#and none of these dynamics by necessity HAVE to be horrible

[froggy-nebula]

honestly i just dont get why sometimes people get all weird about quadrants and insist they’re unhealthy always no matter what

like yeah im not stupid i know they CAN be fucked up and can be weird and toxic but so can any romance. human romance has been toxic and fucked up for me many times. tbh if we take a step back and just look at the basic ideas of all of them i don’t think any of those have to be evil and terrible necessarily

like oh no me and my boyfriend have a fun rivalry that we both like being in and both agreed to where we have fun competing with each other and talking shit and then make out! FUCK!!! that’s horrible i would NEVER want that! i would never be guilty of forcing my boyfriend to play tetris with me over and over and insulting him the entire time

oh no my boyfriend has anxiety and i calm him down! oh god we like cuddling and talking about feelings! we both agreed we like this relationship dynamic and feel fulfilled by it! AAA SCARY!!! GET SCARED!!!

oh no sometimes my boyfriends are both annoying and i voluntarily get between that and make people be less annoying! FUCK!!!!!!!! we are going to DIVORCE!!!

[miela]

I do not think Jegulus is inherently misogynistic but I think their existence as a popular ship perfectly showcases the larger problem of misogyny in the Marauders fandom.

This fandom is painfully male centered with an unhealthy obsession with mlm ships, no matter how nonsensical they are. Jegulus, with all due respect, is a nonsense ship. I know some people like to ignore canon and make everything up but I don’t. Jegulus can work fine in AUs but not in canon compliant fics. And whenever Jegulus shippers speak about what makes them compelling, they always bring up tropes - brother’s best friend, sunshine x grumpy (don’t even get me started on thinking James Potter is a sunshine but that’s beside the point), enemies to lovers, etc. All that is meaningless to me. Shipping based on tropes is ridiculous because none of those tropes matter when James and Regulus, from what we know of their characters, are completely incompatible as people. I won’t speak on Regulus because we have little information about it and it’s easy to treat him as a blank sheet (although I think he’s too whitewashed) but we know a lot about James, including that he despised Slytherins, Death Eaters and the dark arts. So, in order for Jegulus to work, James has to become an unrecognizable character from what he actually is in canon. You are not writing about James Potter. You are creating an OC and slapping James’ name on it. Jegulus was born out of this weird necessity the fandom has for mlm ships. Take Drarry and Wolfstar as an example. Those ships aren’t canon but they have some canon basis because those couples interacted, had a dynamic together, had interactions and lore that could be interpreted in different ways. With Jegulus, it’s all made up.

And this leads me to Lily and by extent, the other girls. Lily was the main female character in the Marauders Era and Jily was the second biggest ship. Since Jegulus gained popularity, Lily has been sidelined, her story has been co-opted, even her own child gets snatched from her and given to Regulus. The girls that before had some developed (nowhere near enough because this fandom has always been misogynistic, let’s not get it twisted), have been shoved to the side or used as tools to further mlm ships. The reason why there’s such a pushback against sapphic!Lily, per example, is because unfortunately some people (definitely not all and definitely not sapphic women in this fandom) really only use that to get her out of the way of Jegulus and that’s the case for many wlw ships in the fandom. All they get is the yearly “I love [insert wlw ship]” tweet but get no more content or develop, unlike the men.

The general treatment of the girls is terrible too. The biggest Jegulus fic, Choices, has Regulus covering up Mary’s SA and James cheating on a pregnant Lily and yet we are supposed to root for them in the end. ATYD has Mary being routinely humiliated by both Sirius and Remus and we are supposed to be okay with it because they’re just two closeted teen boys navigating the world. Pandora and Dorcas have been placed in Slytherin and made besties with Death Eaters to make horrible men more sympathetic and so they can serve as therapists and saviors to people who joined a wizard terrorist group.

I could go on. I am genuinely not trying to be rude or aggressive, just giving my opinion. As I said, Jegulus shippers are not all misogynistic but Jegulus’ popularity showcases the implicit biases against women in the fandom. Other mlm ships and I will keep using Drarry and Wolfstar as examples have also led to the erasure and mistreatment of women. But it’s harder to justify Jegulus because unlike those other two ships, Jegulus is a completely random pairing that feels like was born out of the desire to pair James with a man rather than any interesting interactions those two characters had.

Hi!

Firstly, thank you for sharing your thoughts on it! I see your perspective well and agree with a lot of your points.

(Excuse my yapping below, it helps me get my thoughts out better and to better understand your points!)

For anyone reading this, please note that there are spoilers for atyd and choices below!

This fandom is definitely male-centered and I see your point on how focused the mlm ships this fandom is on. With the ships of wolfstar, the joke-gone-serious ship of jegulus, and the babygirlification and pairing of rosekiller, etc, etc...

I understand the canon compliant vs fanon complaint argument. I think that's where the lines get blurred when it comes to people's views on ships. Canon and Fanon are two completely different ball games when is comes with things making sense and what doesn't.

I lean more towards fanon compliant fics so for me that's where Jegulus makes sense to me because like you said, it's basically OCs with their names slapped on them. It's easier to mold them to work that way, so it's easier to ship them. Also I just love the idea of Sapphic!Lily too which was a concept I thought about before I even knew about Jegulus, honestly.

For canon-compliance, I am all for Jily 100% because it's canon-compliant. You can't fight with it. Even though wolfstar isn't canon, it makes sense to have them be something where as James and Regulus wouldn't have been anything. And I agree with you, they only work in AUs or fanon concepts.

With that being said, I also recognize the misogynistic nature of the fandom. I definitely don't agree with Jegulus raising Harry, because that's literally Jily's child (if anyone does, no hate towards you It's just doesn't sit well with me personally) and it begs the question, what happened with Lily that Jegulus has Harry?

I also agree with your point about how the girls/wlw ships in the fandom don't get a lot of development. I think it's a shame, truly. However, I have, recently, seen some people have different Headcanons of how they are as people. So I'm hoping that develops into something more than just ideas floating around. I also am not sure how they are in canon-compliant fics besides atyd (which I do have my opinions on too and im only halfway through it). I haven't read choices yet so I can only take your word for it.

I do at some point want to make a full long, academic-esque essay about the misogynistic nature of the fandom, because I do have A LOT to say, ESPECIALLY with the treatment of Mary. There's definitely a lot to unpack.

I'm fairly new to the Marauders fandom, so I'm trying to learn what I can. Again, thank you for sharing your perspective! I appreciate it!

[whumpwillow]

A is new to the hero team by necessity, and a former villain. They avoid "group activities" as much as they can, so they're usually excluded. They got so used to getting beaten and humiliated by the old crew that they don't realize that this group is genuine; "activities" means baking and movie nights and cuddle piles. By the time they come to terms with craving to join in, it's too late. They're cemented as a burden rather than a friend. They pretend they don't care, and cry behind closed doors

yessssssssssssss one of these asks!! i love "villain joins the hero team and is the lonely outcast" its just such a good trope. especially here since it's been self-inflicted out of fear ahahaha. good shit

villain gets so afraid when the team leader mentions "group activities" the first time, because they think this is going to be just like their old team. they were always the runt, the bullied mule, of their old team and the other villains loved taking turns beating them and forcing them to do humiliating acts like kissing their boots

villain protects themselves the only way they know how: anger. they lash out at team leader and scream at them, tearing into them with any words they can think of. team leader is so confused why villain would so vehemently disagree to baking and cuddle piles (cuddle piles!!!) because they don't know what villain's old team was like. the hero team just thinks of villain's outburst as selfish and unnecessary

any time the team tries to include villain in anything, villain gives them the cold shoulder and brushes them off, because a tough attitude was the norm in their old team. the heroes see the villain as rude and ungrateful, and decide to only interact with them when needed

the team goes back to their old dynamic of being closer than family with each other, basically ignoring all traces of villain's existence except when their presence actually proves useful (for information and such). they generally try to ignore villain, and villain leaves them alone

villain discovers the team's "group activities" are all such soft things and is so surprised to see that they look out for one another, they protect each other, they would be willing to sacrifice themselves for one another, and they comfort each other. none of them are out to get the other and their "group activities" just involve cuddling and sharing soft moments

villain feels horrible for how they've treated the team now with their cold behavior, but it was the only way they knew how to protect themselves. they didn't realize there was nothing to protect themselves from.

villain is too awkward and self conscious to bring it up to the team the reasons for their behavior and they don't want to explain their past to the team (and maybe they don't even realize this was the root of their behavior) so they just resign themselves to being the outcast

they tell themselves they don't care. they've always been the outcast. the runt. the weakling. the unwanted one. it doesn't matter to them

they want to be held so bad

they cry when they're alone, knowing that they destroyed any chance at something better. they cry, remembering all those times they hid from their previous team to escape a beating or after a beating and how they weren't ever allowed to be vulnerable, but this team is. the team is so vulnerable with each other and villain can't grasp how they could ever have that

[couriernewvegas]

instagram stories from me and jubilees watch party ^_^ . unrelated though 4x04 was so well done and so evil for that like it did a very good job of showing just how much of an impact barry has had on those around him and the lengths they will go to even as they outwardly despise him for his actions . like i dont necessarily like the idea that ppl said that barry is about how people CANT change or become better people after doing something horrible bc to me it shows that they can to some degree! but so many people find it easier or safer or etc to reinforce those behaviors and (like in the case of barry)dont seem to ever fully get that trying to do better is an extreme effort when these behaviors are so set in who you have become as a person especially when u dont actively seem to want to change more than want to feel less guilt and have people instantly forgive your wrongdoings for your own sake . anyway idk like obv this characters all have noticeable flaws without barrys influence but 4x04 and season 4 so far in general has done well in showing how gene, sally, and hank are all caught in this abusive dynamic with barry and each other, something exacerbated by their own history with abuse/trauma from others (mainly with sally and hank). like i do think the show is very bleak but i dont think its only saying bad people are bad forever the end . barry actively rejects the idea of forgiveness and repentance of any kind beyond an extremely surface level in season 2/3 which i thjnk leads to the shitshow that everyone is in in 4. he convinced himself and others that he was either a better person or trying to change, even as his actions always contradicted that when it served his own self interest. barry likes the idea of forgiveness and recognizes it as a concept but him and the other main characters have become so fundamentally detached from how that forgiveness is earned, especially since none of them actively change their abusive or harmful behavior and blame the world, barry, others, etc for the necessity of the continuation of these behaviors .

[invisibleinorange]

Chapters: 6/? Fandom: Bridgerton Rating: T Warnings: Presumed Character Death Relationships: Colin Bridgerton/Penelope Featherington,  Eloise Bridgerton/Penelope Featherington(besties),  Bridgerton Family Dynamics, Simon Hastings/Daphne Bridgerton Characters: Colin Bridgerton,  Penelope Featherington, Eloise Bridgerton, Anthony Featherington,  Benedict Bridgerton,  Portia Featherington Additional Tags:  Bridgerton, Polin Summary:  Unexpected bad news arrives for the Bridgerton Family (and friends) regarding Colin's travels. This will be a series that is set after "The Duke and I" or season one of the show. It is a companion piece to "Goodbyes". (#I’mHereToKillYouAllWithFeels)

Getting Eloise to leave her alone again had been quite the task, especially after she went catatonic upon being handed the letter.  She’d had to promise that there would be no further rash actions.

Her brain simply ceased to function because Colin Bridgerton writing her any letter felt beyond the realm of possibility.  She wasn’t the kind of girl that any guy wrote those kinds of things to much less someone as perfect as Colin.

That was precisely the way she thought of him. He had been so perfect.

She couldn’t recall the first moment he transitioned from Eloise’s brother to the object of her every waking desire but that was because she’d felt that was as long as she could remember.

Not once in all those years did she allow herself the indulgence of believing that he could ever feel the same. His cordiality was the most she thought to hope for.

The only place that more could existence was in her very vivid imagination.

It was disorienting to go from extreme sadness to near ecstasy and then back to sadness once the reality set back in.  Had she had any inkling he was still alive, she would have run away from home and used her Whistledown earnings to find him.

It was those thoughts that comforted her once she was tucked in her bed and left to her own devices.  It played out so easily imagining arriving in Greece, tracking him down at some beautiful seaside inn.

She could almost imagine him scandalously shirtless on some beach, body glistening with the water from the sea and his trousers damp from having just taking an unplanned swim.  She could picture his handsome, charming smile and his eyes widening in surprise at the sight of her.

She would have started to run to him and finally said the words that she’d wanted to say before he left. The words that she knew now could have prevented his trip to begin with.

His response in her imagination was enough to leave her aching. She could almost feel the warmth of his hand pulling his closer, his mouth scandalously close to her own.  She could hear the chuckle from his lips and some teasing remark.

Her imagination dared not let it go further though.

The dream was what made her turn in her sleep, cry when she woke up in the morning and the reality sunk back in.  Whatever he felt for her, losing him had made her see the depth of her own feelings all the more.  She truly had loved him.

“I promise I’ll give him up forever if you just let him come home,” she uttered to an invisible God, knowing as soon as it was from her lips that had it ever come to fruition, it would be beyond her abilities to do.  She would never give him up, never stop loving him. She loved him so much that she’d sacrifice her own happiness a million times over just to know he was alive and well.  “I promise I’ll do whatever you want. You can’t possibly be this cruel.”

--

After a particularly intense debate, it was Benedict who ended up winning the battle of who would be the one to sacrifice on behalf of the family this time. He and Anthony agreed that it was vital that they ensure that his brother’s last known wishes were addressed.

Gregory was far too young to be considered a vital prospect so it had been between the two of them. Anthony had to sacrifice enough for their family.  As much as Benedict desired a different kind of life and he wasn’t quite certain marriage was a part of it. The only way to be assured that Penelope was cared for was for her to marry one of them.

He admittedly didn’t know the girl as well as some of his siblings. Eloise had always been his favorite though and as such, he knew that his sister wouldn’t have chosen an unworthy best friend. He also knew that Colin wouldn’t have been quite so worked up over a no one.

He’d shared a few dances with Penelope during the year mostly at his mother’s urging as a mercy. When he looked at her, he thought of her as the little girl she’d once been instead of the woman. There wasn’t attraction there but he found her congenial and kind.

While his parents had shared a great love story, his mother had never been shy to tell her children that not marriages were born of love. Sometimes, they were born of necessity. There was always room for companionship and friendship to grow into love.

He was uneasy about the whole ordeal but he was a man of his word. Once it was settled, it was simply a matter of approaching the discussion with Portia Featherington. If he were honest, such a conversation was far more frightening than the prospect of a marriage that wasn’t born of some unrelenting love.

He was almost grateful when Eloise brought news that she’d shared the letter because it had bought him more time.  He had to let the dust settle before he could even think to approach such a thing.  He nearly lost his nerve as he crossed the way to the Featheringtons and requested an audience with Lady Featherington.

--

It wasn’t the right season for callers, especially for her daughters.  The assumption when the staff announced Benedict Bridgerton had come to speak with her was that this was a mourning visit.  She couldn’t logically think of any other reason for such a visit.

She’d had her staff bring him to the drawing room, standing once she saw him in the doorway.

There was a quiet exchange of bows, her eyes appraising before gesturing where he might sit. He had flowers in hand.  

“Can I offer you some tea, Mister Bridgerton?”  she asked.

“It won’t be necessary.”

“Well then, I must admit I’m most curious for the reason for you visit,” she said, eyeing the flowers with curiosity. “As you know, the season has been over for some time now and our home is in mourning. As it yours from what I hear.  We’ve all been so truly sorry to hear about Colin. It’s such a tragedy.”

Benedict wasn’t quite sure she was actually sorry about the loss of his brother. He remembered himself and presented the flowers though.  The whole conversation so far reminded him why he tended to avoid any interaction with the women.  He hoped Penelope wasn’t horribly attached to her mother because while he was perfectly fine accepting her as part of his life forever, he wasn’t quite willing to accept her mother.

“Well it’s quite indelicate but it is of the utmost importance that I seek your … permission,” he tried to explain, coughing into his hand to try and find words that felt unnatural. He’d always desired a different kind of life than this.  “Both of our families have experienced loss lately and it is my … wish to ease some of the pain both our families are feeling.  I would like to ask your daughter … Penelope to wed – clearly an extended engagement – respectful to our losses but a proposal none the less.”

If he could have grown a second head, Portia Featherington wouldn’t have looked at him any less bewildered and startled by this turn of events.

“It would be inappropriate to allow any wedding for the foreseeable future,” she started. She then began to try and manipulate the situation to better her situation.  The money wasn’t there to pay for a dowry. She’d honestly not been prepared to have to pay a dowry for Penelope since she assumed she’d end up as a spinster. “I wouldn’t dream to deny you a dowry –“

“It won’t be necessary,” he said, trying to keep polite.  The point was to assure Penelope got the happy ending Colin desired for her and frankly, he wasn’t sure someone else was going to come along and offer it. If that meant not receiving a dowry, so be it.  “I really must have your blessing in the matter though.”

“Are you sure you wouldn’t rather have Prudence? – Or Felicity in a few years even?”

“No.”

“Well then,” she said with a hand gesture.   “Help yourself to it then.”

The woman then proceeded to yell for her daughter so loud that it was any wonder that half the Ton didn’t hear her yelling.

Benedict hadn’t quite expected the whole thing to happen quite so… quickly.  If he must do this, he’d hoped to at least given it a bit of finesse.

Penelope did enter the room as requested though.

The two exchanged looks.

Penelope looked particularly meek and perhaps a little sad from where he was sitting. He’d never quite spent more than a passing second looking at her. There was no time like the present to begin though.  Penelope bowed slightly in greeting. Had it been outside the formality of her mother’s drawing room, she might have greeting him by name. Formality always seemed to slip away with Eloise’s siblings.

“Penelope, Mister Bridgerton and I just have the most peculiar conversation,” she said gesturing to the space next to herself so that her daughter would come sit down. The confusion on Penelope’s face became all the more clear.

“I wanted to seek your permission to court with the intention of marriage,” he said awkwardly. “I know that it’s off season and our families are in-”

Penelope was to her feet at once. Her face twisting in fury and confusion all at once.

“Are you drunk?” she couldn’t help but ask.

“Penelope?!” her mother bellowed, clearly not charmed by the outburst before she lowered her voice and murmured under grit teeth. “That is not way to talk to your only prospect of marriage.”

“It’s quite okay,” Benedict offered, excusing away the behavior.  “I know that it’s sudden but I assure you that my proposal is sincere. It’ll be a strike upon my honor should you refuse.”

“I refuse,” she said sharply.

Benedict had never quite seen the normally meek girl quite so riled up.  The red of her hair seemed to spread across her skin.  He seemed to take that as a sign she was quite angry.

“I cannot accept that answer,” he told her, unsure whether to laugh or be afraid.

“And I cannot accept your proposal.  If this is about your brother, he would think you an idiot.”

Portia Featherington looked unsure whether to tell her daughter to stop being insolent or enjoy the front row seat to the drama.  While she preferred when the drama stayed away from her own family, she did very much love to see it.  Clearly her daughter had forgotten the fact she was even there.

“My brother wanted you to be happy and cared for,” the Bridgerton countered. “I simply wish to ensure that happens.”

Portia let out a soft ‘oh’ as if it suddenly made sense why a perfectly decent eligible bachelor would choose Penelope over one of her better daughters.  Though, she was also semi-impressed that Penelope had somehow convinced someone to look out for her.

“I can look after myself,” Penelope argued, rising to her feet. “I’ll never marry.”

Portia finally decided to interject.  “Not on my watch,” she told her daughter. “You best accept this proposal or you’ll end up on the streets. I won’t have you rejecting a Bridgerton.”

“This isn’t for negotiation,”  Penelope said looking murderous as she stormed her way out of the drawing room, slamming the door on her way out.

Benedict, despite being a bit shellshocked, could only laugh.

“Well, that went well.”

[darkarchercatalyst]

All right, rant time, and the theme... is themes. (The other theme is Mirai Nikki. We’ll get there.) Quick disclaimer that I’m far from having any sort of expert opinion on literature, so there are likely people who will disagree with me or say things in a much more precise manner. That aside, here we go.

One of the core elements in whether or not I find a piece of fiction satisfying is whether or not it can maintain a consistent theme throughout. Thematic elements exist across a wide range of moods, goals, genres, and so on, and generally reflect on the driving philosophy of the narrative work. They are the parameters that create the framework in which a fictional world exists, much like the laws of physics in reality. When characters and plot move along with respect to the laws that govern them, it provides a cohesive experience. This doesn’t necessarily mean the story is good, but it is coherent. If characters and plot actively subvert the themes of their setting, then it creates a jarring or dissonant experience in the viewer (I’m looking at you, Gurren Lagann).

Sometimes this can be used to great effect. A “twist” ending or sudden change often relies on a thematic shift to move the story from one paradigm to another, with the jarring nature of that transition intended to create emotion of some sort in the viewer. However, to do so effectively requires for the secondary theme to be present throughout the first theme, but simply hidden or not acknowledged. Whether a second theme that enables the twist was properly set up is often seen in whether an audience feels like the twist “came out of nowhere.” Well-executed thematic shifts reward their more perceptive and invested viewers.

The other important part of themes is that they provide a vector along which the story and characters develop. This doesn’t mean that all characters and story beats evolve in the same way, nor should they, but the theme of the work provides the boundaries for the trajectories each element takes. We ultimately want the end state of the characters we like to be somewhere along the thematic route from where they started. Whether the net movement is positive or negative doesn’t necessarily matter as long as we felt that the character’s path had meaning. This is the predominant reason that most people find the endings of shounen manga disappointing, since often the trajectory of the characters’ stories get narrowed down into some sort of textbook feel-good ending that doesn’t reflect any complexity of the plot that came before.

Now then, for the core of the rant. The reason that I hate Mirai Nikki’s ending is that it completely breaks with the thematic elements of the series in order to provide not even a feel-good ending but a self-serving ending on the part of the author. The core element of Yukiteru’s character from the beginning is that he is a passive observer of the world around him. He is highly perceptive and precise in his observations, but it is entirely outwardly facing without regard for himself. This is stressed multiple times throughout the series, as is Yukiteru’s passivity in the face of ongoing events. It is only when he is thrown into a life-or-death situation where his own survival is paramount that this self-neglect becomes a critical flaw, which is then supplemented by Yuno’s character of being entirely centered on Yukiteru. In a messed-up way, their views of the world are necessarily complementary for both of them to survive. This is a good thematic hook to start off on, and intersects with the other diary holders and the ways they each in turn view the world around them.

Mirai Nikki also deals strongly with the ideas of justice and personal codes of honor. The moral perceptions of the contributing characters and the way that each action is justified against those morals is as important to the themes of the story as their preferred method for recording the events of the world. These morals are often intentionally skewed in the sense that it takes an outside morality, often in the form of characters uninvolved in the battle royale like Nishijima or Yukiteru’s friends, to provide a baseline against which the dynamic personalities involved are measured. So far, so good. Throughout the series this served as a decent dynamic and reference point for just how far afield the characters go.

A two-fold problem arises with the way these thematic elements, and we’ll work backwards through them. First, the baseline that the series relied upon for grounding its moral code is broken in response to the event where Yuno kidnaps Yukiteru and holds him hostage. Eventually Yukiteru is saved and released, only to turn around and decide to stay with Yuno anyway because she loves him and the only way he can “save” her is to stick with her. This alone isn’t a breach of Yukiteru’s passive nature despite being frustrating to the viewer, but the problem is the more meta context in which it is portrayed. The characters serving as the moral basis for the series rightfully are disturbed by Yukiteru’s decision, but contextually they are depicted as being wrong for attempting to convince him otherwise. This initial point of fracturing in the theme of the story carries forward in the sense that the series reorients around Yukiteru’s actions becoming deterministic. He simply does what he has to do without regard for exactly where on the moral spectrum that falls. That could have been handled effectively if the moral backbone was maintained. However, it is cast into doubt by the author’s decision to portray a bad decision (with respect to the story so far) as unilaterally good rather than simply reasonable within the context of the story.

This draws a direct line to the second big fracturing point of the thematic elements of the story, which is the ending. Even after the aforementioned breach in the moral core of the story, there is some attempt to regain it by coming back to Yukiteru’s friends and bringing in Akise as an off-kilter moral foil for Yukteru and Yuno’s actions in the last arc or so. This never quite lands aside from having a plot device by which to force Yukiteru’s “character development” at the very end, but more on that in a moment. The core issues it that by the time the series ends, both Yukiteru and Yuno are “bad” characters not just from a reader perspective but from the baseline morality that pervaded the first half of the series. Yukiteru sacrificed his personal morals and Yuno was revealed to have almost none for the sake of winning the war, and the only reason they are still the protagonists by the end is that Yukiteru at least is still “better” than the other bad guys. However, due to the themes of justice pervading the series there is at least some need for consequence for all of the “bad” characters. Except... this doesn’t happen. Yukiteru ends up winning the war and Yuno dies, at which point the thematic conclusion would be that Yukiteru must suffer some consequence of note or at the very least come to a realization that his behavior should change to atone for the actions he took even if they were out of necessity. Instead, he mopes around until Yuno from the next universe was brought to him and they live happily ever after.

This also creates a problem in that it breaks Yukiteru’s character arc and catapults him back to how he was at the beginning of the series. Yukiteru starts from a passive observer to a more active element, but all of this continues to be outward-facing. He behaves within the story as a response to the stimulus around him, but most personal senses of motivation or responsibility are only cursory at best. Only in the final arc, in order to escape being Reality Marble’d and stop Yuno, does he realize his own responsibility for the state of the world around him and acknowledges that he must be the one to take action out of his own motivation. He gains resolve to do not just what must be done in response to the current state, but the “right” thing. Until... he doesn’t. He certainly does the first step in resolving things by winning the war, but then it stops there. Any personal sense of responsibility is immediately torpedoed because he lost his love interest despite being realizing that it was necessary to correct things. Only when she comes back does he regain motivation. This becomes a direct contradiction to the development that Yukiteru took into becoming an active character. He devolves immediately into his dependence on Yuno for motivation.

You could compare this to NGE, which seems to be what the author wanted anyway since they both have a depressed protagonist who “grows up” in the course of messy relationships with girls and authority figures set against a background of apocalypse. They both even have the silver-haired homoerotic male friend with divine knowledge who shows up late in the series as a character motivator for the protagonist. Anyway, whether or not you like Shinji Ikari as a character (I do not), his story follows a linear progression toward the end. He starts as someone with little sense of purpose or belonging and dependency on the affirmation of others, but ends up with the ultimate position of “I want to live in this world.” That final state is a powerful statement of just how far the character has come. Mirai Nikki doesn’t have this. Instead it moves past the character’s resolution and completion of the thematic progression in favor of doubling on the codependency that necessitated the early character state. The protagonist’s development was taken back so that he could still need the yandere girlfriend and they could be together in the end.

So what would have been the proper conclusion to Yukiteru’s thematic progression? It would be the role of an active observer. Throughout the story he becomes privy to the trauma of his friends (especially Yuno) and the many evils of the world that led people to act horribly. Then he was given the power of god by winning the battle royale. The natural progression then would be that he recedes into the background as before but now with the knowledge and influence to fix the problems that burdened the world around him. Instead of shutting down and shutting out things, he would return to his original position of being unseen and only seeing others, yet now with the maturity and capabilities to do something in that role. This carries his resolution from the final arc forward into the epilogue with satisfying consistency. Maybe then after he does all that you could justify bringing Yuno back, but honestly it would be better if she wasn’t even aware of what he does behind the scenes at that point.

That’s a long-winded way to fully articulate why I felt that Mirai Nikki just completely fell flat in the end. This wasn’t even failure to execute, but it was an active deconstruction of what the story seemed to be trying to achieve. All in favor of maintaining the OTP or whatever.

[nulfaga]

Orph..... or ur shep <33

HI PEACH <3 im gonna do both

full name: Orpheus Fulvius Velvassius

gender: man

sexuality: bisexual

pronouns: he/him

O T H E R S

family: ive talked a lot about this but his dad is Talin Fulvius Velvassius, the eternal champion who saved uriel from jagar tharn etc etc etc. his mom is Umayra Mazir, a member of a dust-witch coven from antyphyllos. his twin sister, Neneldi, is a speaker for the Iliac Bay branch of the dark brotherhood up until the bellamont crisis in 433 (its complicated)

birthplace: antyphyllos, hammerfell

job: as a teenager he worked on his parents’ farm in anvil. then he joined the legion, then he called it quits like 15yrs before his term was supposed to end, and spent the next 2 decades doing odd jobs under an assumed name

phobias: HORSES. he can’t ride for shit. he broke his leg falling badly off a horse once and the break still hurts him in certain weather or when hes tired. (also commitment)

guilty pleasures: LMAO wait i just wrote the title in the gemfic lemme look it up. its “The Various Exploits of Casim Concori”, a 55-part series of dime novels about a rugged colovian winner of duels and thief of hearts, written by a woman in hammerfell who has very clearly never set foot in colovia or spoken to an imperial. he has every part in the series.

M O R A L S

morality alignment?: neutral good

sins - lust/greed/gluttony/sloth/pride/envy/wrath

virtues - chastity/charity/diligence/humility/kindness/patience/justice

T H I S - O R - T H A T

introvert/extrovert: extrovert. most at home at a party. also prefers not to be alone w/ his thoughts

organized/disorganized: organized. he either doesn’t sleep or falls into brief 28-hour comas, so while he’s up at 3am he might as well do some dusting

close minded/open-minded: generally open-minded

calm/anxious: giant wildfire of anxiety beneath a veneer of calm

disagreeable/agreeable: mostly agreeable. will excuse himself from a situation rather than pick a fight.

cautious/reckless: reckless

patient/impatient: impatient--will take the short term reward 9 times out of 10

outspoken/reserved: outspoken. his dad was a big loud dumbass and so is orph.

leader/follower: follower

empathetic/unemphatic: empathetic, like overly empathetic. the guy who like, you break your arm and come in with a cast and he tells you his arm hurts for you

optimistic/pessimistic: pessimistic tho he would call himself a realist

traditional/modern: modern for sure. bounced from setting to setting and job to job and social circle to social circle, there is no room for rigidity in his life

hard-working/lazy: mostly hardworking, but by necessity. like he does his 9 to 5 but if he won the lottery he’d retire to the countryside and sit on his ass

R E L A T I O N S H I P S

otp: orph/martin

ot3: n/a

brotp: he has this very funny sad stilted dynamic with neneldi which i’d love to explore more but i don’t rly have the room in the gemfic atm. never say never tho. for now i’ll say orph & baurus

notp: n/a

OK NOW FOR SALOMÉ

full name: Salomé Vauquelin. (Later changed, briefly to Élise Vauquelin. her Alliance papers say Salomé Shepard. she took the name “shepard” as a bit of a joke tho, it comes from psalm 23)

gender: woman

sexuality: bisexual

pronouns: she/her

O T H E R S

family: none remaining; her mother died when salo was a baby; her dad disappeared when she was five or six. she says “disappeared” bc her child’s memory didn’t grasp whatever happened. all she knew was he was there one day and then he wasn’t. (but the vague memories she has of him are very loving.)

birthplace: paris

job: Being Shepard lmao. after the reaper war she finally goes back to college and gets a masters in mathematics tho

phobias: children being harmed. it’s like the one thing guaranteed to break her

guilty pleasures: niche superhero comics from the 1930s. also plush animals and marine life (sharks and octopi!) also cliche cool animals like lions and wolves. she wears those horrible redditor wolf galaxy shirts to bed.

M O R A L S

morality alignment?: true neutral

sins - lust/greed/gluttony/sloth/pride/envy/wrath

virtues - chastity/charity/diligence/humility/kindness/patience/justice

T H I S - O R - T H A T

introvert/extrovert: extrovert. very outgoing and charming enough to get along with anyone

organized/disorganized: disorganized. terrible short-term memory. people have to set reminders for her and help her pick up the pieces or else she’s a mess

close minded/open-minded: fairly close-minded. she has no real problem with aliens but me1 is her first time working side-by-side with them and it takes a long time for her to get used to that

calm/anxious: freaky calm. you could shoot a loved one in front of her and she wouldn’t bat an eye. scarily good at compartmentalization.

disagreeable/agreeable: master manipulator. she will be however charming or terrifying she needs to be in order to get the desired result.

cautious/reckless: half and half. she doesn’t like to flip-flop in the middle of a mission once the plan is laid down--but she will do some pretty insane things if the odds of success are worth it.

patient/impatient: impatient. gets antsy when there are lots of unknowns at play.

outspoken/reserved: outspoken! will let her opinion be known unless it’s absolutely crucial that she not piss off a given target

leader/follower: capital L Leader

empathetic/unemphatic: good at gauging emotions but sometimes uses this ability for manipulation. cruel at times, calculating at times, remorseless at times, but she loves her friends and will do anything for her inner circle.

optimistic/pessimistic: pessimistic

traditional/modern: traditional; if circumstances didn’t force her hand she would have been quite happy staying on earth all her life and not bothering too much with space and the council

hard-working/lazy: hardworking. has trouble finding her own off switch at times.

R E L A T I O N S H I P S

otp: eh she goes thru 3 romances but endgame is salo/miranda

ot3: n/a

brotp: salo & mordin!!! she loves that dude to pieces. also salo& grunt but that’s more of a “this is my son no one lay a finger on him” kind of deal

notp: not touching this one

[letsperaltiago]

you are the sun in my universe, considered the best when we've felt the worst |Jake x Amy|

So this took me 5000 months to write and it ain’t even proof read or that good. Sorry:))) bUT ENJOY

Here’s Peraltiago plus babies at the beach because summer also lol the title is basically longer than the fic 

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 To Jake and Amy vacation used to be equal time off and away from the daily stress, seeking a temporary hideaway in a foreign city or even country. They’d align their vacation days in order to leave behind the 9-9, perps, evidence, late nights and paperwork for a week or two. This was somewhat still true. They’d still abandon the 9-9 and work life in Brooklyn but their newly founded family of four wasn’t to be left behind. It definitely wasn’t, Jake thought as he carried his and Amy’s 4-year old and also first born daughter on one arm through, what felt like, the deep sand of some beach in the famous state of California. His other arm was pulled down by carrying a quite huge hard plastic cooler filled with provision for the little family’s day at the beach. Because of his job which required exactly this, Jake thought he was in decent if not good shape. That was until he’d come face to face with a new kind of physical requirement: the parent-stamina. A stamina that would still occasionally beat his ass even after 4 years of trying to crack its code. A small cry from behind him immediately and on instinct caught his full attention.

“You doing okay, Ames?” He snorted, out of breath, with a heaving chest, slightly worried about his wife who was carrying a beach bag with towels and other necessities along with their 2-month old daughter.

“Yeah, but lets not waste any more time looking for a ‘perfect spot’,” she breathed obviously exhausted from the complicated mini-hike featuring small children. “Holly (Yes, Jake did indeed convince his wife to name their daughter after a Die Hard-character) is getting fussy. She’s probably hungry.”

Knowing that a hungry 2-month old daughter of his was no joke, Jake quickly waddled through the sand to an open spot amongst many other people marking it as theirs by planting their first born’s bare feet in the sand. “There, Marcy. Could you please help mommy by grabbing the beach bag, so she can give feed Holly? Show me how strong you are!”

The 4-year old’s high pony-tail swayed in the beach breeze as she with effort ran a few feet back to grab her mother’s bag from her shoulder. “You sure it’s not too heavy, baby?” Amy couldn’t help but worry as she carefully let the bag slide off her shoulder and into her daughter’s tiny arms all whilst balancing the infant on her other arm. “It’s okay. I’m strong, you know? Like you and daddy.” With a muted thud the beach bag hit the ground obviously too heavy. Yet before either Amy or Jake could help out their oldest was struggling yet managing to drag the bag through the sand. The parents’ eyes met under the warmth of the sun, shining with amusement yet also pride as they silently admired their oldest daughter’s admirable willingness to always find a solution.

“Here… Daddy,” the little one breathed out heavily as soon as she was within an arm’s length from her dad.

Within milliseconds Jake reacted to his daughter implicit call out for help and grabbed the bag from her, leaving behind the parasol he’d previously been fiddling with in order for his wife and youngest to rest in its shade.

“Thank you, baby,” he swiftly placed the bag as to mark their territory for the day before pulling out the colourful beach towels which none of them had seen since last summer. New York, work and the colder seasons didn’t exactly call for beach towels or anything beachy at all. After folding out a few towels and soft plaids, the little family quickly settled down ready for a day in the sun and water.

“Lets go in the water, mommy!” Marcy gleefully screeched, jumping on the spot in excitement meanwhile Jake struggled to blow air into the arm floaties on her tiny arms.  

“First of all mommy can’t come right now. She’s giving Holly her lunch. Secondly,  you can’t go anywhere at all before these are fully blown, so stay still, please.” Jake Peralta was an overall very patient dad, but he did have his limits. Especially when it came to the safety of his children… and getting into the water as fast as possible! Gosh, he’d missed the beach!

“Shhh, Holly. Give me a second.” Besides him Amy was resting, sitting beneath the red sunshade, discreetly pulling up the oversized NYPD-shirt she’d borrowed for the occasion before shrugging off right side of her bathing suit. Merging with the crashing waves and screaming seagulls was the sound of Holly’s hungry wails, calling out for attention and more importantly food.

An almost silence crashed onto the shore and Jake didn’t have to turn his head to know that his youngest had finally latched onto her mother’s breast which meant the world was once again at peace. Yet, after having fixed Marcy’s second arm floatie he did throw a glance over his shoulder for the sole reason of taking in the beautiful sight of his wife cradling their baby in her arms whilst looking down on her with at ease, loving eyes. Both Jake and Amy knew from experience that being a newborn’s parent was hard work. Yet there were no hesitations or doubts when Amy one November evening, after putting Marcy to bed, had put aside her crossword to tell him the big news: they were going to be parents for the second time. Now, on a warm August day at the beach, she was here and whilst it had its ups and downs, the little family seemed more complete than ever.

“All good, Ames?” he momentarily kept his eyes on his wife as his supersonic parent-ears paid attention to Marcy and her giggles as she ran the last few feet down to the water’s edge.

Amy looked up from her infatuated dazing at her youngest daughter to send Jake a reassuring smile and nod. “Yeah. Except for the fact that you just let our oldest off without sunscreen.”

“Damn it,” Jake mumbled before throwing a glance in Marcy’s direction where she was currently squatting, still on the water’s edge, in order to touch the cool water. She knew better than to run into the water without her parents presence.

“But besides that you’re really nailing this beach-dad act,” Amy chuckled lovingly before running a free hand through her husbands wind-swept curls immediately earning herself a smile in return. After a few beats of silence it was bound to break and Jake knew the exact the words that would follow. “That said no way we’re letting her off without sunscreen, so you should probably go get her.” Her voice was firm with its order yet there was a slightly cocked eyebrow and guilty smile that let Jake know that she tried to be suggestive rather than bossy though Jake was the last person on earth to care. Her A-type personality was first and foremost endearing and respectable to him. Then, secondly, slightly intimidating and sexy.

“On it,” he pushed himself off the towel before jogging down to the water’s edge, where he playfully attacked his distracted daughter from behind before lifting and swinging him around in his arms. “I’m the sunscreen monster!” He roared along in what would be the horrible impression of a monster voice, as he carried her over his shoulder back towards their base. “I’m going to bring you back to my dungeon and keep you locked up until you’ve got your sunscreen applied!”

Gleeful and loud giggles were carried back with the breeze to the mother who couldn’t help but chuckle with sparkling eyes and wonder how she’d gotten this lucky.

“Noooo. It’s sticky and gross!” Marcy whined from where she was lying on his shoulder whilst also trying to fight her way out of his grip - hopelessly, that is.

“It’s upon order from mommy-sunscreen monster, princess,” Jake chuckled slightly out of breath from walking in the deep sand as he grabbed the little girl and sat her down on her towel. “… A-and daddy-sunscreen monster too, of course,” Jake corrected himself upon earning a disapproving glare from his wife that let him know she wasn’t about to let him get away with the blaming.

Quickly with no time to spare before Marcy (generally a prankster and with talents when it comes to getting away with quite literally anything) could escape, Jake grabbed the bottle of sunscreen and started applying it to the little human. Usual he found a lot of pride and entertainment in the fact, yet sometimes and in times like these, Jake hated that fact that his oldest was much more like him than like her mother.

“Ughhh, daddy. Noooo.”

“The sooner you lie still the sooner you’ll be free,” Jake sighed as he continued the task as he chose to straddle his daughter’s legs in order to keep her somewhat still - making sure to not crush her with his weight, of course. Impatience was a trait that grew on Jake along with his time as a parent. He would rarely get really upset or yell but Marcy, just like himself, had a tendency to test people’s willingness to put up with anything. “Marcia Santiago-Peralta, you’re going to be the death of me.”

Another breathy giggle escaped his daughter’s lip as she felt herself suddenly lack the power to fight anymore and suddenly lied still. Jake smiled as he finished off her upper body before moving off her legs to quickly apply the last bit of sunscreen in the palms of his hands to her tiny legs. “There you go! You’re a free woman now.”

Having barely turned back around from putting away the sunscreen, Marcy is up and clinging onto her still nursing mother’s shoulder. “I’m all ready now, mommy! Come into the water with me! You can just bring Holly along!”

Knowing that her oldest daughter could definitely feel the slight switch in the family dynamic ever since Holly was born, Amy didn’t blame Marcy for seeking attention. More than ever before, Amy at times felt like she was neglecting her oldest now that 90 percent of her energy was poured into taking care of a still very dependent and hopeless Holly. This was even considering the fact that Jake was an amazing dad who did everything within his power to help whichever way possible. A knowing, reassuring smile from across Marcy’s shoulder did help her feel slightly better, when she had to give the girl a sad smile and break the sad news. “I can’t right now, Marcipan. I’m so sorry.” She reached out and stroked the obviously disappointed daughter’s pouty cheeks. “Holly needs to go to sleep.”

Not liking the response, but more or less understanding, Marcy turned on her heels and took heavy steps towards the water. All running, bouncing and joy suddenly seemed to be somewhat sucked out of the little body which caused the mother to feel even more guilty. Automatically a guilty twist formed in her gut only to be followed by her upper teeth digging into her bottom lip.

“I feel bad…” A quiet confession slipped off her lips. Out of the corner of her eye she could see her husband’s head snap in her direction, immediately revealing his concerned yet as always endearing eyes.

“Babe…” He sighed whilst scooting in closer on the wide beach towel. “Don’t be so hard on yourself. Yes, Marcy might be a little disappointed right now but trust me; she knows that Holly needs a lot care and deep down she’s not holding it against any of us. We explained that to her before Holly was even born.”

“I know…” Her frustrated sigh was pressed against the child in her arms' forehead as she was placing a kiss to it before looking back up at her husband. “And I love them both so much it hurts, but having two small children is so hard, Jake. I want to give both of them my full attention, but there’s only so much I can do! And I miss work so much… ” Tears welled up in her eyes, threatening to spill.

This automatically drew Jake even closer, an arm around her back and a tender, long peck to her already sweaty temple. “I know and honestly, Ames?” He pulled back directing his gaze into hers, radiate the need to comfort his wife. He knew that the last few months had both been the biggest joy in their lives. Having not only one but two amazing daughters was truly something Jake had never imagined yet now couldn’t imagine being without. On the other hand, life had never been more chaotic. While they were a good team, dividing tasks between them, there was only so much Jake could do with Holly. He couldn’t physically feed her even if he wanted to… And even if it had nothing to do with breastfeeding, Holly seemed to be a total mommy’s girl who’d sometimes straight up scream-cry and refuse to be held by anyone else - even her father. Hence Jake taking care of Marcy a lot of the time. “… You’re doing an amazing job. I know I usually get up with Marcy in the morning and take her to daycare, but even then and on the days that I don’t? You’re such a super-mom. You have two children beneath the age of 5 in your care, and while you might be exhausted by the time I’m off work, you still nail it and I wish I could do the same for you…”

The few tears that had spilled on her cheeks had dried into her cheeks, allowing her smile to replace them. “You would go crazy, Jake… So long at home with them?” They both had to chuckle at that, before Jake’s expression was suddenly tinted with sincerity again.

“Honestly? I don’t think so. Sometimes I actually wish I had more time with them.” Now it was Amy’s turn to rest her head on her husband’s shoulder, letting him know that she was there to listen. “I barely see Holly during the day because I leave and come home when she’s asleep. I always hate dropping off Marcy at daycare, because honestly? I just want to hang out with her and do fun stuff. She’s such a smart, cool kid and I feel like I’m neglecting that because of work. Kinda like my dad…”

Red flag. Amy knew that once Jake started comparing himself to his dad, then whatever he was saying was causing him the strongest sense of insecurity. It was truly something that was eating him up inside. “Don’t you dare think that, Jake Peralta.” If her arms hadn’t been cradling their sleeping 2-month old, Amy would’ve reached out and cradled his heartbreakingly insecure face to let him know he was more than okay. “Look at me.”

From where his eyes had been staring at the static sand for way too long now, switching between that and keeping an eye on their daughter who was now enjoying herself as well as her beach toys by the water’s edge and staring numbingly at the sand, Jake listened to Amy and turned his head to meet her sincere, almost pleading, eyes. “You are not like your dad.” She couldn’t hold him in her arms or hands, but at least he was close enough for her to plant her forehead comfortingly against his. “The only reason why I haven’t gone absolutely mad is because I have the best co-parent to take some of the weight off of my shoulders. The fact that I don’t have to ask you to do things, because you know it’s a natural part of the job as parent and it comes to your instantly makes it so much easier for me. Even the little things… Like helping Marcy put on a DVD, grocery shopping on your way home from work or getting up in the middle of the night, when Holly cries to see if it something you can solve so I can sleep just a bit longer. All of those little things amongst many other are the reason why we actually enjoy our kids and each other. Without the balance it would be hell and I love you so much for that. Thank you.” She finished off her point by pecking the tip of her nose before pulling back to see a smile plastered across his face. Mission accomplished, she thought to herself.

“While it makes me feel kind of sad that you have to thank me, since apparently co-parenting and equality still isn’t a matter of course in today’s society…” He leaned down to peck the top of his daughter’s head before redirecting his lips to his wife’s for a peck as riot to straightening back up to look sincerely into her eyes. “Thank you. I never expected a thank you, but it’s nice to now that me doing my best is helpful, because I love you and our little family so much, Ames. More than anything. And if I knew that I wasn’t giving myself 200%? I would hate myself.”

“I love you so much too. And I hope I never come across as taking anything for granted - even when Holly is throwing up all over me, Marcy is screaming for something and the pasta is burning.”

They both had to laugh at the horrible yet recognisable situation. “I’m a white, cis male. Please, be my guest and take me for granted. I could use the humbleness.”

“Jake,” Amy had to roll her eyes.

“Too political?”

“For a day at the beach with our family after a heart-to-heart talk? Yes.”

“Sorry. Emotions make me uncomfortable?” He smiled sheepishly.

“I know, dork. But you’re doing fairly well,” she had to recognise with a teasing smile. “Now go have fun with our oldest, and I’ll join you as soon as Holly is done napping.”

After a last smile and peck to his wife’s warm, soft lips, Jake shot up from his spot on the beach towel. As by instinct and also the fact that his mentality shrunk to the one of a playing 10-year old, he jogged in the direction of his oldest daughter whilst letting out a roar and immediately earning a scream from her. Amy laughed upon watching him grab her, throw her over his shoulder and running into the waves as she screamed playfully. Soon enough they both dropped and were swallowed by the blue water, earning a giggle from Marcy who had the playfulness of her father.

Amy could not, even if she wanted to, help but smile and giggle along from a distance, because nothing was more wholesome than knowing that she’d picked the perfect father for her perfect children. Especially now that said perfect father was throwing said perfect daughter into the air and letting her drop into the water with a joyous scream.

[devilwcman]

FULL NAME: Brynhildr Brenna Charmaine. NICK NAME(S): Various aliases. Bryn (rarer)/Bren, Lady Lazarus. AGE: 1,242  BIRTHDAY/ZODIAC: April 4th (so technically in 2 days she’ll be 1,242)/Aries. PRONOUNS: She/Her. S. ORIENTATION: Homoflexible. R. ORIENTATION: Homoromantic.

POSITIVE TRAITS: Witty, Dynamic, Capable, Bold, Perspicacious. NEGATIVE TRAITS: Possessive, Manipulative, Vain, Amoral, Selfish.  FORMER OCCUPATION: Viking, countess, sculptor, club owner, you name it. 

SPECIES: Vampire. ACTIVE POWERS: All vampiric abilities. SKILLS: Combat/martial arts, weaponry, multilingual, ambidextrous, photographic memory.

RANK: Mistress. ROLE: Domme. TURN-ONS: BDSM, voyeurism, praise. TURN-OFFS: Bathroom play, degradation, age play. 

FURTHER KINKS: Here.

BIOGRAPHY:

Brynhildr was born in 778 AD’s Norway. Her childhood was one of thievery and survival, after her parents died young from disease. When she was in her teens, she was taken in by a viking who had lost his own daughter (and wife) during a sacking. His name was Asger, and he taught her all that he knew. The redhead crafted her skills - weaponry, combat, politics - and joined in countless raids, meeting infamous faces from the era while she became something of a tale, herself. People liked to say she was blood born: with red in her hair, red upon her lips, and red staining her hands. After years of her warpath, Brynhildr would be bested by none other than a vampire. The woman turned her at the request of a demon, who had come to be fond of the human from afar. Both her sire and the demon left her to her own devices, stepping in whenever necessary. 

Brynhildr became a fable. The redheaded vampire transformed throughout her lifetimes, adapting to her surroundings and its progressions. Over a thousand years of history, art, sex, and cruelties. While most struggled with their turning and vampirism, she soared, leaving a trail of enchanting and/or disturbing myths in her wake. Her personal favorite: a seductress who bathes in the blood of her victims. However, of recent years, the redhead’s boredom has been increasing to an uncomfortable state. Which is where Thorn Haven always comes in. Under a preferred alias, Brenna Charmaine, she has been visiting the city for the last hundred years to get her fill of drama. And to cause some, moreover. The residents know her games, by now, save for the newer ones. So, it’s safe to say they expect the storm that follows. 

DETAILS:

She knows quite a number of languages (she’s in love with learning them). Mastered: English, Old Norse, French, Italian, Russian, Spanish, Norwegian. Average: Chinese, Japanese, German, Latin. Basic: Greek, Gaelic, Afrikaans, Arabic. 

Knows how to play a few instruments, with violin and piano remaining her favorites.

Brenna doesn’t believe in religion. However, she does have a soft spot for Norse mythology (far more than any other religion, anyways). 

She is known for being a deceiver. Bear this in mind. Brenna uses her disarming beauty, angelic voice, graceful ways to enchant others before she devours and destroys them. She will be sweet and gentle and loving to get what she wants. And then she will turn.

Not many know the truth behind her human life. A greater number of people believe she was born sometime around the 1300′s, because she made her presence known (via carnage). However, those older than her, may have an inkling to how old she really is. 

Has long, thick red hair. Usually in Hollywood waves. Emerald eyes. Freckles, fair skin. Lips stained a forever shade of red. Long, heavy lashes. Her outfit choices are a mixture of vintage and high fashion. Examples here, here, here, and here. 

Has a Draumstafir tattooed on the inner of her upper, left arm. Example here. It was before she was turned, and it means to dream of unfulfilled desires. Her adoptive father, Asger, gave it to her the night before her first raid.

Concerning her homoflexibility, she rarely goes for men. But when she does, they are typically older than her, powerful, as cruel as she, and they understand that she’s merely using them to have her fun before moving on. As for romance, she has fallen in love with a woman (or two), given her age. It’s extremely rare, but she doesn’t exactly run for the hills when it happens. Brenna enjoys herself, but she makes sure to keep her distance and call things off before they become too serious. She doesn’t hide the fact she’s fallen in love - she knows she’s not an unfeeling, invincible monster. Not completely. But she doesn’t go around singing love songs, either. 

As for occupation, she doesn’t exactly need one because she is rich. So any occupation she takes up is more of a hobby than necessity. Currently, she works as a private architect. She generally fancies artistic jobs than ‘practical’ ones. 

She’s come back to Thorn Haven to celebrate her birthday, go figure.

WANTED CONNECTIONS:

the vampire who sired her. would be a female/nb, older than her. turned brenna because a demon asked her to do it. why she followed through with the ask? utp! over the many years, she’s come in and out of brenna’s life, but she’s never involved herself too heavily. 

the demon who had her turned. would be male/nb, older than her. for whatever reason, he kept his eyes on the viking and decided to have her turned. likely to see her wreak havoc on the world for years to come. any other reason is utp!

her two, closest friends. likely one man and woman. they understand how brenna is and somehow love her for it. she knows she can rely on them when the situation gets rough, but she rarely calls on their help in favor of boasting about how she solved the problem on her own. she loves to send them weird gifts from afar. some of them nsfw in nature, just to get a chuckle out of the exchange. she regards them as her second family and would set fire to the world for them, if they asked her to. 

vampires she’s sired. given brenna’s personality, i doubt she’d turn someone for the hell of it. she likely turned them because they could serve a purpose. could have discarded them afterwards, or stayed in touch because they remained loyal to her. 

an enemy of hers. could be for any reason, to be honest. maybe brenna did something horrible to them/their loved ones. or maybe they pulled a quick one on her and she really didn’t like it. maybe both. either way, she probably wants this person dead. 

an annoyance of hers. this person loves to pester brenna. whether it’s teasing, taunting, mocking, pushing her buttons, whatever. perhaps it’s because she can’t kill them, they do it. perhaps they have a crush on her. perhaps they want to see the beauty’s wrath, and haven’t been able to draw it out of her yet. 

someone who tried to kill her. but it didn’t work out and now it’s kinda awkward for them to see her. they were probably hired by someone and failed to best the redheaded vampire, so they dipped. brenna may want them dead, or she may just play with them like a cat does a mouse. out of boredom and entertainment.

a jealous eye. they’re jealous of her for whatever reason. maybe she snatched their lover’s attention, maybe they want her power, maybe they want her for themselves but she’s always danced just outside of their fingertips. 

a past love. would be a woman (probably someone older than her). they ran into each other many, many years ago. the two began to feel things for one another but decided very quickly they shouldn’t go there, or brenna called things off, or they somehow managed to break her heart. whenever brenna is around, she makes a habit of dabbling into their affairs because she ‘just can’t help’ herself. 

a language learner/tutor. since brenna adores languages, she’s either helping this person learn one or they’re teaching her. 

a devoted follower. they’re obsessed with her, and would do anything for her. maybe she seduced them, maybe she manipulates them, maybe they want to be her someday. either way, they’re more a pet to her. 

friends, flings/fwb, a claim she had some time ago she dropped? because things weren’t ideal for her, folks she met in her travels, someone she’s blackmailing because oh boy she would, someone who knew her as brynhildr/a viking/human, a penpal because brenna secretly adores handwritten letters, a work client of hers (she’s building their home/business/etc), a fan of her previous artistic works (maybe novels, sculptures, poetry, paintings, whatever), her walking blood bag because the effort is real, someone she trains/works out with, someone mischievous she’s creating drama with. 

and anything you can come up with! if there’s a connection you have brenna could work for, just message me! i’m horrid at plotting but i’m down to throw her wherever. 

[hunterartemis]

The Assistant (Appendix 1) : Behind The Lines

From the very beginning of the series, I have answered some very interesting questions about the narrative of my Fanfiction. There are many questions that is still asked, thus I have made this appendix series, hope this will satiate your curiosity.

I have created my Newt X Oc X Theseus story “The Assistant” in a whim when I was bored by the Valentines Day stuff and outraged by JK’s narrative changes. Having said that, it was pretty hard to create an OC character from 1920′s. The only options women had back then was to be assistants for some Grand office holders or some entrepreneur. All the women did was to party and wait to be married to someone rich. So I started writing this story, which starts as Newt interviewing his new assistant, Audrey Page.

Audrey fits the category of a perfect 1920′s working women: pliant, pretty and and fading into the background when the time required. But soon, after the second chapter I saw that the story went nowhere--it is very hard to match Audrey’s “blandness” with Newt’s already subdued nature.I tried to make Audrey an obedient assistant, like a typical 1920′s working women--dressed up and pretty, but she had no dynamics (as I felt) with Newt. They were goody-goody (the feature I despise sometimes in NewTina). Thus I brought in Theseus, who was able to unravel who Audrey was, underneath that polished image.

Initially I thought I would introduce the real person behind Audrey’s mask. I had a few ideas about it: first, refugee criminal, second Grindlewald Support--however none of them seemed compatible to the character I was intending to make--why she would be apologetic and begged to be accepted? With these confusions in mind Maxine came into being. She represents the hidden liberated self behind the 1920′s stereotypical women--she is the person hiding beneath every woman who are trapped by societal norms. Thus, I made her a refugee employee, a Peevish character who lives for fun, mischief and wickedness. By implementing these basic features in her which was in contrast with Newt’s gentleness and Theseus’s righteousness.

But as I started playing with her character, I discovered more about her. It might sound strange, but it is true. She was French (a type horribly stereotypes in HP universe), Peevish (they also get bad repute), pretty (again, stereotypically associated with shallowness), and had a way with manipulating Men’s feelings (that does not suggest she is a femme-fatale). All these types and challenges made this extraordinarily confused and stubborn character. At a point I felt I wasn’t writing but it was Maxine who was guiding my narrative to arbitrary directions of her vague feelings.In reality, the people who are indecisive, often selfish and nearly harmful. This gave me the perfect opportunity to explore her selfish and possessive side which caused a lot of bungle between Newt and Tina.

The ending of The Assistant, (as I have observed in my lesser notes) may not be very satisfactory to many of the readers, but it had to be so. From the very surface, the “opposite attract trope” may seem very exciting for Newt and Maxine, but in long run it could have been draining for both. Newt being the healing type needs someone who shields his kind nature, whereas Maxine being the trickster type, needs someone moral to balance it out. I am not saying that Newt is short in morality, in fact it is the opposite--however his nature is not the executive type, which is a required attribute in a moral type, without the firmness to implement the Right, there is no use of Morality. 

Another attribute of Maxine which I am very proud of is her capacity for standing alone and fearless. This attribute she shares with Newt, however she is different. She acquired it after years of trying to blending in and climbing the hierarchy of human relationships: she starts as the Bastard, then the Subjugated, then she gradually travels upwards to the Subjugator (the bully), the Scholar, The Executive (as Theseus’ Vice-head) and finally the Explorer (as Newt’s assistant). Newt’s sense of individuality came from his idealism and unique viewpoint, Maxine’s individuality was earned--she honed herself immune to every form of intimidation. This attribute, I felt, makes her core; something which she needed to implement on Theseus, who seemed the authority but in reality he was the puppet of societal roles : being the big brother, the Head of Auror department and fulfilling every duty to perfection which was getting under his skin.

Now the question may be asked who was better Maxine or Newt? my answer would be Newt. What he does, he does it by heart. What Maxine does is to survive the situation--to her emotions are tools which should be used to necessity--this robs her off from the real genuine, something she rarely shows in the story. 

[popculturespiritwow]

THE WICKED + THE DIVINE #33: YOUR DERIVATIVE SHIT (AKA TWIST AND SHOUT)

This cover. Black to me signals death, or something awful. And I was certain that we get all-black pages somewhat regularly in WicDiv, but you know, it’s not true. Both when Luci gets “killed” and Laura herself “dies”, we get pages that are black but for two tiny almost exactly duplicated comments.

The Underworld is obviously a land of darkness, and there are two moments – during Laura’s first trip down there and then when Persephone first gets her hands on Woden – where we get a splash page of endless black into which the character is falling.

But the only time in WicDiv that we’re given a non-dialogue-y black page is when Sakhmet takes out her dad in issue 17, and again in issue 28 when she massacres her party people after coming to believe they’re all laughing at her. That last one does give one tiny little glimpse of her, though.

So if there is a “language” to the all-blacks (non haka version) (love you Kiwis), it would seem to be something to do with violence and lost time.

But we’ve already done all the blood and nightmares in this arc, and this issue is instead filled with twists and reveals and honest soul-rending conversation and reunions and new friends and overall kind of a lot of reader satisfaction.  So a very different thing.

Another take on the all-black is this is what you put on your cover when you’re terrified anything else will give something away. But for as much anxiety as Kieron talks about in his notes about “keeping the secrets” of this issue (and also his sense of what nonsense that fear is), he and Jamie have never had any trouble obscuring  reveals before.

So here’s my thought: Maybe it’s like Disneyland. Disney theme parks are built in such a way that on the way in you have to go through a tunnel of some kind, and before you do you can’t really see inside to all the happy happy joy joy good stuff.

The idea is, Disney wants you to feel like you’re entering into a whole different world than the one you left behind, a better world where you can be happy and spend money and want to take the same picture in front of the castle that everyone else does and still feel like it’s special.  And part of that is creating a clear sense of boundary; there was where you were and there’s where you’re going, and the tunnel stands as passage in between.

Maybe that’s why you do a black cover: Not to hide anything or signal violence but to create a boundary, a sense of a passage into something new. 

PHALLUCIES

So we begin with the Vibrator as key. I want to say it might be the perfect Gillen/McKelvie image – it’s naughty and seems like a joke and has been sitting there for so long that we no longer think much of it when in fact it is absolutely essential.

Nothing in WicDiv is superfluous, minor or irrelevant. Everything is trying to express something important. (TELL US ABOUT THE VEILS KIERON.)

A bigger question: does the fact that Jon (and not only Jon but the truth about Laura) is released into the story via a phallic device that vibrates have even more to say? Is pleasure or self-care in a sense the key in WicDiv, a path to freedom and life?

Have I not mentioned already I was an English major?

READ ONLY MIMIRY (#SorryNotSorry)

After an arc that seems very caught up in how the characters are all caught up in/pinned down by stories, suddenly out of nowhere we have Jon, this breath of fresh air who sees that path for the garbage it is and refuses it. He will not fit the options Ananke poses, or any duality, thanks very much.

He is the one who builds.

Of course he is then force-wrapped into stories – the Pantheon (I love the horror of his reaction to his ascent), this weird Odin/Thor thing (complete with the nod to Thor’s alter ego Donald Blake) and also the biblical Abraham and Isaac story, the father sacrificing his son to God (now comes with beheading!).

And if I understand the father/son dynamic, as much as Jon sees the Mimir thing for the lie or trap it is, he still can’t quite help himself from being a builder. There are rules he can bend (see: vibrator) but he can’t quite enact a full break.

His call is really quite beautiful. “You walked among your foes for the sake of love,” the spooky Ananke heads say. “Struck down you are raised up, the Sky King’s grandest treasure.” It’s pretty much the absolute opposite of his Dad’s call.

How crazy is it that we’re 2/3rds done with the series, we’ve just been introduced to a major new character (okay we saw him once before but still), and he fits in so well?

Probably we’re being set up for betrayal and heartbreak, but for now I love it with all the loves. 

MACK THAT KNIFE

Can we just talk about the knife for a second? Like, how exactly does it work? Clearly it somehow enables the user to disengage the head from the body while keeping the head alive. But whereas with Jon that might have happened literally – put your elbow into it, David! – in the case of Luci, Tara and Inanna Ananke used her signature head pop. So what’s the deal? It’s enough to have the knife in your possession when doing with the murdering, or something else?

Also, post-beheading, we see Ananke referring to Jon as “it”.

Is this because he’s now “just” a living head? Or is this how she actually honestly sees all the gods?  It’s um, upsetting to say the least. 

Of course so is Woden’s take on things: Jon stole my life (by being born, you horrible human looking meat puppet), so now I get to steal his.

I don’t know how it would have been possible Woden could sink lower in my estimation than he has (#Dio4Vr), but in fact it is and he has.

CASSANDRA VS. THE DESTROYER ROUND II

As much as I love the Jon reveal, the thing that really rocked my world was actually not that but Laura explaining what she’s been going through. I just – this poor girl. And though we still have two arcs to go, in a way this moment is the heart of the series. Kieron seems to say as much in the notes, talking about how the artist lives in this awful reality of getting what they dreamed of, but it involves awful stuff happening to oneself and others. 

“I’ve talked about having mixed feelings about WicDiv’s success. Laura’s arc is it writ large. I hate that the definitive work of my career is this. If my Dad was not dead I would not have written this book. There is a guilt and anger that is hard to articulate directly there, and is the material I was mining for this.”

Art is built on suffering and loss—and that means on the back of horror done to others. To wish to be an artist is in a sense to sacrifice those relationships in a fundamental and sometimes literal way, in fact that seems a necessity to one’s success. Being a storyteller may be incredibly nourishing for others, but it’s built on harm done to those you love.

Jesus Christ this is dark. And we haven’t even gotten to the point yet of facing the question that society’s survival is supposedly built on those artists’, those children’s destruction. We love you so much, you inspire us, but what cements that for the century is your deaths.

What do you make of this follow-up moment where Laura suddenly turns it to 11 with Cass?

It only happens after Cassandra calls Laura Persephone for the first time, which seems like it’s meant as a kind of respect. Knowing what she’s been through, she is now worthy of her name in Cassandra’s eyes. She is an equal.

Except it seems to set Laura on the path of what – connection, for sure. But through sex, which is actually more escape than intimacy.

What is “The Destroyer”, in the end? Less a malevolence associated with Laura, it seems to me, than the character of all the gods when they get lost in their stories about themselves.  

(More to the point: What the heck is the Machine? Jon says it does nothing. Whuhhh?)

A STEP A HEAD/STOP MAKING SENSE

So, after quite some issues away from it, in the end we return to the heads. Lots and lots of heads. Jon’s head (god that’s a delightful reveal), then Sakhmet’s slice of head – and Minerva – and then finally, the big finish.

I would say my head exploded except I feel like that gag has already been played.

As he has mentioned often in his notes, Kieron loves to hide much bigger reveals within the reveal we know that’s coming. In this case, we knew there was this other Daft Punk member hiding in the darkness somewhere, and we knew there was something up with Laura we needed to hear about.

So we get that and say thank you, and then there’s still four incredible jaw dropping can we please do a happy dance for Luci pages.

Kieron goes into a ton more detail on this writing strategy here, and the particular nightmare challenges posed by this issue. I’ll post excerpts below, but you should read them in full. They are fantastic.

But if I can just ask one question: What the hell happened with Minerva? Am I to believe she did not feel bad about Sakhmet, that she’s that good an actor? Je refuse! And also isn’t the point of the Sakhead reveal that still-Minerva blew it with her fearfulness and lack of skill?

#CRAFTSERVICE: ON TWISTS

Okay… twists.

In reality, for me, it’s a case of once you’ve decided that this is the plot, the only way to do it is dovetail towards an issue like this. Any of these individual beats provide too much connective tissue to the other ones, meaning all must be revealed or none.

(You could argue about Minerva, I suspect. Maybe.)

It’s been strange writing a book like this – when so much is there early on. Seeing who got what and who didn’t, and how people reinforced people has been interesting. That the core WicDiv tumblr community has never really suspected Minerva was off is in some way a surprise – though I’ve had people talk about that directly and personally. Blake/Jon and Minerva-is-Off-In-Some-Way were the two twists I would guard, but their primary importance was in how they led to the Heads.

When Ray Fawkes told me “There’s a reason you’re doing all the decapitations, right?” circa issue 2, I suspected that I’d overplayed the hand by having a literal talking head in issue 3… but it turned out fine.

“Played the hand” is interesting phrasing, and telling. Writing something as intricate as this is like doing a slow-motion card trick, in public, constantly. It is a form of constant stress. I have been paranoid of fucking it up in stupid ways, and it’s impacted every single conversation I’ve ever had about WicDiv. Like just writing one name when I mean another or something. There was a hilarious panic when I added ‘Killer Queen’ to the playlist, just thinking of it as a quite funny Ananke song… and then realised there was only one character in the cast with a connection to the band Queen, and that was Minerva. Should I take it off the playlist? No, someone may notice that, and it’s against my rules anyway. I quickly added a few other things to camouflage it.

As if anyone is watching that closely, y'know?

That’s an extreme example, but an entirely characteristic one. I have lost sleep over it. Even a year ago, I wished I could just get to 33 and not worry about it. When 33 dropped, it was simultaneously excellent (the response was basically what we expected) and an anticlimax (The amount of emotional and intellectual effort you put into doing this is not worth it. It could never be worth it.) I’ve been telling friends that I’ll never write a story that operates like this again. Partially that is because I wouldn’t want to repeat myself, and partially because – as I said above – I think twists are less effective in long-form serialised work in 2017, but mainly as I don’t think I want to do this to myself again. I’ll find some other way to torture myself.

 So apparently Mini has been off all this time. I’m stunned by that.

#CRAFTSERVICE: MORE ON TWISTS!

I’d note that setting up twists that *are* easily guessable by the hardcore is part of the methodology. Having a nice big twist foreshadowed heavily is a good way to hide another twist behind it. “Hey – pay attention to this less subtle sleight of hand while I perform the actual sleight of hand over here.”

Oh you’re expecting a big reveal are you, cool cool cool here it is and also SURPRISE.

He talks about this again later, in response to the reveal that Mimir is just a talking head.

When thinking of plot structure, I talk about a few ways to disguise twists. Earlier, I mentioned a Big Twist can make people suspect the twists are over. This is something I tend to think of as a revealed move. As in, you create a machine of logic with a missing part. You add the missing part as late as possible, and then immediately move to what has been concealed before the audience is able to process the new information.

Oh you’re blown away by Mimir are you? SURPRISE, there are three other heads.  And also Minerva is not Minerva.

It’s a great insight, too – if you fear one bit of new information is going to naturally lead to others, drop it all right now before they even have time to think about it.

#CRAFTSERVICE: ON WHAT WRITING IS FOR

I know this is a lot of quoting the author, but hey it’s a big issue and the author has some great stuff to say and it is helping me. 

How do I actually feel when someone guesses something that’s going to happen? Well, this is long enough already. Let’s put the personal stuff beneath a cut…

I’d say you sigh “Oh, poop” and shrug.

And then you get over your ass, because you know all the above is true. Writers are often megalomaniacs who think they can control everyone’s response to their work. We don’t. We can’t control everything. We can barely control anything. We really have to let go. I’ve said WicDiv is a device to help me improve as a person, yes? It would include in this area. I have to learn to let it go, and internalise all of the above. If I can make most of my readership have the vague emotional response I’m looking for, I’m winning.

Certainly I’ve heard many writers talk about their writing as coming from a personal place. And as a writer myself I’ve had to learn (again and again) that having a sparkly fun idea is not going to be enough to get me up and writing every day, even if people like it. That I need what I’m writing to come from something more specific in me.

But I don’t know that I’ve ever heard an artist talk about their work as well, their work. The journey they’re taking to try and deal with something or figure something out or to let go and get free and be a better version of them. It makes so much sense, and man does it challenge me to have another think about my own work. Because I think most of the time I almost think of the journey as the thing that has to come before the work, the thing that prevents the work – Ima just get my act together and then write this script in fifteen years or so. And reading this it strikes me  oh wait, that’s just the thing I tell myself so I don’t have to do the work.

 There’s so much more to say about this issue. But it’s taken me the better part of a week to say this much already so maybe I’ll just leave it there. Suffice to say, it’s a giant of story.

(And yes, that’s my exhausted end of words attempt at a Mimir pun.)

I’ll be back next week with the two specials. And then, Mothering Invention!

[rorykillmore]

okay the final christmas gift on my list got a little waysided by all the busy-ness of the past week, so this is kind of more of a new years present instead -- for @jigsawapologist! she requested that i write something based on a headcanon i talked about awhile ago (pertaining to jacquelyn being Aggressively Indignant at parent-teacher conferences) so i went ahead and gave that a whirl! a preemptive apology if my asoue writing is a little rusty

so jemi, in spite of 2017 generally sucking, we’ve managed to build new plots and dynamics and (as always) fall into several different kinds of hell (including discourse moms, which was an all-around fantastic experience). i’m always grateful that our friendship entails sharing those experience, because they never fail to enhance my life even when things aren’t so great. i have plenty of faith that the new year will bring us a ton of new chances to do fun creative stuff together just as they have all these years prior, and i know it’s also going to be a year where you’re pursuing some new avenues in life, so i’m wishing you nothing but the best of luck with those!! keep chasing after the stuff you’re passionate about and here’s hoping we don’t fall too deeply into vampire hell,

The life Jacquelyn lives means she’s good at changing, adapting -- a chameleon sort of quality that means she’s been called many different things by many different people.

None of them have ever intimidated her before quite in the way the phrase ‘single mother’ does.

The life Jacquelyn lives means she’s good at changing, adapting -- a chameleon sort of quality that means she’s been called many different things by many different people. 

None of them have ever intimidated her before quite in the way the phrase ‘single mother’ does.

In truth, it isn’t altogether accurate: she’s not Violet’s mother, has never tried to replace her, but the officials in this world don’t see it that way. They all view things through a legal lens, and don’t care much for the particulars. She is Violet’s legal guardian, and she hasn’t paired up with anyone to grapple with the task, so she is a single mother.

She’s had nearly an entire year to get used to it, but that doesn’t mean it doesn’t still rattle her at times. It hasn’t exactly been a year of smooth sailing, after all. Even now there are still bumps in the road, hurdles Jacquelyn isn’t quite sure how to make because she just has no experience with them.

Such as: parent-teacher conferences.

Really, Jacquelyn isn’t sure why they’re even a necessity. If there’d been a problem - not that she’s ever anticipated Violet causing any, she’s always been a good student as far as Jacquelyn knows  - isn’t it the school’s responsibility to contact the guardian and not the other way around? All of this seems sort of arbitrary to her.

On the other hand, she knows that if she made a fuss or deigned not to show up, it’s Violet who would be singled out and faced with the consequences. All in all, taking an hour or so out of her day to avoid that isn’t such an inconvenience.

“You don’t need to do this, you know,” Violet tells her as they approach the school, because in spite of everything, she seems almost embarrassed that Jacquelyn is going out of her way. “Not if you don’t want to. I’m sure there are plenty of children whose guardians simply don’t have time to attend these things.”

“I’ve made time,” Jacquelyn replies with a momentary smile. “Without much hassle at all, really. And it’ll be worthwhile, to hear all the excellent things I’m sure your instructors have to say about you.”

Violet smiles just a little in response, though she aims it more down at her hands than at Jacquelyn herself. 

They enter the school without saying much of anything further, and Jacquelyn is handed a schedule to follow that mirrors Violet’s daily one. Apparently, they’re meant to meet with each of Violet’s teachers in fifteen minute periods -- she supposes this sort of thing is standard.

It goes well enough, at first. Violet’s engineering and math teachers have nothing but enthusiastic things to say about her talent, while her history teacher seems charmed and comments on her thoughtfulness and insight. So by the time they reach the final period on Violet’s schedule (English), Jacquelyn is beginning to decide that really, this hadn’t been so unpleasant.

They sit down with the teacher, a Mr. Hoffman, and he greets them politely enough.  Perhaps eager to get through what is no doubt a slough of parents and guardians (an idea which Jacquelyn can hardly blame him for), he wastes no time getting started, and they don’t do anything to dissuade him.

“I’ve always appreciated the timeliness and diligence of Ms. Baudelaire’s work,” Mr. Hoffman says, looking over the set of notes he left for himself. “Though... it’s worth noting that her grade would be a little higher than it is with more active participation in class.”

Violet nods politely, as if this names sense to her.  “I will... certainly take that into account for next term, Mr. Hoffman.”

It’s not such a huge issue, really, but Jacquelyn snags on it a little. It just -- strikes her as strange, as all. None of the other teachers have commented on Violet’s lack of participation, in fact, her engineering teacher praised her on it broadly.

“Well, I’m sure some children in a classroom setting simply find it a little easier to work privately,” she finds herself saying aloud.

Violet glances at her, and Mr. Hoffman blinks. “True. But when it comes to English as a subject, classroom discussion is just the nature of the beast, I’m afraid.”

She can’t exactly tell him how to run his curriculum, Jacquelyn thinks, so that should be the end of it. Violet doesn’t seem particularly upset, so there’s not much reason for her to make a fuss. 

Still, another thought strikes her, and she finds that for whatever reason she suddenly isn’t very good at filtering herself.  “Does her grade really need a few extra points?”

“Her marks aren’t... bad, necessarily.” Mr. Hoffman seems to have sensed the need to tread cautiously. Jacquelyn isn’t sure whether or not she should be embarrassed. “But they also aren’t as high as might be ideal for a student like her.”

Why does he get to decide what’s ideal for Violet, Jacquelyn thinks, irritated by what feels to her too much like criticism.  

“In this class we focus on literary analysis pretty heavily, and the material that Ms. Baudelaire turns in is a little... barebones,” Mr. Hoffman tries to clarify. Out of the corner of her eye, Jacquelyn catches Violet glancing briefly down at her hands again, and she frowns more openly.

“Literary analysis isn’t everyone’s strong suit.”

“Yes, which is why I was suggesting alternate ways for --”

“Shouldn’t you be grading on a less subjective basis to begin with?” Jacquelyn cuts in coolly. She can’t quite articulate what’s come over her -- it isn’t that the teacher is being horrible, but it also suddenly seems to her that he isn’t being fair, and something sharp and protective has risen up within her at the prospect of him speaking this way in front of Violet. Barebones. Really? “I mean -- research projects, tests on actual comprehension of the material, those are all part of your subject too, aren’t they?”

So much for not deciding his curriculum for him.

Mr. Hoffman, for his part, is starting to look somewhere between startled and affronted.  “Well, Ms. Seieszka, I mean really. There’s only a certain percentage that straightforward work like that can account for.”

Straightforward?

She opens her mouth to protest again, but this time, Violet beats her to it.  “That’s quite alright, Mr. Hoffman. I understand.”

Jacquelyn pulls up short. Arguing for Violet’s case is one thing, but talking over her when she’s clearly being diplomatic is quite another.

“My brother inherited most of the literary talent, I’m afraid,” she continues modestly. “It’s never been my strong suit. But I will try to take your advice on the participation grade.”

Mr. Hoffman seems soothed by that, and he nods to her (not unkindly). If nothing else, Jacquelyn supposes, he’s not going to give her a worse grade because he doesn’t like her. “Well, then,” he says. “I think we’ve covered most of our points of relevance. Did either of you have any other questions?”

Jacquelyn shoots Violet a glance, and Violet shakes her head just a fraction.

“No,” Jacquelyn relents, calming some. “That’s all. Thank you for your time.”

He sees them out politely, though she notes that he seems quite relieved to see them (or rather, Jacquelyn in particular) go. A beat of silence lingers between her and Violet as they navigate the high school hallways that lead back to the front entrance. Belatedly, Jacquelyn realizes she probably came on a little strong.

“I didn’t mean to make too much of a scene,” she offers, gingerly apologetic.

“You didn’t, I don’t think.” The look Violet gives her is mildly perplexed. Hesitant. “...But I hope you didn’t think you needed to confront him on my behalf.”

Of course Jacquelyn did, but perhaps admitting it isn’t the most helpful response in this situation.

“So English isn’t your strongest subject,” she says instead. “That doesn’t give him the right to be so dismissive.”

Violet goes quiet for a moment, not in a sullen way, but in the way she sometimes does when Jacquelyn catches her off-guard. “I suppose not. But isn’t offering feedback what these conferences are for?”

“So I’m told.” Jacquelyn nearly leaves it at that, and then -- “But the way he phrases said feedback could use some work, if he wants to avoid confrontation. And he seems like the type.”

Violet’s lips twitch momentarily, and they fall into silence once again -- this time, it’s a little more comfortable.

“Thank you,” Violet says finally and a little more carefully as they exit the school.

Jacquelyn doesn’t mean to hesitate, but it trips her up a little. “For?”

She gets a long, level look in reply, and for all her uncertainty when it comes to... all of this, she thinks she might understand what Violet means.

With nothing more needing to be said, they go home.

[animeride-blog]

Why Franky Is an Underwhelmed Strawhat ?! https://animeride.com/blogs/6785/why-franky-is-an-underwhelmed-strawhat/ #CyborbsInOnePiece, #Franky, #FrankyCyborg, #Luffy, #Nami, #Robin, #StrawHatPirates, #WhyFrankyIsAnUnderwhelmedCyborg, #Zoro

New Post has been published on https://animeride.com/blogs/6785/why-franky-is-an-underwhelmed-strawhat/

Why Franky Is an Underwhelmed Strawhat ?!

Spoilers btw

Iconic is a great word to describe the character design of the Straw Hat Pirates. Grouping each member in cover spreads or fanart just goes to show you how diverse these character’s are, with differences in apparel, physique, and even in genetic makeup (eye’s, hair color, skin color etc.) showcasing the individuality of these people and signifies what type of person they are.

Zoro’s scarred eye and life-threatening wound on his chest are reminders of his past losses, but his strong physique and serious expression reveals that despite these defeats, he is a man determined to move past these losses and not let them end his journey. Chopper’s hat, given to him by Dr. Hiriluk, who inspired him to become a doctor, while once without accessories, now is under a big blue cap, not only making him look more stylish than before and honestly exponentially cuter, but symbolizing Chopper’s determination to be a much more skilled doctor than his father figure, or to be above what Dr. Hiriluk was. I could and will make an entire blog revolving around their appearance, as not only are they stylish, expressive, and dissimilar to one another, but tell us a bit more about them as people. And the character whose design has the most going on of the Straw Hat’s, is Cutty Flam, known by fans and his crew as Franky.

And, on a superficial level, I do love his enhancements and color scheme. It does get across his eccentric side, his obsession with looking as cool as possible for all men to be amazed by, and like Chopper, made his model from before the time skip less bare-bones. However, what this design does bring to light is Franky’s biggest weakness compared to the rest of the cast, and it’s this weakness that make’s him my 2nd least favorite of the entire crew. It’s lack of depth in his character. Look at Franky again, and tell me what other aspects of his design convey more about his character that we are either unsure of or reinforces the importance of a certain trait. Aside from his eccentricity and style, what does his changing hairstyles throughout the different arcs say about his past? What does each modification tell us about Franky? Which leads to, at least for me, even bigger questions that are not only neglected in his appearance, but in his conception. Where does Franky’s eccentric and obnoxious behaviour come from? Aside from sticking around to keep the ship functioning, what issues does Franky deal with, what struggle is he going through?

And I say this after rewatching the 3 episode long backstory of the character in the Water Seven arc. While it still is effective at getting me to tear up, Franky’s difficult past doesn’t seem to affect him today all that much. Despite being thrown off a ship by his original parents, indirectly causing his mentor, Tom, to be executed, and even having to surgically rebuild his body after trying to stop an oncoming train from taking Tom to his execution, Franky, even in the Water Seven arc, still kept that obnoxious persona, still wore that pervy speedo, and still makes the same ridiculous pose as before. What did those event’s do to change Franky as a person?

While I do enjoy Franky in his fight scenes, his running gags, and in his interactions, he feel’s artificial compared to everyone else. He doesn’t seem to have any internal struggles from his past nor does it feel like he resolved them. And it’s even more disappointing because the potential struggle IS there.

For example, why don’t we expand on WHY he has such an outlandish behavior? Why does he have such a fondness for wearing speedos and striking poses? No one in his past ever acted that way, so he didn’t pick it up from anyone. It doesn’t seem like the way one would act from being faced with the horrible trauma that Franky went through. So what caused him to act the way that he does? As an obsessive One Piece fanatic, I honestly have no clue.

Compare that to Brook, a similarly peculiar character to Franky, who also enjoys attention; consistently making bad (amazing) jokes at his expense and even asking women to reveal their underwear outright. However, this make’s sense with the hardship’s that Brook dealt with in his past, being trapped on a ship alone for decades. Being away from any human interaction for such a long time must have taken a toll on Brook, and his eagerness to make as much skull jokes as possible fall’s in line with the idea that this is a man who crave’s that neglected necessity in remaining a sane individual.

While it may be a somber idea, I’d like Oda to reveal that the cyborgs aberrant behavior is Franky’s way to conceal his inner turmoil and regret over his past. Perhaps he act’s the way that he does in order to hide the fact that he is hurting inside. At some point in time, he may even believe that he’s gotten over the horrible event’s and that this bizarre behavior is how he always was, while constantly acting the same way because any moment where’s he’s not making a scene will have his mind trailing back to that past contrition. However, Oda hasn’t indicated that Franky is dealing with hardships, and is acting the way that he does to cope with his loss. At this point, it doesn’t matter WHY Franky act’s this way. What matters is that he IS.

Another direction you could take is focus on the most interesting aspect about his character; his modifications. Despite surgically implanting these modifications by himself, Franky doesn’t seem to be suffering any mental or physical consequences. And for a series that gives emphasis on Luffy’s 2nd gear shortening his lifespan, Franky’s continual upgrades and arsenal seem’s cheap. perhaps’ foreshadow the toll that these alterations are slowly having on his body. Give some limits on the guy, and show that if Franky continues on the same road that he’s on, with adjusting and refining his components, he will either get closer to death or even lose his individuality like Bartholomew Kuma. And who knows, maybe that’s where Oda is taking this character (Franky was the 1st one of the Straw Hat’s to find broken down Kuma at Saboady after the timeskip). But as of now, there hasn’t been much emphasis on this idea, and Franky hasn’t shown any signs of decomposing.

And while the subject of cybernetic enhancement is still up, let me ask you; what is Franky’s weakness? If you remember correctly, his back is the most vulnerable part of his body since he couldn’t modify it due to it being out of reach. Along with that is the fact that he can run out of fuel. However, I find that this rarely become’s a problem for him, with the fuel shortage playing a role in only Enies Lobby, and his imperfections in his cybernetic design, to my knowledge, was a factor incorporated in his fight with Señor Pink in Dressrossa. While I may or may not be missing some other occurrences where these weaknesses show themselves, the fact that I can only remember two occasions where these were prominent factors in an event has me feeling that these flaw’s are severely underutilized.

While there is potential conflicts and character flaws to expand on, none is utilized to make Franky a more realized character. Once Luffy find’s One Piece, will Franky have changed at all? At this rate, I don’t think so. And it’s this nagging issue that I have that has me laugh less wholeheartedly whenever Franky strikes an insane pose yelling super at the top of his lungs.

However, I don’t want to just end this blog on a negative note. And I surely don’t hate Franky. So, to end this, I would like to bring up the some of my favorite aspects about the character. His fight scenes are pretty great spectacles to behold, with my favorite fight of my favorite arc being his battle against Señor Pink. The ridiculousness of Franky’s character complements the dynamic of the rest of the crew, and can lead to some of the most hilarious moments in One Piece. While I don’t find his persona realistic in light of his past, he is consistent, and there was never a moment where I felt like he made an out of character decision. Also his voice actor was perfectly cast for his character.

Franky, whether you agree with my points or not, and (to be a bit more positive), let me know one thing that you love about the cyborg perv!