#while knowing that it was HER CHOICE

[alwaysanovice]

Once again thinking about the implications of the line "It was your choice. Remember that."

@theviolettulip

[ofswordsandpens]

I fear that "fire bending didn't come easy to zuko" and "zuko isn't a prodigy" (both true) has somehow snowballed into "zuko is a bad or at best average fire bender".... which simply isn't true, especially by the end of book 3

[swiggity-swexual-i-am-asexual]

As per usual, it’s DP crossover with (probably) DC, although you could probably adjust it for other fandoms

ANYWAYS

A little kid and his mother are trick or treating in another city, perhaps at some kind of event rather than knocking on doors, and the kid is dressed as Phantom. It’s very adorable, with his little ghost-shaped bucket and clearly homemade and already stained costume—listen, white only works if you can just fly over street grime or phase it out of your clothes—and his slightly I’ll fitting wig. The kid is SO happy to be out and about dressed as his favorite, and maybe even showed it off to Phantom back in Amity Park before his family left.

The hero, insert whoever you wish here, is probably in civvies and just enjoying the event. The kid, meanwhile, is so glad when people ask who he is so he can explain, and so- the hero gets to hear ALL ABOUT the local town hero who is probably pretty small time despite the kid’s clearly exaggerated stories. The hero certainly never heard of him, but the kid’s mom confirms that Phantom really was the town hero, despite some mixed reviews of the poor guy.

“Did you manage to show him your costume?” the hero asks.

“Yeah! We went down to the cemetery to leave flowers and I got to show him my costume.”

Wait. Cemetery? Maybe it was part of theme, because Phantom had to be named that for a reason, but… it sounded like…

The kid ignores the suddenly VERY still hero and instead turns to his mom. “Momma, do you think we should bring him candy? He doesn’t get to trick or treat like we do, and I can work super hard to get him a bunch!”

The kid’s mom just smiles. “We could, but maybe we should bring him something homemade. I bet he’d like something more filling, teen boys like him have a hollow leg.”

The kid wrinkles his nose. “Like Vernie with the pizza bagels?”

“Like your cousin, yes. We can make some cinnamon rolls and take them to his memorial, maybe bring some of the apples from your grandpa’s garden…”

The hero is pretty much forgotten as the two-part family wanders off, not quite intentionally forgetting the hero is there so much as the hero somewhat accidentally ended the conversation when they just froze and didn’t ask anything further.

Not that the hero didn’t want to. But they’d learn something very serious.

One—there was a small town hero they’d never heard of. Two—that hero was apparently a teen. Third—most pressingly, the teen hero was both beloved enough to have kids dressing up as him and dead enough to have a grave.

This… might require some phone calls.

[welcometogrouchland]

my Stephanie Brown hot take is that she should get mad bitches now that she's single in comics. Yes yes shipping BUT the one time she had sex she was punished by the narrative via teen pregnancy. I think she should be allowed to have as much sex as she wants with zero consequences. Could be a lot of sex, could be a little. Point is she should get to do it without getting narratively baby trapped this time. she should get them pregnant, actually.

[moeblob]

PDA-aversive Saizo my beloved.

[bird-butch]

hmm.

[bisclavret]

like many who have suffered at the hands of bbc merlin before me, i recently indulged in a thought experiment in which i outlined my own version of seasons 3-5 that stay thematically and tonally in line with the show (except they're less fucking stupid). but then i quickly realized that focusing on details is pointless: all you need is to solve the one Big Problem the show has, and the rest will follow. the problem in question? ✨morgana✨

i like the first two seasons. s1 achieves what it sets out to do and has fun while doing it, and s2, while flawed, sets up a ton of potential that the following seasons unfortunately squander, beginning with the insidious season 3. you can only distract me with cute knights and goblins and fart jokes for so long before i start seeing through you, evil, evil season of television.

my hypothesis is that if the writers had crafted s3 morgana into anything more sympathetic than a violent half-alive poltergeist that can never be reasoned with because she's suddenly terminally off her rocker, everything would've fallen into place. a sympathetic morgana would've made real, valid arguments against uther (and arthur) that wouldn't just be the ramblings of a woman possessed. her betrayal of arthur would have stemmed from her feeling increasingly morally superior to him because of his complacency in the face of their father's tyranny. under morgause's guidance she would stop believing that arthur is capable of change, and the whole point would be that she might actually be right. arthur would have to actively try and prove her wrong, instead of getting praised for doing the bare minimum because the bar is on the floor.

furthermore, morgana's prophetic dream about arthur and gwen becoming king and queen and her decision to prevent this however she can is a direct parallel to merlin learning about that same prophecy and making it happen by any means necessary. merlin's desires about his and arthur's futures are subtextually fueled by gay love and devotion, so why couldn't morgana's be? why couldn't she properly express her bitterness that arthur gets to be with gwen in a way she can't "took gwen away" from her, instead of suddenly declaring that gwen is nothing more than a servant, after two seasons of demonstrating again and again that she loves, values, and respects gwen more than anyone else in that godforsaken castle?

following this, an angry and emotionally volatile but still sensible morgana asking gwen to stay by her side during the coup of the castle in the s3 finale and gwen going behind her back to help arthur and the knights would've hurt like a bitch. double-sided betrayal! gwen having a real plot! the proper beginnings of a toxic yuri that would shape a generation!

then there's the utter hubris of having morgana shoot arrows at the same civilians she worried herself sick over for 2 seasons — even morgan, her medieval counterpart that was rooted in every sexist trope in existence, doesn't just go around killing senselessly but instead has (often petty!) personal vendettas against gwen, arthur, and the knights. morgana had every right to be sick of the pretensions around chivalry in camelot (she was always quick to mock it, even in s1), and to lash out at the knights and soldiers after years of feeling powerless in a castle full of armed men that blindly followed her oppressor. the show conveniently forgets that morgana was victimized as a woman as well as a sorcerer those first 2 seasons.

but like i said, this is not just about morgana. allowing her to remain a real and multifaceted character even as she betrays everyone in pursuit of her ambitions would've given the rest of the core four more interesting conflict to work with: merlin because he would have to experience real consequences to his actions, arthur because he would watch his sister go against his father (and his knights, and his birthright) and experience some actual internal dilemmas about it, and gwen because she would be forced to choose between morgana and arthur without the pretense that it's an obvious or easy choice for her to make.

even morgause and gaius would come off more interesting as mentors: neither one inherently evil or inherently good, both jaded by events that happened before our protagonists were even born, both heavily influencing morgana and merlin into fulfilling roles that they think are appropriate, but that morgana and merlin may not have chosen for themselves had they not been under their care.

you get the gist. if the show followed its own setup, morgana's mistakes wouldn't lie in cheap and senseless acts of violence but in alienating the people she loves because she is too hurt and jaded to trust them. meanwhile, everybody else would feel guilt over "failing" her and yet they would be too caught up in their own (sometimes flawed!) beliefs of right and wrong to truly see her point of view.

arthur would convince himself it was sorcery that corrupted her. merlin would know that isn't true but he wouldn't be able to argue without confessing everything, which is the defining conflict between him and morgana and it's cheapened when she's just an evil witch caricature and merlin is framed as inherently virtuous in contrast. gwen, too, would become a more active participant in her own life by choosing arthur over morgana and choosing to rule camelot with him instead of just waiting politely to see where things go.

and, of course, uther's downfall and death would be quick, final, and completely earned — when and why did the show even decide he of all people was the sympathetic villain, anyway?

lastly, and perhaps controversially, i think morgana should've learned merlin's true identity by season 4. her being the first of the main characters to find out makes perfect sense considering their shared history and their interconnected and mirrored arcs. even the show seems to agree, considering she does find out a little before arthur. but the narrative itself tried pointing flashing neon arrows towards this way earlier — there is a whole entire episode in s4 where merlin being emrys is repeatedly spelled out for morgana and she still isn't allowed to see it. that episode makes her look like the stupidest person to ever live, which is pretty funny im not gonna lie, but also another frustrating thing in the endless string of frustrating things that make up this show.

morgana learning that merlin has magic would've transformed the source of merlin's anxiety from a crippling fear of being outed someday to the crippling fear of knowing she could out him at any moment. this would make him want to beat her to the punch (perhaps he'd consider killing her for a minute and decide against it because she isn't a cartoonishly insane evil person in my version of events) and maybe he would even feel some tentative excitement at the idea of coming clean, now that it seems inevitable. after all, he always intended to tell arthur eventually! and i think gaius would have to admit outright that he does not want merlin to tell arthur he has magic because he, gaius, simply cannot risk such a gamble. it would be so interesting to see gaius and merlin clash and disagree once it becomes obvious that it's not merlin that isn't ready for the reveal, it's gaius. delicious!

with morgana's knowledge looming, things would inevitably spiral into a magic reveal by the end of season 4. i picture this season as an absolute mess of miscommunication between everyone at camelot, which is, y'know, canon. growing increasingly cunning and vengeful, morgana would use this tension to her advantage, destabilizing the court from the outside while she creates alliances with other sorcerers outside of camelot (instead of living alone in a hovel for no reason — morgana le fay i'm sorry i'm so sorry they gave you agravaine instead of your all-female entourage oh my god).

and here's where the events would change beyond recognition (aka here's where the meta becomes the fanfic i refuse to write). picture it with me: a militia of sorcerers infiltrates camelot and arthur and gwen have to set aside their differences (assuming gwen kissing lancelot and arthur overreacting happens, which it should) for the good of the kingdom as well as for love. picture high priestess morgana in her element, side by side with a bunch of misfit sorcerers that aren't so easily vilified, chopping down camelot's soldiers and knights and assuredly making their way to the newly-minted king.

then, just as it starts to seem that all hope is lost, in swoops merlin (the actual merlin, not his old fart disguise) on dragonback (kilgharrah hates morgana so much i know his sexist ass would stoop to anything to stop her)!!! imagine merlin showing off the extent of his powers in front of everyone and preventing the sorcerers from getting any further, declaring loud and clear that camelot is protected by him, by emrys. imagine that display of power alone being enough to send everyone home.

imagine the loyalties clearly drawn: merlin on arthur's side, morgana on the sorcerers'. imagine arthur, feeling confused and betrayed by everyone at this point, banishing merlin despite everything he's done for him in the angstiest, most emotionally dysregulated scene the show had ever put to screen. imagine merlin starting season 5 free at last but very lonesome, an embittered dragonlord like his father. imagine the absolute mess camelot would become without him, even with gwen — now queen guinevere — there to pick up the slack. imagine arthur actually earning merlin back, finally growing into his role as king as he does so. imagine the reunion.

all this and more could've been not just possible but inevitable if morgana was allowed to remain a complex character that is neither inherently good nor inherently evil: it was undeniably the biased and one-note treatment of morgana's downfall by the writers that set the precedent for literally everything else that happened after merlin chose to poison her. the show wouldn't have even had to jeopardize its tone or the monster-of-the-week vibe, all it would've had to do is admit that even the "good guys" are capable of mistakes and what makes them good is the ability to feel remorse and change for the better. (as opposed to uther, who was miles beyond redemption since way before the pilot and deserved to lose everything and die alone. OBVIOUSLY???)

in a world where morgana remains multifaceted and sympathetic, mordred would get a better arc as well, so if we really wanted to, we could still end on the same tragic note that the show ended on. with so much harm inflicted onto so many innocent people by the pendragons for so long (including mordred and the many druids and sorcerers that raised him), it could realistically end up being a little too late for anything more than one shining glimpse of king arthur and the sorcerer merlin's short-lived golden age before fate catches up to them. glimpsing that reality just to immediately lose it would've been far more satisfying and far more tragic than whatever the writers thought they were doing with all that pointless carrot-dangling.

and finally, an ending in line with morgana's new and improved arc. in this version, rather than bleeding out on the forest floor alone, she would channel the morgan le fay we know from the legends: sobered up by the reality of her brother dying, she would use her high priestess status (and perhaps also her pendragon status) to be granted passage over to avalon alongside arthur on the boat — a one-way ride — just to make sure he gets there safely. this is her penance for the harm she has caused, the same way arthur's penance is to die and leave the true ruler of camelot (gwen) behind to achieve everything he was too slow and indecisive to build while he still had time.

merlin's penance, then, would be to stay behind and watch them cross over without him, waiting and waiting and waiting until they come back or until he can finally join them. which is a bit fucking harsh if i'm honest, so i'd at least make it slightly more faithful to the legends by having him return as an old man and letting him take a long nap under a tree by the shore, his body slowly enveloped by vines like the cobwebbed fisher king in 3x08, never fully sure if he's dreaming or if there really are strange shapes fading in and out of the fog over the lake. still tragic, but nevertheless a little more open-ended and whimsical than [TRUCK NOISES] THE END!

[mochela]

alll-mer and sulfur if they were girls

[amber-angel]

What's the POINT?????

I half expected Misty's fucking chocolate martini to be poisoned, that's how out of left field these stupid plotlines are getting

[spacedlexi]

"sounds nice... having a partner"

[tprings-hair]

2x10: JOURNEY TO BABEL

pt 1

[thealdersgateoffice]

Diana Taverner knows Jackson Lamb’s weak spot is Catherine Standish and she will go for it every time.

Slow Horses | 1.05 Fiasco 🐌🐎

[incomingalbatross]

I'm trying out another kindle unlimited author, recommended by a friend from school, and currently I am halfway through the first book of a trilogy trying to process "why don't I care about this protagonist" into something actually halfway analytical.

I think there's SOMETHING there about the difference between a powerless character (fine and cool) vs a passive one (hard for me to get invested). Even or especially if the character has the power to DO very little, I think creators need to show them caring about things! Making judgments! Having internal lines drawn or goals their limited choices are driven by!

But this MAY just be my definite personal bias toward liking characters who enter the scene with strong moral convictions.

[dunmeshistash]

in regards to skin tone variation in DM, i do think a lot of it is colorism/racism too. theres a few characters of color, but not many (just like how theres some fatter characters, but none of them are main characters (even senshi & other dwarves arent really depicted as fat)).

ryoko kui has surface representation for these people, but it lacks much substance, and the brown characters she does draw arent given brown facial features, and are almost always colored with very ashy skin. a lot of them just look like a recolored white person (especially cithis, kaka, & kiki). her random portraits of characters who dont actually appear in the series otherwise tend to be much better about this, but the actual characters that show up and play a part all seem to suffer from this issue.

im not saying kui is like, super-duper racist and we all need to stop reading DM etc etc, but i think its important to recognize and point out everyday/usually-overlooked colorism & racism when we see it, and i know im not the first or only person to point this out about her character designs. if she can draw fat people and actual brown people as part of the portraits, why cant she or wont she do the same for any of the featured characters in the series?

(i know the orcs are fat, but its not a good thing the only consistently fat people are the ones who are a fantasy race based off of violent racial stereotypes, who are also pig people, while none of the main cast of "real" humans are fat except *maybe* the dwarves, who still have small waists and flat stomachs, and the lord of the island, who is depicted as corrupt & decadent)

Well yeah.

I'm just a lore blog so I don't like to get too into real life issues or make assumptions about how the author feels about these subjects. What I talked about on the skin tone post was assumptions as to why she thought it would be important to show skin tone variations on certain races as a character design choice. (In the sense that her character design is very purposeful)

I realize some people over praise Kui's designs when most of it is pretty safe for what it is, but even if it's just a step closer to better representation it's something that's rare to see in anime. So I understand why some people get so excited about it.

It is important to realize this isn't the ideal either (Dark skinned characters with the same features as the others, mostly well build characters on the thinner side) but I personally don't like to criticize these type of stories on what it "could/should have been".

As someone who is fat and not white, I'm happy we get some diversity in dungeon meshi. I hope this opens up the possibility of better character design in the future even if what we got now wasn't perfect.

It shouldn't be the case that this piece of art filled me with so much joy I teared up cause I had never seen someone with a similar body to mine drawn with so much respect and objectivity. But unfortunately that's the world we live in and I don't think it's wrong to be happy for what we get for now while acknowledging it's not perfect and that it should be better.

I'm also super happy the anime chose to make the dark characters even darker.

[purplecladmerchant]

I like timebomb like the next fucker around. And I giggle with the "jynx tagged Ekko! He's all spray painted!!"

But. I haven't seen anyone talking about that it's not just Ekko. Everyone is painted. It's Zuan uniform. It's Zuan organization to go to war. It's Zuan going to help Piltover, but not wearing their uniform. Wearing It's own. It's Jinx and Ekko railing the revolution, it's the revolution not painting their hair blue and wearing Jinx clothes on a straight up imitation, but respecting her view and call to action to unite her force. It's the people who refused to fight by the banner of Piltover but was still willing to fight for Zuan, and by the side of them, just not to be assimilated. It's Ekko being a soldier. It's Zuan joining together under a uniform that it's proper for them.

[starryeyed-seer]

As a bigender person who uses he and she pronouns with no preference for frequency of changing it up i am very defensive of the bazaar's pronoun usage. It doesn't give a shit ♡ however I still feel semi obliged to change it up and usually lean towards it/its because I need to assure everyone anxiously I recognize its crabgendered swag

But also i really do like how canonically the bazaar is referred to as he/she/it, most people have one set they lean towards, and the bazaar also is referred to with traditionally gendered titles like 'mother' and 'father'! And? Absolutely none of that is a reflection on what its gender identity is!

I think if the Bazaar wanted, it could communicate a preference, but doesn't— though I'm somewhat sure the Bazaar has never been referred to with 'they/them' (as a fellow person who simply isn't a they/them, I like this a lot. It isn't just 'the default pronoun for nonbinary people')

This has been 'the guy who really likes the bazaar, talking about the bazaar and gender a little, thank you very much'