saving each other’s lives, and at a certain point I think it is obvious that they have feelings for each other. I was certain that at the end of the film, they would be together, and if things had gone that way, it would make complete sense. Instead, they go in different directions, but remain good friends, and considering their backgrounds and differing worldviews, this ends up making even more sense to the story.
Essentially, Miyazaki could have gone for the more conventional, tried and true “love conquers all” narrative, where the characters’ feelings for each other would negate everything that comes between them, they would somehow find a common ground in spite of their differences, the romance would not only take over the narrative but somehow also solve all the problems in the story, and then the couple would live “happily ever after”. Such an approach is not inherently bad or wrong, and is fairly common in Western media and storytelling. We can see it in films like Fern Gully, and more recently James Cameron’s Avatar, both of which have been compared to Princess Mononoke. As you can probably guess, the problem is that at a certain point such a narrative can become fairly simplistic, and lack nuance.
Miyazaki’s films, by contrast, are very heavily nuanced, and are anything but simplistic. In Princess Mononoke the characters San and Ashitaka don’t help each other simply because they are “in love”, but because it is the right thing to do, regardless of how they might feel about each other. Yes, romantic feelings are certainly alluded to, but they are not essential to the plot, for it could have worked just as well without any romantic allusions. And ironically, this makes those allusions even more valid, even if they are unrequited. How so?
Consider that if love is essential to a given narrative, is it not relegated to being nothing more than a plot device? Again, this is quite common in Western media and storytelling, and is not inherently bad or wrong, but when it becomes a trope or cliche, I believe it is the essence of where shipping comes from. Many storytellers get caught up in this, usually without realizing it, and while a story can still work even with shipping, I believe that it usually works that much better without it.
This extends not only to Miyazaki’s handling of romance but also to other things like environmentalism, the conflict between man and nature, and the contrasting ideals of human progress vs. preserving the natural order. Movies like Fern Gully and Avatar, as already mentioned, handle these themes in a fairly simplistic and I would even say hamfisted manner, whereby all progress and technology is shown as being inherently “bad” and in service to “evil”, while everything that’s “natural” is shown to be inherently “good”. Even our notions of good and evil, and right vs. wrong, are challenged by Miyazaki, with nearly all of his characters having complex motives and multiple dimensions to them, as well as understandable reasons for doing the things that they do. Rarely can any one of his characters be branded as a simple “villain”, and rarely is any one individual the source of conflict in his stories, again in contrast to most Western narratives.
I’ll reiterate once more, a simple, straightforward narrative is not inherently a bad thing, whether the themes being dealt with are romantic or anything else. Sometimes it is in fact the best approach. But the best stories in my opinion are usually the most nuanced, that challenge our notions of what we believe to be true, and that force us to think about what we do with our lives and what we could do differently. To that end Miyazaki introduces all manner of themes and motifs within his films that are familiar to us but shows them in a light most of us might not have considered, thus giving more dimension to our understanding of things.
“How is any of this related to Star Wars?” you might ask. It is quite related, and you don’t even have to look all that closely to see it. A very influential figure within Star Wars was very heavily inspired by the works of Miyazaki, and that figure is Dave Filoni.
This video shows the connections in some detail:
https://youtu.be/Q_4L0BbSpHo?si=04jDo6qFCnZT135w
But to summarize if you’ve seen any of Miyazaki’s films, especially Princess Mononoke, I think the callbacks in Filoni’s work will be all too obvious, especially in Star Wars Rebels. Some of the scenes in Filoni’s work look like they were taken directly from Miyazki’s films, and many of the same themes and motifs often come up. The relationship between San and Ashitaka I would argue is very similar to the relationship between Ezra and Sabine, and not just because both couples rode wolves together.
Incidentally, Dave Filoni was also heavily involved in Avatar: The Last Airbender, which I would also argue was at least to some degree inspired if not by Miyazaki then by Japanese anime in general. The relationship between Aang and Katara was developed with great care and was allowed to build very slowly, as opposed to simply shipping them. Likewise other characters very gradually developed as individuals and in their relationships, at times stumbling as they did so, and making mistakes, before finding their way back to the right path.
All of this is in stark contrast to George Lucas, whose character development is often very rushed at best, and at times some might say almost non-existent. So essentially, even though Lucas has said that Filoni has been “like a son” to him, and I believe referred to Filoni as his “padawan”, I would argue that Filoni is ultimately as much a student of Miyazaki as he is of Lucas.
Again, you might ask, “What does all this mean for Star Wars?” It means a great many things. It means that Dave Filoni has taken Miyazaki’s lessons to heart, and can handle things like romance, as well as other kinds of relationships, quite well most of the time. Like Miyazaki he can play with romance, tease the audience with it at times even, leave the romance unrequited, and yet still have it feel satisfying. A prime example of this is the love triangle that Ahsoka was involved in with the young Separatist Senator, Lux Bonteri, and Steela Gerrera. As wary as I am of romance and as much as I despise shipping, love triangles I normally despise even more, but this one seemed to actually work. It never took over the main story, and even though Ahsoka’s feelings were ultimately not reciprocated, she still learned from the experience, and grew and developed further as a character because of it. The other characters involved in this triangle also grew and developed from their involvement, though unfortunately not all of them made it. All in all it was a good bit of storytelling and gave the audience something to consider.
When a relationship in one of Filoni’s stories does bloom into a full blown romance he also generally handles it quite well. For one Filoni is sparing with actual romance, so that when it does occur, it can be that much more appreciated. And rather than rushing or shipping it, Filoni normally takes his time to build it up. An example of this is the relationship between Kanan and Hera. Some might argue that this is perhaps the best developed romance in all of Star Wars, at least in Canon. Built up over four seasons, at times it wasn’t certain whether it was a romance or a friendship, or perhaps even a professional partnership. Perhaps even the characters themselves were not certain, though it was hinted all throughout the narrative that something was going on. To this day I don’t believe anyone can say definitively when it became an actual romance, and I believe Filoni did this intentionally because he wanted to be subtle, rather than making things too obvious and having the romance take over the narrative, as it usually does. When it finally did become obvious as to what was happening, it felt very much earned, in a way that is seldom accomplished in other works of fiction, including Star Wars.
The relationship between Ezra and Sabine was also fairly well written, for the most part anyway, at least in Star Wars Rebels. Ezra was almost immediately smitten with Sabine, but being a young teenage boy, it was understandable that he would feel that way about an attractive girl. Over time he learned to see her more respectfully, as a colleague and even as part of his adopted family, not just as a pretty face. Sabine for her part found Ezra annoying at first (c’mon, what teenage boy isn’t?), but as he matured and she found out more about him she came to understand and respect him more, and see him as a friend and almost a brother, with there being potential for something more.
There were times when the relationship could have been better written, like in the episode “Blood Sisters”, where Ezra was written to be a bit too immature to make Sabine look wiser. But overall, the bond between them developed fairly well; both saved one another at various times, and took risks and made sacrifices for each other’s sake. Both reassured and comforted the other when they needed it, and it was endearing to hear their banter when they became more familiar and trusting of each other.
So why then was I so disappointed in how they were portrayed in the Ahsoka show? The thing is, after how well their relationship was built up in Rebels, as I’ve already mentioned it was strange to see how lackluster and uninspired their reunion was.
Within the Ahsoka show itself Sabine was shown to be almost obsessed with finding Ezra, living in what used to be his home, watching a recording of him over and over again, and calling out his name as she woke up in the middle of the night. She even risked bringing Thrawn back into the Galaxy, which ultimately happened, just so she could see Ezra again. After all that, when she finally does encounter him, her reaction seems fairly casual, as does his, as if they’ve been apart for no more than a week, rather than 10 years. Not too much happens between them afterwards either. Like I said Ezra does not appear all that curious about what happened with Sabine, how she found him, and how it was that she was now Force sensitive. Sabine likewise did not seem curious about what had happened with Ezra, and how he had gotten away from Thrawn. And with Ezra rescued and returned home, suddenly it didn’t seem as though Sabine was all that interested in him anymore, nor he all that concerned with her, though they were just as far apart as they had been at the start of the show. To be completely honest it made me wonder what the point of the whole show was. Were they just working to set up Thrawn’s return to the Galaxy? As some have said, Ezra felt like nothing more than a Macguffin in the show. Was Sabine and Ahsoka’s search for him just a plot device?
Considering how skillfully Dave Filoni had written his stories in the past, what happened in this latest project of his does not make much sense. Was he so concerned about “shipping” and so desperate to avoid it that he inadvertently “shipped” them in the other direction? Was there some sort of external pressure on him about how to write this story to have more of an appeal to “modern audiences”? Maybe some combination of those factors?
And here I’ll add that when I say “modern audiences” I don’t mean that in a contemptuous sense, though you may think I do. If there is any contempt on my part it is for those in charge of telling our stories, or those in charge of those telling our stories, who do not seem to grasp these basic truths. The truth is that audiences at their core don’t really change throughout the ages, only superficially so. Trends come and go but certain truths and ideals are eternal, and universal. How people relate to each other fundamentally does not change, whether they are friends, or more than friends. And deep down, I believe everyone (or nearly everyone at least) wants the same things. Nearly everyone at some point wants some kind of a connection with another human being, to know that they are not alone in the world, and to know that there is someone else who sees and understands things as they do. While this desire can certainly lead to abuse, and absolutely has, it is still innate to us and is not inherently wrong. Finding ways of connecting and relating to other people is one of the great challenges of life, but many would argue it is the most worthwhile of challenges. It may be the whole point of life if you think about it. As complex as it may be, many would argue it is what makes life worth living, and likewise makes for the best stories. Just as it may be the whole point of life many would say that is what most stories are about at their core: people trying to relate to one another.
Sadly, just as in real life, most stories unfortunately don’t quite get it, and the Ahsoka show in my opinion was an example of this, made all the sadder by the fact that Dave Filoni had done quite well with these characters up to that point. We may never know for certain what exactly went wrong and why, or if it can ever be “fixed” at this point, but I can’t help but feel curious. Maybe in the future Filoni will find a way to make it make sense, but I’m not sure how. And to be completely honest I don’t feel quite as enthusiastic to find out as I used to.
Also for the record I would like to add here that there are other factors that put me off from the show, such as Sabine’s Force sensitivity, that came about without much build up. But in this article I specifically wanted to focus on shipping because there seems to be so much misunderstanding around it.
I hope that I was able to clarify some, if not most of this misunderstanding, so that people could better appreciate what shipping is, where it comes from, as well as what it isn’t. Many people today are understandably sick of shipping characters, myself included. But I hope people realize that in overcompensating for something, we often come back around into the very thing that we are overcompensating for. Or sometimes, into something even worse. This may apply to nearly every facet of life, by the way, not just shipping. Finding a happy medium in how we portray our fictional relationships may help us to better understand relationships in real life, as well as how to navigate them. Neither fictional nor actual relationships can ever be perfect but they can always be better. To this understanding then I hope that I was able to give my own modest contribution, and if nothing else I hope we can connect on that.