#I promise it's going to be explored these writers don't just leave plot points

[sunflowerdigs]

Writers generally write plots in order to take a character from point a to point b. For instance, for Buck's bisexual discovery episode, rather than thinking "I'm going to have Buck meet this hot pilot and see what happens", Tim probably thought "I want Buck to come out as bisexual. How do I believably do that?"

People keep saying that if 911 is going to move forward, it needs to start bringing on new blood and integrating it into the cast. Well, this season, Ravi has been spotlighted multiple times. But in order to bring on someone new, someone else has to leave or fall back a bit. Technically, Tim could move one of the younger characters to another shift, but I doubt any of the younger actors want their screentime cut. However, Peter has stated that he's not into doing all the stunts anymore (and he looked super miserable shivering under a towel shooting the cruise line story) and that he might want to spend less time shooting generally. After all, he's getting a nice, fat producer cut now. He could probably shoot part-time and still make the kind of money he wants, and that would free up some budget for another character.

Additionally, unlike all of the other characters, Bobby has options that would keep him within the world of the firefam and would give 911 the opportunity to explore new parts of the first responder world. He is senior enough to run or be nominated for a senior position in LAFD, one that operates more behind the scenes, structuring budgets, communicating with news outlets, creating trainings, etc. That's a whole new world for the show. It keeps Bobby in the mix enough that we could occassionally see him show up at the firehouse for dinner, but creates a much less demanding shooting schedule for Peter.

But Bobby would never go for that. He would have to retire and then get bored. So, the question becomes "How do we take Bobby from gung-ho fire captain to someone who voluntarily gives up his post?" After all, s7 ended with him finding new energy for the job. A near-death experience like the one with the car pile-up wouldn't cut it. Because Bobby has faced those multiple times over the course of the series and hasn't considered giving up. It just wouldn't be believable to the audience and wouldn't be dramatic enough to cause the kind of shake-up that Tim wants to do. So, what would be?

Well. What if Bobby and everyone Bobby loves had to think he was dead for multiple days? What if the audience had to think that? What if viewers and the firefam had to watch Athena and her children (including Clifford) grieve him? If Bobby came back after something like that, absolutely, both the audience and the firefam would buy his wanting to finally retire. Especially if you throw a dream house into the mix? And Bobby suddenly desperately wanting to live as he's dying? Folks may end up messaging Tim on Facebook demanding that Bobby retire RIGHT THE FUCK NOW.

So. That's just some food for thought as to why Tim might do a death and resurrection. Additionally, whenever any character has a drawn out near-death experience it gives the writers permission to make big character shifts very quickly as characters process their grief. Characters are allowed to look at their lives, realize tomorrow is not promised, and choose things they may not have before the death. Those changes are even more believable if the audience has to mourn the character who almost dies with the characters experiencing a shift. So. You know. If, say, the show was going to have a character, I don't know, recontextualize his relationship with his best male friend and realize that choosing him would be choosing joy? Or if another character who had never stood up for a leadership position before were to suddenly want to do that? A major death that the audience felt alongside those characters might ease those transitions.

Think about it.

[oceanarcaneum]

okay so the "fake out lujanne-lissa" scene/plot is egregious for a lot of reasons, but actually, my BIGGEST complaint with this one isn't even the hypocrisy, but rather what a MISSED OPPORTUNITY it was for a deeper, more complex exploration of the SIBLING dynamic between claudia and soren.

when terry says "i think there's one person who can put those pieces back together," and soren asks, "what are you getting at?" i was absolutely flabbergasted when he followed it up with "your mom," because i was completely, 100% expecting him to say soren.

terry's whole argument here is that everything claudia does, she does out of love for her family. why would he think of lissa OVER soren - lissa, who, as terry seems to know by now, hurt claudia so badly when she left, and who claudia hasn't seen in fifteen years? who claudia has barely even spoken of outside of talking to ezran about how hard it was for her being asked to choose between her parents? she talks to viren multiple times about doing things for "our family," but lissa ostensibly hasn't been a part of that family since claudia was very young.

the show even makes a point of drawing a parallel between soren and lissa in season three, when soren chooses to leave viren's side after his takeover of lux aurea, and claudia pleads with him "don't ask me to choose, soren - not again." and then refuses to say goodbye to him, because she can't bear accepting that her brother is leaving her. if the writers really wanted to go with the angle of "her love for her family is the only thing that can stop her" why not use soren instead - whom claudia clearly hasn't resolved her issues with, who's a much fresher example in her mind of being abandoned or left behind?? (AND with all the focus put on terry making them PROMISE not to hurt her, it feels like it was the perfect setup for soren to actually TALK to her, and for the story to explore their relationship in more complexity.)

i just feel like it would have made so much more sense for soren to be the one to try and stop claudia by genuinely connecting with her - a real attempt at reconciling with her and offering her a true path back, instead of the weird manipulative choice to try and trick her with an illusion of her mother (who, again, broke claudia's heart last time she saw her and has caused her emotional trauma that's stuck with her for years of her life. like????? UGH.) vs soren, who claudia clearly still loves - in the final scene with her, she still labels herself as his sister that he should love and be unwilling to kill, and refuses to kill him because she's "still herself" - inherently saying that he's still her brother, to her, and she doesn't want him dead, even when she already considers herself as being abandoned by him.

soren is, by now, the only living & present family that claudia has left. it just feels so much more intuitive and believable that he would be the only one who can connect with claudia where she is now and offer her a way back home.

[melrosing]

so stuff I’ve not liked about the finale and S2 more generally…. unfortunately it’s a lot and i'm thinking i might need to say this in several parts but first and foremost: the pacing really was shit and i don't just mean there weren't enough action scenes i mean the whole season they've had almost nothing to say about these characters and have just been making us think they do by having them repeat the same ham-fisted monologues about power and peace and the cost of war and whatever whilst moving at a glacial pace from one minor plot point to another and by the end of it most of these characters STILL haven't changed, and where they have it feels undeserved, and yes they really are at roughly the place they started so what have they even got to show for these eight hours of TV?? like damn

and I do get that the writer's strike has really effected them here and HBO hacking two eps off their season affected them too and that really can't be helped. but the pacing has been pretty poor from kick off and I can't just put it down to this being a more 'internal' season. i do not care about big battles. it's fine to have a season of a show that’s more about the characters’ interiority rather than plot action. that’s the exact reason why I like AFFC so much.

but these characters barely have interiority like idk what to say. some like Rhaenyra, Jace and Alicent have been spouting the same monologues every episode about wanting peace/wanting agency/wanting peace again etc etc, and the more interesting moments like Alicent's apparent suicide attempts, Rhaenyra's butchering of the dragonseeds etc... I mean where IS the interiority here?? unless they are spelling out a character's thoughts in the most literal way they can (as per Jace's diatribes about the dragonseeds), they leave their audience to do absolutely all the work by showing us nothing, and just leaving us to figure that the characters must be having some kind of thoughts but y'all can decide what they are.

and even Daemon, whose entire ARC was about his interiority.... like look I was so so ready to love this arc. i love fucked up little dream sequences. i love harrenhal. i was really enjoying the angle they took with alys. i was here for it. but now we've seen the whole of his S2 arc, im going to say yes, it was intended as a redemption adjacent kind of arc, and it isn't a very good one. Daemon has a handful of weird dreams, gets shouted at by some Riverlands folk, and he's a changed man.

consider the character everyone compares Daemon to (and who I'm always more than happy to talk about) and that's Jaime. and look at the sheer ground covered in ASOS: Jaime breaks out of a dungeon, Jaime meets a younger version of himself, Jaime gets his hand hacked off, Jaime reveals his anime villain backstory in the bath, Jaime deals with Roose Bolton, Jaime has a weird weirwood dream, Jaime fights a fucking bear - and at this point we're still only about halfway through.

now in contrast, what have they actually managed to do with Daemon this season. where has that finale moment with Rhaenyra been earned. this is not slow pacing for the sake of powerful character development, it's slow because they don't have anything else to say.

and also look at the state of characters like Aemond who seemed really promising in S1, yet in this season he barely reflects on the fact that he hadn't meant to kill Luke, and this war is an accident that he started, etc etc - he's just a killing machine lol. there were some nice touches in there, like i say i enjoyed Helaena telling Aemond how he'll die in the finale. but I no longer trust these writers to do anything with their more inspired ideas because they just consistently fail to do so.

look at Baela!!! like my god, has Baela had the opportunity to do anything except A) what she's told and B) counsel men on their feelings. she has like one moment looking at Daemon and you feel like the series is going to explore how complex it is to be Daemon Targaryen's daughter.... but my god they never do!! so where IS this interiority we've spent eight episodes on! what have they got to show for it!!

and i talked more weeks back about how frustrating i've found the writing of women more generally in this series and as of the finale I am finding it so egregious and so condescending. women want peace. women want to protect their children. women are tired of men. women are tired of war. women are trying to end this war peacefully. women are pacifists. women hate violence. and so on and so on and so on like jesus christ who am i even talking about here. even i don't know. it's so boring. it's so dry. and it requires female characters to always be the paragons of virtue, never do anything truly condemnable, never be unlikeable, never fucking anything except stand around saying how much they hate this. im bored of it and it makes me angry that they would do this in a series that specifically seeks to make everyone grey and everyone complex - they keep suggesting that might extend to the women before abruptly shutting it down again. see Alicent and Rhaenyra even STILL, after EVERYTHING, trying to peacefully shut down the war for the sake of love and friendship in the goddamn finale. I don't believe it anymore!! it's not cute! it's just dull!!!

and finally that just kind of brings me to how shortsighted a lot of the plot developments seem, when you see how the characters fail to reckon with their pasts or shit that just happened. Rhaenyra and Mysaria make out, and then that's never mentioned again and the tone never changes between them. Rhaenyra is done thinking about Luke. Helaena is done thinking about Jaehaerys. Aegon actually didn't mention Jaehaerys in the list of things he's 'lost' in that finale. Alicent's relationship w Viserys was just now condensed to 'we were fond of each other but he always liked your mum better'

like idk it's just. if this season's pacing is all about giving characters the chance to change and grow into the people they'll be when this war REALLY kicks off.... do it. write it. do not just write the same monologue a dozen times and hope it'll hit harder with each. doesn't work like that. sorry.

[cosmiccrushes]

A Sea Of Crows

Rook x Lucanis || 5.5k words

summary: Lucanis Dellamorte and Rook de Riva meet under the most unusual circumstances. But what's not unusual is the friendship, and eventually more, they find together.

notes: I have half a mind to keep writing this Rook (my og mage Crow Rook) and Lucanis into a longer form fic (maybe a series?) I do have a whole backstory planned for her that I think could be fun to explore but ahhh idk

UPDATE! I am going to keep writing this as a multi chapter fic. It's going to include Lucanis personal quests, main datv plot points I wanna cover, and eventually my named Rook's backstory as an Antivan Crow

also humongous shoutout to @ datvtranscripts on tumblr for their incredible work cataloging datv dialogue, massively helpful for this fanfic writer <3

~~~

CH 1: A Crow Underwater

Lucanis snaps the neck of the last Venatori cultist, letting their body thump to the stone at his feet. Spite’s wings dissipate at his back. 

Someone speaks behind him, voice lilting in an almost playful manner. “I’m guessing you’re the reason we’re here.” 

He turns to the two individuals who are entirely out of place in this underwater prison cell. Their unexpected arrival provided him with just the distraction he needed to burst from the crystal the Venatori had come to him in and dispatch them. He studies the new arrivals through narrowed eyes. One, a dwarf and the other, a Dalish elf, judging by the tattoos feathering around their eyes. 

“Who are you? Who sent you?” His voice is gruff with disuse. A year locked away with nothing but a demon for a conversation companion would do that. 

It's the elf who speaks again. “My name’s Rook. House de Riva. I’m here to bring you home. She’s Harding,” the elf jerks their head towards the dwarf whose hands tighten on her crossbow. 

A fellow Crow? House de Riva. That makes them one of Viago’s. Has his grandmother sent them to retrieve him? The day's surprises continue for Lucanis. “House de Riva. You're a Crow.” 

“Last time I checked.” The elf peers over their shoulder at an ominous groan from the prison’s walls. It appears the sounds of clashing Venatori and demons that Lucanis heard echoing through the Ossuary have resulted in a bit of structural damage. “We need to escape. Then we can talk.” The Crow, Rook, says, bringing their attention back to him. “I’m here to help. I’m breaking you out of here.” 

“Only one of you’s a Crow?” Lucanis is baffled by this situation.  

“And you’re possessed by a demon.” They sound curious, not judgemental, as their eyes trace the empty space around him where Spite's wings had been moments ago. 

“It's complicated.” Lucanis supposes he should get used to people looking at him like he's an abomination. Only, this Rook…doesn't. Their gaze stays open and curious. Their partner's discomfort goes unhidden. But if Rook is alarmed by the presence of a demon-possessed assassin, they don't show it.

“Caterina promised us a mage-killer if we broke you out of here.” Rook says mildly. 

“I can still work.” 

“Good. Because I’m pretty sure more Venatori are on their way. We have to get moving.” 

“Rook…” The dwarf looks to the Crow, her mouth pulled taught with wariness. “He's possessed.”

“It's fine, Harding.”

“Rook-” Harding tries again.

“I said I can work.” Lucanis bites out. 

Harding glares at him. “And I’ll listen to whatever she says,” she gestures with her crossbow at Rook. “But I don’t trust him.” The last bit she addresses towards the elf. 

“Understood.” Rook nods. “And we can discuss that later. Right now, I’d really prefer not drowning at the bottom of the sea.”  

“I can’t leave yet. The Venatori have a vial of my blood. I cannot leave it in their hands.” He notes the staff at Rook’s back, marking her as a mage. She will understand better than any the gravity of a mage who owns your blood. 

“Okay.” 

“And I had a contract when I was captured. One of my targets is here. Calivan.” Lucanis locks eyes with Rook. “You know what that means. Crows don’t break contracts.”

“All right. We'll help,” she agrees easily. “But in return, I want help killing some things.” 

“I’ll owe you.” Lucanis vows, noting the vagueness in her request. But a contract is a contract. Whatever things need killing, Lucanis would oblige. And if Caterina had sent her for a deal, Lucanis would never refuse. 

“I’m sure we’ll owe each other before this is all over.” She pulls blades from her own belt, tossing them to Lucanis. “Let’s go. So, first order of business?”

“Blood first, then my target. Calivan. The prison warden.” Rook immediately takes the lead as they exit his prison cell. Lucanis follows and this provides him with a chance to study his mysterious Crow rescuer.

She's a wisp of a woman. Lucanis does not mean this derisively- he himself is of small stature and it serves him well as an assassin. But he has entire inches on her. She must make deadly use of that in their line of work. As they slink through the corridors of the Ossuary, Lucanis observes the fluid lightness of her steps and knows he’s right. A target would never hear her coming. Her long, silvery blonde hair falls over her shoulders in two, tightly woven braids.

“Where do we find them? Calivan?” 

“In the tower. There’s a bridge.” 

“Not anymore,” Rook replies and Lucanis wonders just how bad of a state the Ossuary has fallen into. “We’ll have to find another way across.” 

A flurry of motion ahead of them as Venatori mages descend upon them in the chamber outside of his former cell. Lucanis refuses to even harbor thoughts that they will not escape this watery hell. He will not go back to that cell now that he is free, even if he must die instead.  

“Good. Mages. My specialty.” Lucanis is so eager to have a blade back in his hand, to cause pain to the Venatori that Rook and Harding are barely needed in this fight. Spite lends his wings and Lucanis stretches his muscles for the first time in a year. He gets the distinct impression that Rook is deliberately hanging back– whether to study his abilities or to offer him a bit of vengeance, he is unsure. 

Rummaging through the pockets of the slain Venatori, Rook raises a key, her triumphant smile spreading wide. “All right! One of them has a key. Must be my lucky day.” 

Lucanis raises an eyebrow. “You have an odd idea of luck.” He glances pointedly at their surroundings. 

Rook shrugs. “Well, I’m not dead yet. Neither are you. And actually, given the circumstances, that probably makes your luck better than mine.” She winks at him. Lucanis is suddenly very aware that these are the first true conversations he’s had with anyone in months. He’s not quite sure he’s doing it right. Is it possible to forget how to talk to people? 

They move forward through the Ossuary. Lucanis wonders how his grandmother finally found his location and why it was this particular Crow she sent to retrieve him. Not a Crow from House Dellamorte. Not a Crow he had even met before, as far as he could remember. And despite the brevity of their acquaintance, Rook imparted a feeling that she was not easily forgotten.  

“So, the Crows sent a mage to free their mage-killer?” 

“No. They sent their best.”

“Did they?” Lucanis is genuinely curious how things may have changed within the Crows during his absence. Who has risen in the ranks, who has fallen. Had his cousin, Illario, moved closer to First Talon?

Rook raises one eyebrow at him, the other scrunching with what must be amusement as her lips curl up at the edges. “No. They sent who needed you and who came looking at exactly the right time. Although I am good.” She winks at him yet again. Lucanis searches his memory trying to recall what it means when people wink at you.   

“Why were you looking for me?”

“Two blighted elven gods have broken free of their Fade prison and want to blight the whole bloody world. You're the Demon of Vyrantium. You're the mage-killer. Hopefully god-killer is in there somewhere too.”

“Blighted gods?” Lucanis must have heard her wrong.

“Yeah. I know, it's a lot. Just what the elven people need.” There’s a hard edge pressing against her words. “So about your target?”

“Calivan. The warden of the Ossuary. He oversees everything here.” 

“Where do we find him?” The dwarf– Harding– asks. 

“He’ll be in the most fortified part of the Ossuary, but first, we have to find where they’re keeping my blood. I cannot touch Calivan until it’s dealt with.” 

Their conversation is interrupted when they enter a new chamber and a swarm of Venatori pop into existence around them. Even as they fight, Harding keeps one eye trained on him, her distrust evident. Still, she is deadly with her bow– her arrows do not miss. 

And Rook– Rook is an artist, raising her staff like a brush against canvas. She paints death over the Venatori and effortlessly falls into step beside him, no longer holding back. Perhaps Lucanis has grown poetic during his isolation. Or maybe, he is simply moved by the welcome familiarity of fighting alongside another Crow. It has been too long since he had a taste of home. Regardless, it is apparent that Rook wasn't being overly braggadocious about being good. She wields her magic with all of the finesse and grace expected of a Crow.

They proceed. Striking down Venatori as they go. Rook pauses when they move through a chamber that served as a workshop for Zara’s tormented creations. She examines the evidence strewn across tables, a strained expression on her face. “Wait… Were they torturing demons? How? Why?”

“They didn’t all start out as demons. Zara made sure they ended up that way.” Lucanis states bluntly. The blood stains would explain his point well enough.  

“Zara?” Rook hasn’t looked away from the workbenches. 

“Zara Renata. There might be a higher-ranking Venatori somewhere, but I don’t know of one. This place is all her.”

Rook stares solemnly at the tables a moment longer. The stillest Lucanis has seen her yet, like the suddenly smooth surface of a lake that normally ripples with currents. Abruptly, she turns her attention to the Venatori crystals blocking their path. She smashes them, her mouth set in a harsh line, her eyes gleaming with a stony anger. A dam broken, an undulating eddy of motion as she cuts through the Ossuary. 

“Corpses possessed by demons. Watch out.” Harding warns, nodding to the undead shambling up the path ahead. 

“Zara Renata’s work. This place exists just for her to make new, worse kinds of demons.” 

“I think I’d very much like to meet this Zara. Show her some of my work.” Rook watches the undead as they take a diverging path around. Attention snapping away as she states, “Venatori ahead.” 

“Mine.” Lucanis steps up, determined to take his pay in blood today. Rook makes space for him. More blood mages crawl out of their rat holes behind them. “Mierda. These guys. Let me hit him first, then you can take him down.”   

“With pleasure,” Rook hums beside him. They fall into sync again, Lucanis’ pulse racing with the adrenaline of long overdue kills. 

Rook steps over the corpses of the dead Venatori and Harding quickens her pace to walk alongside Rook. “Rook. You sure about this? Abominations…” Harding's tone conveys her feelings on abominations. 

“We made a deal with the Crows to bring him back. And don't forget that it's gods we're up against.” 

“Right. Well, abominations never end well. Just remember I warned you.” 

Rook doesn't respond. Lucanis grits his teeth at the way they discuss him as if he's not here. One thing he can say he knows about Rook now though, is that she will complete her contracts– regardless of what she finds on the other end of it. 

The ground shakes beneath them and a macing creak echoes through the Ossuary, stopping them in their tracks. 

“I don’t like this!” Harding exclaims. 

Rook has her arms held out at her sides, steadying her feet. “Can’t say I’m a fan either.” 

Lucanis watches a stream of water trickle down a wall. “We may not have much time.” 

They reach a chasm where a bridge must have once been. Rook stares frustratedly at the open air they need to cross. “Damn it, there’s no path through here.”  

I. Can make. A path. From the Fade. The demon speaks in Lucanis’ head. 

“What?” Lucanis forgets that speaking out loud will draw attention. 

Let. Me. Pull from the Fade. 

“What are you-” NOW, Spite yells. “Fine.” 

“What is it?” Rook asks, considering him with a softness in her eyes.

“He says he can get us across.” 

“Who is ‘he’?” Rook leans slightly to the side to peer around Lucanis, eyes flicking back to him in question. 

“The demon. He says there’s something here. Something he can grab hold of in the Fade. It’s close.” 

“By all means.” Rook waves her hand and stands aside, looking distinctly unmoved by the fact that Lucanis has just confirmed speaking to a demon inside his head. 

Lucanis allows Spite just enough rein to reach out. He’s shocked when the demon’s magic manifests an entire chunk of stone as a makeshift bridge for them. 

“Wow.” The awe in Rook’s voice mirrors his own. “The demon pulled all of that from the Fade?”

“I’m as surprised as you.” Lucanis tries not to think too much about all the demon could do if left unchecked.

They enter another workshop area where Venatori mages and demons brawl. 

“They’re fighting? But the Venatori made all these monsters, didn’t they?” Harding asks. 

“Blood mages. They never learn. Zara can summon all the demons she wants, but they don’t have to obey her.” 

“And it doesn't look like they plan to,” Rook quips before plunging into the fray. 

The ghost of a smile flutters across Lucanis' lips before he charges after her. 

Rook rolls her head side to side, stretching out her neck after the last blood mage– the Fabricator, Lucanis recalls their moniker– drops to the ground, lifeless. “What did Zara want all these undead for?”

“Nothing. Those are the failures.” So many failures. Lucanis' stomach turns at the innocent life lost within these damp halls. He may not be innocent, but he lost life here too. 

“If those are the failures, what does success look like?” Rook questions. 

“She took the ‘best’ results out a few days ago. But some of the demons she created are still here.” 

“Calivan. You said he’s the one in charge?” Rook pauses her exit from the room to look back at him. 

Lucanis shakes his head. “No. He’s a lackey. He runs this place for a powerful magister. He was my target a year ago. Now we both want him dead.” Again, Lucanis feels compelled not to hide what he is now. It almost feels like he's challenging her. This Rook says she needs him to fight elven gods, says she's here to bring him home. But what home could a demon-possessed assassin hope to have? The fighting he could do, but he would have her clear about what exactly it is she's bringing back to Treviso.

“‘We’” meaning…?” Rook trails off expectantly. 

“Demons don’t forgive.” 

Rook’s eyes roam over him. “Neither do Crows.” She pivots, resuming her quick, sure pace. 

They draw nearer the chamber with Lucanis’ blood vial. “We're getting close.” 

“How are we supposed to find this thing?” Harding asks him. 

“I know it’s here. We can smell it.” The thing lurking within him has heightened his senses. 

Entering into an expansive room, Lucanis identifies that the vial of his blood is locked behind a Venatori crystal ward. He informs Rook. 

“If I never see another Venatori crystal…” Rook says darkly. She immediately begins to wind through the room, smashing crystals with a swipe of her staff. Lucanis gets the impression that she is not a very patient person. He imagines that it has probably earned her reprimand in House de Riva. No Talon would allow actions borne of recklessness, but especially Viago.    

In the center of the room are more tables strewn with corpses. 

“Look at what's left of these people… they were tortured. What a terrible way to die.” Harding shakes her head. 

“Very few people survive Calivan’s ‘rehabilitation.’” 

“You did.” Rook says simply. 

Lucanis peeks at her, but she continues her prowl around the room, hunting for crystals.

Rook smashes the last crystal warding the room. She sweeps out a hand in a grand gesture to Lucanis, bowing slightly at her waist. There is a mischief about her that again has Lucanis' lips twitching on the hint of a smile, such a strange feeling after a year of only horrors.

Lucanis’ eyes lock onto the blood vial at the far end of the chamber. “There. That’s the one. It has to be.”

Rook’s graceful steps lead her to the container. Lucanis joins her. She looks at him, shrugs, then shatters the vial with her magic. “All right then, that’s done. Now for our contract.” Lucanis doesn’t miss the way she says ‘our’ contract. Since she appeared before him, she has been fully committed to assisting him. She hasn’t questioned his motives or monitored him out of the corner of her eye like Harding does. Is she reckless? Or has he simply earned her trust so easily because he is a fellow Crow? And not just any Crow. Lucanis is well aware of the weighty pull associated with the House of the First Talon, House Dellamorte. 

Lucanis guides them through the Ossuary’s halls to its heart– where he believes the warden to keep office. His fingers itch to put a blade through Calivan’s heart. They reach a lift, filing inside. 

Harding again voices her concerns in a low, warning tone. “Rook…” The two must know each other well for Harding need not say more to express her thoughts to Rook.

“It’s us against gods Harding-”

Lucanis doesn’t particularly want to hear what Rook will say next so he interrupts. “I am right here, you know.” 

“It’s fine. We can talk about something else.” Rook shoots a pointed glance at Harding. “What’s Caterina like?”    

Lucanis is surprised by the question, even more surprised that he doesn’t know how to answer it. “After so long in this pit… I barely remember.” 

“You’ve been down here for a year?” Rook cranes her neck to speak to him behind her. Her braids slide against her leathers. 

“Mmm,” Lucanis grunts in response. What else is there to say?

“Is there anything we need to know about Calivan?” Harding asks. 

“You want to hear about his torture methods or something else? We didn’t chat.” 

“He might be turning those torture methods on us very soon, so,” Rook’s shoulders shrug noncommittally. She doesn’t rise to Lucanis’ spiteful bait tossed at Harding, though Harding glowers at him.  

The lift stutters to a halt and they are emptied into a cavernous room. 

A voice echoes across the space as they step fully inside. 

“Ugh, this was entirely unnecessary. Zara and her little jests. ‘He’s already the Demon of Vyrantium! Won't this be ironic?’” The man scoffs. “Hilarious. And now look at the mess you’ve made of my facility. She always leaves me to clean up.” 

“So this is Calivan.” Rook sounds unimpressed. 

“He is.” Lucanis confirms. “The target I was sent for a year ago. A Crow never abandons a contract.” His fingers tighten around his blade, well, Rook’s blade. He looks forward to reuniting with some of his own.  

Rook calls out. “Calivan! We’ll help you with the clean up. I think we’ll start by taking out the trash.” A vicious smile twists her lips and then she strikes.

Lucanis falls into the rhythm of the fight. A dawning awareness crests over him that if he is to continue working with Rook, he may have to get used to racing into battle after her. He might be more disgruntled about it if she didn’t wield herself so masterfully. 

Lucanis ignores the savage jabs Calivan attempts to distract him with. What words could hurt him more than the horror of having a demon possession forced upon him? 

Rook, on the other hand, grows increasingly annoyed with Calivan’s incessant insults– despite none of them being directed at her. Upon realizing the need to destroy the barrier protecting Calivan and beginning their coordinated efforts to do so, the prison warden screams at Lucanis, “You will return to your chains!” 

Rook snarls as she toils to bring down the barrier. “Ma halam! You will return to dust!” 

Calivan’s barrier falls and his enraged shouts summon a flood of demons to the chamber. Rook meets Calivan’s rage blow for blow. And despite Harding’s obvious misgivings about him, she too fights fiercely. When a Pride demon stands before them, they do not falter. 

Calivan’s desperation grows as he weakens and their group gains ground. “No! I will not be defeated!” 

“Sorry! We took a vote-” Rook snaps between swings of her staff. “-decided you die today! I’m sure you understand. Being an arrogant prick and all!” Spite guffaws against his skull and a grim satisfaction grips Lucanis. He’s never been particularly crafty with his words and finds that he relishes Rook’s lashing tongue. 

With a final blast of Rook’s magic and Lucanis’ blade through his chest, Calivan is no more. 

Lucanis releases a long held breath as he stands over his contract. “The Crows send their regards.” 

Rook breathes deeply beside him, tucking her staff at her back. “So, we got your target.” 

“Yes. The job’s done.” Lucanis has waited so long to say that. 

Beside him, Spite inhales. Smells like blood. Ashes. Not done. Not yet. 

Lucanis grinds his teeth, staring hard at the demonic manifestation. He must not hear Rook attempting to get his attention.  

“Lucanis… Are you all right? Lucanis? What are you looking at?”

When Lucanis finally registers Rook’s question, he turns to her. She is watching him, head tilted inquisitively at an angle. 

Careful. They know. We’re not right.

Lucanis looks back to Spite, then at Rook. “You cannot see him. I wondered.” So, the disturbing likeness of Lucanis that the demon manifested as was only visible to him it seemed. Mierda. Was that a gift or a curse? 

Rook’s head is still tilted at him. Her eyes shift from Lucanis to the vacant air beside him where Spite stands hidden from her sight. But she doesn’t look afraid nor concerned. “We clearly have things to discuss. Somewhere else.”

Harding nods vigorously. 

“Agreed. I think…it’s time I got some air.” Lucanis feels a nervous thrill run through him at the thought. 

Rook offers him a small smile. “Agreed. A Crow underwater… “ A shiver runs through her. “No thank you. I’m ready to get out of this place.” 

Lucanis returns her smile, the muscles in his cheeks twitching. He cannot recall the last time he used them. “Imagine how I feel.” 

***

The boat glides through the canals of Treviso. Lucanis' heart is in his throat as his city unfolds around him. He had been so close this whole time… He looks back to the rest of the boat's occupants and discovers Rook already watching him.

She smiles, gentle and friendly. “Welcome home.” 

The first warmth Lucanis has felt since being locked in the Ossuary floods through him. Home. 

They climb the steps to the Canatori diamond and he knows from the tense set of Rook's shoulders that he's not alone in sensing something is wrong. Rook glances at him, eyes tight with worry. He gives her a sharp nod. 

Teia’s voice reaches his ears first. “Maker…” 

Lucanis steps into a mess of a room. Broken furniture, strewn papers. Viago notices them first.

“Lucanis?” The Fifth Talon’s eyes flick over him and then to Rook at his side. Viago's clenched fists relax. 

“What happened here?” Lucanis has never seen the Diamond so disheveled. 

Illario slams his fist on a table. “A message. From Zara Renata.” His anger softens as he adds, “I can't believe it. You're home.” 

Lucanis can't reconcile Illario's former words. “Zara… Her people got this close?” 

“The woman who runs the prison?” Rook looks up at him for confirmation. 

“The Venatori witch who captured me.” 

“Revenge for the breakout, maybe?” The skepticism in Rook's tone matches Lucanis' own. How could Zara have moved so quickly? 

“Where's Caterina?” Lucanis searches the faces in the room, but finds his grandmother's missing. His stomach roils with apprehension.  

“She's…” Teia bows her head, her voice thick with emotion.

Viago steps up behind her, placing his hands on her shoulder. “The Venatori got her in the confusion.” 

“I get one of you back, only to lose the other.” Illario sighs.

His grandmother… the mighty, unshakeable First Talon… no, it could not be. 

Rook's tender voice at his elbow grounds him. “Lucanis… I'm so sorry.” 

Lucanis is grateful for her simple words, spoken with earnestness. Her presence also reminds him of Caterina's last request of him. “I need to work.” 

“Are you sure?” Concern squeezes Teia’s eyes. “You should take some time.” 

“I don't need time– I need a target,” Lucanis says harshly. 

His cousin addresses him. “You just got here, and already you want to leave again?” 

Lucanis meets Illario's eyes, willing his brethren to understand. “Caterina gave me a contract. I'm not breaking the last deal she ever made. And I owe Rook. Once that's done… I'll come home.” If his home would still have him, when they learned what he has become.

“I'll return him in one piece.” Rook tells Illario. She sounds as though she wholeheartedly believes it, that she will act as a protector to the, now literal, Demon of Vyrantium. This Crow is a peculiar one. 

“Thank you.” Illario inclines his head towards Rook. Then says to Lucanis, “Cousin, when you find Zara, I want– I need– to be there.” 

Viago interjects. “We’re under attack. Antaam on one side and now Venatori on the other? Forget revenge, we need you-” 

Teia stops him with firm words. “No, Viago. Zara came for us here. She took Caterina from my house. You find her and cut her heart out, Lucanis. VI and I will hold down the fort.” 

“I'll give her your regards, Teia.” 

Teia lifts her chin. “For Caterina.” A chorus of “for Caterina” sounds around the room. Teia's eyes drop to Rook. “And you be careful. Or this one-” A nod towards Viago. “-will lose his head over revenge, whether he admits it or not.” 

Viago huffs but doesn't deny Teia's words. “Do not make a mess of this contract,” he throws at Rook. 

Rook rolls her eyes at the Fifth Talon. Lucanis’ eyes widen at the sight and he waits for Viago’s reprimand but it never comes. “Yes, Viago.” Rook’s tone borders on disrespectful, but still Viago does not react. Lucanis stares between the Fifth Talon and Rook in confusion. 

Viago scowls at Rook momentarily, then directs his frown at Lucanis. His mouth opens like he’s going to say something to him. Instead he glares at Rook one more time, his mouth clamping shut in a hard line before shaking his head and walking away. Teia smiles at Rook before following Viago.

Lucanis very much wants to ask Rook what vital piece of information he’s missing that allowed her to walk away from that interaction unscathed, but Rook’s already moving away. “Let’s go. It’s time for you to meet everyone else.”   

*** 

Lucanis isn’t sure what to make of the Lighthouse. The eluvians were a fascinating bit of magic and the Crossroads were downright bizarre. There’s a confounding peace about the Lighthouse, but Lucanis does not trust a place borne of the Fade. Spite is far less wary, seemingly comforted by the closeness of the Fade– if a demon could even be comforted.

Lucanis’ introductions to the rest of Rook’s team had been made and he had, predictably, been met with skeptical looks and guarded expressions. Bellara– the Veil Jumper and ancient elven artifact expert– seems the least distrusting of him. Her and Neve– a Shadow Dragon detective from Minrathous– sit at the large dining table behind him discussing his possession. Lucanis leans against the fireplace mantel, staring into the crackling flames. 

“They’re the same thing. Mostly. Kind of.” Bellara is explaining. 

“Except one will manipulate you. Or kill you. Or both.” Neve replies. 

“But how do you get rid of them?” Lucanis attempts to not sound as frustrated as he feels.  

“Um…” Bellara’s hands flutter against the table. Lucanis suspects he already knows the only answer the Veil Jumper will be knowledgeable of. He’d come to the same conclusion himself while locked in the depths of the Ossuary.  

“What’s everyone talking about?” Rook draws his attention– and the demon’s, he notes with interest– as she enters the dining hall. 

“Spite.” Lucanis answers through clenched teeth. 

“The demon in Lucanis.” Neve clarifies. “When a person gets possessed, the demon usually takes control.” 

“And they turn into a monster. The spirit just…molds them. However they want.” Bellara adds. 

“I’ve heard of abominations being cured by killing the demon in the Fade. That’s not a sure bet, though.” Spite bristles at Neve’s words. 

“Well, there’s one way. But it’s..well…we’d have to, um…” Bellara stammers nervously. 

“You’d have to kill me.” Lucanis finishes. 

“There’s got to be another way. That can’t be the only solution.” Rook’s hands come to rest on her hips and an unyielding glint sparks in her eye. She looks as if she dares the world to disagree with her declaration. “Can’t we reason with Spite, maybe? Persuade it to leave?” Spite perks up at Rook’s question.

Lucanis gapes at the Crow mage who wants to have a chat with a demon. “Talk doesn’t work on Spite.” As the words leave his lips, Lucanis beholds with horror Spite manifesting beside Rook. He has never had to deal with the reality of Spite around other people and fear freezes him in place. 

Spite leers at Rook, a scathing smile on his face. She won’t hurt you. How sweet. The demon’s derision drips through his sentence like honey, sticking unpleasantly to Lucanis’ skin. 

No. Not sweet, dangerous. Lucanis stares into the determination solidified in Rook’s eyes. Very dangerous. If this partnership is to work, he needs Rook to be willing to stop him. Spite moves to Lucanis’ side and he tears his gaze away from Rook in relief. 

I want to talk to them. Spite demands. Lucanis ignores the demon. 

Bellara goes on. “Before we do, well, that. Let’s think this through some more. There has to be a solution.” 

“I have people in Minrathous I can ask, but I wouldn’t get my hopes up.” 

Rook nods at Neve. “All right. So what’s next?” Rook asks the room at large. 

Spite growls in frustration. Let me talk to them! I want. To. Talk. To Rook! Spite lashes out in Lucanis’ mind and his head cracks to the side. He feels blood wet his nose and he grunts in pain. 

“Lucanis!” Bellara exclaims as she and Neve spring out of their seats. 

Lucanis holds up a hand to them. “No, it’s fine. I’m fine.” 

Rook’s fists are curled at her sides. “Don’t pretend this is all right. It wouldn’t be fine if another person did it.” 

She’s angry for him, Lucanis registers. He softens at this. “No, but there’s nothing I can do about it. If it were another person, I could solve this with a knife.” 

“Why did he do that?” She asks. 

Lucanis will absolutely not tell her that the demon wishes to speak with her. His skin crawls at the familiar way Spite said Rook’s name. The demon has never said anyone's name before, not even Lucanis’. “Throwing a tantrum when he doesn’t get his way.”

“Perhaps he needs to learn what happens to Crows who throw tantrums,” she threatens. 

Lucanis smiles. “I would prefer not to relive those lessons.” Rook’s closed fists loosen. “Just… give me a minute. He’ll get bored once everyone leaves.” 

Rook’s eyes jump back and forth between his own. “I don’t like leaving you alone with a demon. I…” 

“You don’t have to worry about me,” Lucanis reassures her, though he’s not sure it’s entirely true. 

“Lucanis..” 

“Please.” He needs to get her– and everyone else– away from Spite until the demon calms down. 

Rook nods and gathers the others to leave.

As the door to the dining hall falls shut behind them, Lucanis addresses Spite. “You’re not speaking to any of them so forget about it.” 

Rook. Wanted to. Talk. To me!

There’s her name again. It grates on Lucanis’ nerves. “Yes. To ask you to leave.” Lucanis spits. 

Spite hisses, but falls silent. Lucanis closes his eyes, the fire in the hearth warming his eyelids. It’s true. Rook had thought to reason with a demon on his behalf. Lucanis sighs, peeling his weary eyes open. He heads towards a door at the back of the dining hall, opening it to find a long, narrow pantry. Oddly, a cot is already tucked into the far corner. Lucanis sinks onto it, letting his head rest against the stone wall at his back.

Rook will have questions for him eventually. But for now, he soaks in the fact that she respected his request, that she trusted him enough to leave him alone. He mulls over his own questions of what that could mean for a man who has truly become a demon.  

~~~

Next → CH 2: Questions & Coffee

[theflashjaygarrick]

Absolutely wild to me that with all of DC's reboots/retcons no one has had the sense to completely erase the Arisia incident (and no, I do not count Johns' whole 'Hal thought it was creepy but then learnt that her planet rotates differently so she is actually 200' nonsense. It's probably the biggest stain on the green lantern franchise (followed by the Kalmaku nickname thing) and genuinely there is no benefit to it existing.

But importantly I don't mean erase Arisia. She is a character with a lot of potential as a little sister with self esteem issues, a child who has been conscripted into a literal galactic army and is honestly just trying her best. She's adorable and had a lot of potential before Englehart made it so disgusting I stopped reading his green lantern comics my I own sanity. And I do feel like while it definitely did tarnish Hal and his reputation (and lets be real, probably should have done so for almost every green lantern in that era except John) Arisia herself was honestly a lot harder hit with being hated and erased. Which is how a lot of comic controversies - and even real life abuse cases can - go. I feel like she honestly deserves a second chance to be explicitly and overtly removed from that uncomfortable and unnecessary arc rather than just being pushed aside so people can write Hal as a space maverick male fantasy (when will Spectre Hal come back from the war).

But like imagine an Arisia year one with me (wherein the writers and the corps aren't creeps):

Arisia is a young orphaned alien girl who is still grieving when she has the responsibility and powers of a lantern ring thrust upon her. While still trying to get a hang of her new powers she is called into OA where she meets the other Green Lanterns. She begins training and becomes the (actual) little sister/kid of the green lantern corps. Crucially no one is weird about her. I would probably make it so that her home planet values really strong familial ties so that as an orphan she is desperately seeking out a family in the green lantern corps, which clashes with some of the other members who initially see the other corpsmen as work buddies at most. In this when Hal and her hang out its because he's her mentor and he radiates cool uncle vibes.

And honestly you could keep the ageing up with the ring idea but instead of making it part of a creepy romance arc it could be used to further explore her own anxieties. Maybe she feels overlooked as a kid so decides to make herself look older to feel more powerful when on missions, but it eventually it makes her feel more self conscious about what she looks like normally. Then it ends with her learning to embrace and find confidence in who she really is. You know, classic coming of age stuff. And after that Hal and Jon decide to introduce her to the Teen Titans so she can be around other heroes (roughly) her own age.

So she ends up on Earth for while where you could have a fun fish out of water dynamic whilst she explores earth life in San Fransisco. Not only is she a member of teen titans as their GL (or Teen Lantern as they probably insist on calling her). She can have a whole side plot about making friends in her civilian identity and wanting to be a normal kid (milkshakes, diners, roller skating, baby gay crushes) while also knowing that at some point she has to go back to OA and to her home sector. Back there she has to embrace this massive responsibility (honestly too big for someone of her age) that she didn't choose, but that was rather an inherited burden from her late father and duty as a member of the corps.

Ultimately it would be about finding confidence in your own heroism, a found family, and having fun coming of age moments. And rescuing a promising female character from being an embarrassing footnote in DC (and Hal Jordan's) history.

DNI INTERACT IF YOU ENJOY HAL AND ARISIA AS A COUPLE. I DON'T KNOW IF THESE PEOPLE ARE REAL BUT IF THEY ARE, LEAVE MY POST/BLOG ALONE.

[mdhwrites]

So if Dana said she didn't have any original season 3 ideas, why did she also say on Twitter that she wanted 10-20 half hours for season 3?

Now apparently from the transcript and the like, what was said that there were like one sentence pitches for episodes but nothing concrete or the like. That I believe. After all, it's like taking sticky notes and using them to jot down passing thoughts. But... Ideas don't mean anything. You need to have an actual coherent thought as to how you are going to use those ideas as a creator.

So when she says she wanted those episodes, I believe her. But... Instead of it being so she could have coherently finished her story, something you can feel isn't exactly happening during S3, it would have been to explore her ideas and let it be her mouthpiece. Even as far back as S1, you can clearly see this conflict in the show. The First Day lets her take potshots at modern education and saying kids should have more freedom... At the expense of everyone forgetting that multi-tracking is literally illegal. But the idea was more important than the overall story so in it went.

Besides, when asked about your work that you cherish so much, are you going to tell people you wanted LESS time to do whatever you wanted? Or are you going to say you wanted as much time as possible? Especially since without a solid plan, you can't be like Matt Braley who straight up went "Nope. Amphibia wasn't shortened. It was always planned to be three seasons."

I still stand by the idea that Dana actually wanted to just keep going WELL past S3. Even now, she wants to do a spin off and one of her greatest regrets for what was missed was not being allowed to do more teenage Raeda stuff in the show. A second episode in the past. Expanding on what? Who knows but it's more time spent with the ship that Dana clearly loved.

I am not saying Dana was lying or a bad person but the question that is worth asking is if that time would have been spent actually wrapping up plot threads or exploring characters as they are now. Otherwise, it would end up being like the S2B and S3 we got where we are still getting elements added, refusing to wrap up story elements, and having to drag back plot points from almost entire seasons ago (Willow and Amity's friendship), if not MULTIPLE seasons ago (Willow's lack of power control) just to do something with these characters despite it being way too late to treat those elements as relevant. There is a reason why if I hear that Dana is the lead for another cartoon, I'll probably be staying away. Not when I don't want promising statements to never have a plan behind. Not again.

Expected this to be shorter. I'm rambly though. Also just wanted to clear this out. Admittedly, it's stuff like this that makes it so that if anyone ever told me they didn't trust me as a writer, I'd understand. Not because of me wasting time but because my mental health gets in the way and can cause ideas to die as my brain just refuses to write them. How we as writers use our time with the audience is important. It leaves an impression and for me, Dana's impression is incredibly negative because I care about story, even if characters come first to me.

Sigh.

======+++++======

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

A Twitter you can follow too

And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.

[summonerluna]

For the fanfic writer ask, I'll go with my date of birthday: 2, 11, 80 🥰

2. Talk about a notable time a narrative or character has looked you dead in the eyes and said "fuck your plan, here's what we're actually doing."

Fifteen Minutes Old. It was supposed to be about Squall trying to learn more about sorceresses and learning that he didn't need all the answers to be supportive, and the pregnancy scare thing was going to be a brief note that just led to more research. I had zero interest in ever writing them as being parents and it wasn't what I saw for my post-game headcanon. Instead Rinoa decided she was GOING to be a mom, dammit, no matter how hard the journey to get there was, and it led to a follow up longfic and the creation of two characters who went on to live in an original novel because they just demanded to exist.

11. What's something neat you've learned while doing research for something you were writing? Also, how much do you worry about doing research in general?

On the "I promise I'm a writer and not Planning Crimes" line of things, I did a lot of research into neurotoxins while working on The Successor, specifically tetrodotoxin. I don't remember all the science about it anymore but it was cool to learn. Same with drowning and hypothermia and what the human body can actually survive. Recently I've learned more about the actual process of knighthood; who even would typically be considered, the training (having to run/ride/climb/SWIM in full armor was part of it), education, and social status. LoZ plays VERY fast and loose with the actual history of knighthood, if anyone was wondering.

I care VERY much about research while writing. I have had to train myself to leave placeholders while writing with a note of what to come back and research later, or else I will end up in a rabbit hole with absolutely zero words written but I'll know a lot more about George Washington's favorite bible verses. (True, recent story.) While working on The Successor I kept a tab open for moon phases and tide tables. I'm not going to promise I didn't miss something, or swap a scene around in editing and forget to correct for it, but for the most part the moon phases should correspond exactly to the passage of time, and the tides should line up to whatever month I decided to base things on (October, I think), based on the Bogue Banks tide chart. I'm a nerd, I love this shit.

80. Do you try to put themes, motifs, messages, morals, etc... in your writing? if so, how do you go about it?

Yes, but not intentionally. At least not at first. When I start a new project I get an idea and see where it takes me. If you look across my writing in general, there are a lot of themes of grief, loneliness, and motherhood, and there's no real reason for that other than they are extremely personal subjects for me so it makes sense I explore my own feelings about them in writing. If I notice I have unintentionally started adding something though I will pay more attention to it, start doing research, and make notes so when I am editing I can look for consistency. The zelink longfic I'm working on right now for instance, I realized I multiple times referenced birdsong as background noise so I started paying more attention to when, and looking up what the birds I had mentioned symbolized and looking for other ways I could maybe incorporate birds. A friend did point out to me once that I am constantly coming back to the idea of choice in my writing, which I didn't even realize I did. So I guess in terms of themes or morals I do place a lot of value on my characters having freedom to make their own choices--or trying to gain that freedom if they don't already have it. I also mention the moon a LOT, so that's a motif I suppose. I use it to denote the passing of time, and probably lean a lot into the moon as having yin energy since a lot of my storytelling is more internal and about the place and characters, than it is the yang energy of plot and action.

These are REALLY thoughtful asks! I would love to get more, and to see more of y'all reblog that post so I can see your answers!

[imminent-danger-came]

I am seeing some of the WORST takes about tdp season 4. Sweet, sweet tumblr users. This season was a lot of set up, not everything was supposed to be explained or resolved, or even "should" have been. Season 4 had to do the heavy leg work of re-establishing characters and arcs and the plot moving foreword. It just needs a little time to be able to act on everything it's now established. It did a good job building off of arc 1, and now we are fully indoctrinated into arc 2!

[theowritesfiction]

'The Crossroads of Destiny'

Aaah, here we go with the epic finale of Book 2, I have been waiting for this.

Azula ordering the Dai Li around like a queen... you know, I'm not even surprised that people watch the entire show and then are shocked to find out that she's 14. Which just makes her that much more amazing, obviously. What really makes this scene for me, though, is Ty Lee just cheerfully making tea for her girls nearby, enjoying Azula's speech and simping hard. And Mai is just loving it.

Aang lying to his friends about mastering the Avatar State... umm no I'm still salty about the previous episode and this ain't helping. 30 more Jerk Points.

Okay, Iroh using his fire breathing trick to escape Azula's trap was very neat. I love how Iroh facepalms when Zuko states that he's going to face Azula. And Azula just plays it so cool. 'You're so dramatic, Zuko.' lmao, he really is. <3 Agni Kai? lol, no thank u. I love this girl. <3

Iroh pleading with Gaang to help him save Zuko... I mean, on one hand I like that he's not proud enough to ask because he cares about Zuko that much. But on the other hand, I am still salty when he claims that there's good in Zuko, while unwilling to see anything but rot and evil in Azula.

I love the little scene when the Dai Li agent reports to Long Feng in his cell, the agent just can't stop going on about how great Azula is. Okay, guy, we get you, she really is that great.

The crystal catacombs scene with Katara and Zuko was pretty much a starting point for one of my early atla fanfics, so I've done my fair share thinking about this scene already. But it would be silly not to acknowledge how defining it is for a large part of the fanbase. I mean, this is the scene that pretty much kickstarted Zutara. And even if I no longer actively ship them, I have to admit, Katara and Zuko just have strong chemistry. Katara touching Zuko's scar, the looks they exchange when Katara leaves, it's all there if you want to look for it.  

But I have to say... Katara claiming that she was saving the spirit oasis water for 'something important' when offering to heal Zuko's scar now just makes me think back of Lake Laogai and become angry. The writers did Jet dirty, and they also did Katara dirty by implying that she would let Jet die and not consider him important enough to save his life? Screw that. We all know that Katara would have stayed behind and saved Jet. This is a shameful plot hole.

And I do love the twist of Aang dying because Katara is unable to save him because she healed Jet or Zuko prior to Azula's lightning blast. I love it when a character as hopeful and pure is sent spiraling towards full emotional breakdown and descending into darkness, as I believe watching Aang die would do to Katara. It's a tempting scenario for me to explore.

Iroh's conversation with Aang as they make their way to the catacombs... Iroh validating Aang's terrible decision not to unlock the Avatar State, you don't know what you're talking about, old man, so stop flapping your gums. 40 Jerk Points for terrible advice.

I love the scene of Toph and Sokka trying to alert the Earth King. Azula is like... I'm not even going to lower myself to fighting those two. She just ends the fight by threatening Kuei. But I love how she lets the girls have a bit of fun with Toph and Sokka. I still love the Sokka/Ty Lee flirting. Sure Sokka, you're 'involved' with Suki. You've spent less time with Suki than you have with Ty Lee. The triple-cross of Long Feng is perhaps the most iconic Azula moment. I think it's very interesting that Azula invokes the divine right of rule as her political legitimacy, when I don't think that Zuko ever refers to it - even if it IS the only reason why he has any claim on the Fire Nation throne.

Zuko making his choice... I'm trying to see how it could come across as Azula manipulating him into making the 'wrong' choice, but... she really doesn't. This decision is all Zuko. Okay, when Azula promises Zuko that he will have his father's love, she is obviously saying what Zuko wants to hear. But at the same time, Azula has a very warped understanding of what their father's 'love' even is. She thinks she has it, but we know she doesn't, not really. It's all conditional, and Zuko coming back home as a fellow conqueror of Ba Sing Se fulfils these conditions so... it's not that Azula is even lying here. And unlike on my first watch of the show, I'm not even mad at Zuko for his betrayal. It's so understandable to me now that I can't even give him Jerk Points for it.

Okay these are some of the most iconic fight scenes in the show between the four kids. Zuko for once is able to put up a good fight against Aang. Azula fighting Katara means everything to me. <3 I had forgotten how well matched those two are and Katara almost gets the better of Azula. <3 Azula using her blue flame jets to completely destroy Aang. Zuko and Azula teaming up to overpower Katara... just amazing scenes. Zuko and Azula working together are so deadly. <3

The scene of Sokka and Toph liberating Bosco is so sweet and funny. Ty Lee trying to teach the bear how to hand walk <3 Mai not even bothering to put in any effort to defend a stupid bear. Yeah, she's soooo afraid of Azula punishing her, right?

Iroh turning traitor and allowing Katara to escape with Aang was a decision that has always fascinated me, because I think that Iroh is a more complex character with more complex motivations than to just decide 'well I've finally realized who the good guys are and so I'm going to go against my nephew and stand with them'. There are myriad of other explanations. The death of the Avatar would mean the loss of hope and likely collapse of all remaining resistance. Maybe Iroh simply did not wish something like that on Zuko's hands. Or maybe he's playing a long political game.

I think the final exchange between Azula and Zuko is almost wholesome? Azula has absolutely no reason to treat Zuko decently here if she didn't want to. I don't think Ozai ever ordered Azula to capture the Avatar, so she doesn't need Zuko as her fall guy for that, because that wasn't even her task. Wasn't her task to bring back the Fire Nation traitors, Zuko and Iroh? Task achieved. She did not necessarily have to bring them both back in chains. Capture of Ba Sing Se also wasn't Azula's goal. She just saw an opportunistic chance to do it and acted upon it. And now she has a massive success under her belt with which to further endear herself to Ozai. Again, why should she share this success with Zuko, unless she actually wants her brother back?

Anyway, I've rambled long enough. This was a great conclusion to Book 2, and I'm looking forward to Book 3! In the meantime, here are the final Jerk Point standings for Book 2, and we congratulate Iroh with a well deserved victory!

Jerk Points for Book 2:

Iroh - 600 Long Feng - 560 Aang - 320 Azulon - 300 Ursa, General Fong  - 200 Zuko, Toph - 120 Ozai, King Kuei - 100 Sokka - 70 Bumi, Lao Beifong - 50 Pakku - 30

[dethkomic]

I have a theory about the Doomstar in DSR granting Dethklok their powers. Is this also true for Nita and would she be getting the same power from something similar, or perhaps the Doomstar itself?

Get ready for a marathon question-answer-a-thon because I'm sick and it's helping me pass the time, goofballs!

So, I think in answer to the above, it's a solid maybe. I don't want to come off as knowing more than I know (which is very little to begin with in a lot of respects, hurr) but the theory you've posed, I believe is widely speculated as canon or practically canon. To me at least, it looked like the Doomstar was imbuing Dethklok with... well... something. And if that's going to lead to what most fans commonly refer to as their "god powers" or whatever coming to light, then it won't surprise me.

As for Nita, she isn't a God, if that's the implied question, here. But where she gets her powers from would potentially be the same source (whatever that is). Regardless, I don't think I'll explore that until we get some solid answers from the finale, if we do. For now, though, I'm on the side that assumes your theory is correct as it pertains to Dethklok, at least. Ask anyone -- I'm always on board for supermassive celestial entities going about distributing raw power to metal bands.

And it appears you have two questions in my pile, @hercannonyourface

Yes.

Caja is her legal name before she decided to shorten it to its male form, Caj. Skwisgaar might be doing this because he's known her since she was using her feminine name, or he might be doing it to be a dick.

As a writer, I just think it's great point of interest that she's genderfluid enough to give zero shits when Toki refers to her as 'he/him' with her preference being 'she/her' (and that the script for the very next update will see her apparently referring to herself as 'daddy'), but it drives her batshit insane that Skwis still calls her Caja.

Here again, I don't want to confirm any false assumptions that I know more than I do. I am using the Falconback logo in parts of this story as a sort of branding, and not a real allusion to the project as a whole. I feel it's just easier when it comes to plot devising to utilize it as something easily associated with General Crozier (at least, for the audience... frankly I'm damn impressed Pickles' fuzzy brain was on it enough to put the fact that he saw it on a missile's casing, and again on Cherry's tracking device, together).

tl;dr: We won't see the actual Project Falconback in this story. It's too early for it. But here again, since we know how season 2 ended, I've left it open enough to allow for the conclusion of canon to happen without anything within dethkomic getting in the way. At least, I hope I did. Watch us get a "it was all just a cocaine dream" or something for an ending. okay, I'm gonna shut up and not will that into existence, right now

Oh, for sure. Can't put out fever dream art and leave people hanging.

When it comes to knowing a little bit more about the girls in general, you're going to get a lot of back-stories right out of the gates once I start chapter four, here. I realize I have a lot of ground to cover in what I'm planning to be just 25 pages of 'komic left to go, and I don't want to have all the breadcrumbs I've been leaving lead to nothing.

You might be able to discern a few things from just the questions I've answered here, in fact, but I promise there's a lot more on the table, and I do have a script laid out that takes it somewhere. That goes for all corners of this question and what it could mean: The girls themselves, their mission and what it really is, as well as their connection to Dethklok on the prophecy front.

That's all I've got the brain power for, for now., gang Thanks for your questions as always, and remember... Dethkomic loves you!

[obuanita]

Sylvie's Love Movie Review

Hey Romantics,

I just got finished watching Sylvie's Love, which is available to watch on Amazon Prime and it's free if you have a subscription.

The movie is starring Tessa Thompson and Nnamdi Asomugha, who also produces the movie.

The movie sets place in Harlem during the 1950's, where Sylvie meets a sultry saxophone player by the name of Robert. They have a sweet, passionate summer romance until he finds out that he'll be touring Paris with his bandmates. Sylvie goes back to her bourgeois engagement but her love for Robert remains within, after finding out she is pregnant.

They go years without seeing each other until one faithful night.

Both characters are lovers of the arts, Robert a lover of jazz, and Sylvie a lover of TV

What I learned from the film is that pride will kill your relationship. This goes for any relationship but romantic ones especially. We are so scared to be our authentic selves that we are willing to settle for people, places, and situations that don't truly make us happy. We find Sylvie in a superficial marriage that meets the standards of her former debutant lifestyle. I can't really say that she was in a loveless marriage but her husband Lacy, made her promise that her career wouldn't get in the way of her homemaking duties. He continues to boast about his own success claiming that she won't even have to work despite the fact that Sylvie is working on her career in production.

Now everyone has their own definition of what a good relationship is but a relationship where a person's ambitions and desires aren't respected is a loveless relationship to me

Another time we see pride take it's toll is when SPOILER ALERT!!

Robert leaves to check out a job for Motown Records. He was tricked out of his luck his first visit and came back with nothing. Right before he gives her the news we get a glimpse into his memories and it's revealed how much he really admires her for the woman that she is not just someone he's fallen in love with.

He says 'I just wanted you to be happy even if I couldn't be a part of your life' and honestly that's the greatest love of all.

Unfortunately, Robert felt the pressures of being a Black man who's unable to provide for his family so he decided that it would be best for him to leave so he wouldn't hold her back even after meeting his daughter. That scene was sad to watch for a number of reasons. Robert didn't value himself nor his relationship enough to see that being a stay-at-home dad/husband was and is a beautiful thing. This is the 50's so I know but it was still sad to watch

Storyline aside, the cinematography was freakin' gorgeous. The color schemes and the lighting looked amazing on all the actors and really transported me back to 1950's Harlem. Tessa Thompson and Nnamdi Asomugha had beautiful chemistry and I could feel how kind and genuine their relationship was. The movie was an hour and a half long but the dynamic between the characters made me wish the writers explored their relationship on a deeper level. I was captivated through and through.

I also loved that the movie showcased the relationship between African American jazz and French culture and how they intertwined during those times.

10/10 would recommend

I wanted this review to be simple since it's my first one so I just pointed out the storylines and plot points that stood out the most to me I hope you've enjoyed it and don't forget to listen to my Spotify playlist, Coming Of Age Movie

Stay lovely, stay hopeful, stay romantic

Love, The Hopeful Romantics Club

[elizabethrobertajones]

With how things are going, I have to wonder - did TPTB give us the Huevas as a 'there, we don't hate gay people' token and were we wrong in reading it as a subtext-to-Destiel thing? Lizbob, I'm getting desperate. The 'so introduce me' line was so - it's what you say to kids, right? And the UST is completely gone... :(

Hi there! 

Is this because of this post from the other day where the line about “twice the worries about being ganked” was put under some destiel stuff to show that Dean had in fact doubled his worries about getting ganked? And also explains why he keeps telling Cas not to do anything stupid, because he’s worried, and not because he thinks Cas is actually stupid… Buckleming dialogue or not it’s calling back to 12x10 where Dean had to clarify this for Cas and admit he can say stuff like that when he’s worried. I’m not saying it’s very nice to keep on heckling Cas instead of just saying he’s worried, although I do feel the choice of writer really waters down the nuance in how that scene could have gone which would show Dean actually learned anything from 12x10. And while Cas shouldn’t have to expect to deal with Dean caring about him this way, at least we’ve already covered this in the text :P

But anyway, to me personally I just don’t write about Destiel that I see in the show with expectations that it will go canon, not because I’m negative or wanky about it (although, usual disclaimer, of course I’m very opinionated on if it SHOULD and the obligation the show has to do what they are constantly teasing, I just separate out these two things to write about the present moment of the show and the future, one of which takes a lot of explaining and one of which is extremely one note obvious of “make it gay, you cowards”), but just that I don’t want to engage in the cycle of optimism/despair that having Destiel hopes causes, specifically because I’m a popular meta blog that writes about Destiel in the text, and also because of people like you who get their hopes up and then get hurt.

I will probably merge expectations with demands when the show is actually definitively heading towards the end and we all know it is and it’s out there on the table. In the mean time, I’m happy to let this all carry on as it’s carrying on without feeling like there is a deadline or set moment for any one thing to pay off for us. The show takes its sweet time to address things which seem OBVIOUS, for example looking at the way side characters disappear and return sometimes like 3 or 9 or 13 years after we last saw them to get some closure on something or other. And it takes them years to chase down a main arc idea and pin it successfully. And some of the reason character development stuff links so well back to season 1 is because the progress Sam or Dean has made on it since season 1 has been in a series of recursive loops which seem to get somewhere only to be pulled back without reaching actualisation and either start again immediately or crop back up in the text much later as a character arc, starting over again as if it never really reached its conclusion. 

Dabb era has been good about excavating some of these more ridiculous concepts and putting them on some no-going-back type arcs, for example for better or worse the issues they have with Mary have *utterly* shifted ground and can never go back to the same background noise they used to be. Mary is no longer a childhood memory and enshrined as the family martyr, and as I talked about a lot over the last hiatus doing rewatches, the attempts to make her deeper/tie her into the mythology, never actually addressed a change in the way they felt about her, maybe not even realising it wasn’t healthy for them to feel that way about her for the rest of their lives in the difference between normal mourning and revenge quests etc and how that meant they could never leave her behind and move on. I mean there’s a LOT of work to be doing with them if there’s any sort of happy ending to come, but since Carver era the writing has spent so much time trying to understand why they feel bad and putting them through hell for it, and especially in Dabb era now doing work to make them recover and to explore ways they can change, that it seems really depressing to waste the good work by killing them off. So that’s a sort of broad optimism about what they’re doing :P

But that broad optimism is really as far as I’ll dare to venture about endgame, so talking about Destiel is mostly about what I see in the text and how it relates to their character arcs and how I see that informing them and therefore hopefully if there is a happy ending, the intrinsic way this relationship matters to Dean and Cas will get happy pay off as well, because of all the aspects being explored in their character arcs, their relationship ties is all together so nicely and what they would benefit from each other would cement a happy ending for them.

I can’t be completely responsible for the impression people get about what I want from canon in the stuff I reblog but I’m really hesitant to go past lines like nervously laughing and doubting what’s going on in canon as a joke about how Destiel it all looks, while trying to avoid posts that talk about how inevitable it is without some very good reasoned discussion that I agree with. I try very very hard to make this blog always toe a line of enjoying what I enjoy without trying to sell too much or sound like I’m promising something. I like a lot of stuff like re-exploring old seasons or what I did this summer over my rewatch, looking back on old canon and looking at how it has all the unwitting groundwork for the story that ended up being told, and where all the character arcs start and how they’re used in later canon etc.

I agree a theme the last few years has been digging up this character stuff and making it extremely clear or textually stating things for the first time, and especially this year coupled with themes of misinterpretation or not reading the picture correctly or working on misinformed intel. Dramatic irony has never had that much importance in telling the story either. This season has been really intelligent about these themes and last season did a LOT of stuff with characterisation to show how they understood them and old character stuff they were resolving or exploring for the sake of improving the characters. Cas got a final build up for his depression arc to lead him to the worst possible point, and he’s now on the other side of that so the only way is up. Performing!Dean got completely dragged in some episodes, especially 12x11 which did it kindly and gently, and 12x22 which just used a grenade launcher to do it :P 

There’s a lot going on but I don’t really like saying it all inevitably ends up pointing to canon reveals about Destiel, especially when that’s the most contentious thing and really hurts a lot of people to build up expectations like that, and it makes people angry or makes them fall out of love with the story because they lose objectivity and start making angry demands about when they get their emotional pay off, even though the story is still unfolding. Stuff which is happening along the way for later character pay off is seen as trashing the character and everything they previously stood for, and it becomes miserable for everyone. I’ve seen this happen in every single faction of the fandom and it’s nothing to do with the quality of the writing or actual treatment of the character/relationship, and an awful lot to do with poorly managed emotional investment and said investment being a finite resource. It’s UTTERLY depressing to watch a fandom friend melt down and begin to hate everything you once loved and I think watching that process has a lot of toxic fall out for everyone else around them who also loves the thing, because we sympathise and we’ve been watching it in slow mo and probably agreeing with a lot of the initial problems they have before it escalates. I HATE watching that happen. I will try as hard as I can to never be responsible for causing it in other Destiel shippers, so I try to make my jokes and comments stay as much as possible on the side of not trying to imply the show has any huge Destiel plan that we’re seeing the early stages of and patience will make it bear out. Because that’s not even how I see the show anyway but sometimes things like Dean giving Cas a mixtape create a *lot* of hyperbole and I’m not emotionally responsible for you all, technically, so I am allowed to have some fun :P 

All this is to say, I’m really sorry you’re feeling desperate and have been reading everything as signs we’re definitely getting Destiel, because there are no signs we’re definitely getting it, but there’s also no signs we’re definitely NOT getting it, and a whole bunch of murky grey area including an entire show worth of supportive subtext, character interaction, main text and plot arcs which back up the *existence* of Dean and Cas being madly in love with each other. The wank comes when you spend all your time harping on one or the other extreme, assuming everything is signs or proof/not proof.

I think the recent storytelling has been extremely positive towards Destiel and put an awful lot of it into the text, to extremes which have never really happened before: season 7 with dead Cas used that to get some understandable angst out of Dean, but it constantly emphasised how everything sucked, Cas had of course betrayed Dean and caused all their problems, both personal and mytharc, and so resentment and anger were mixed with grief, and for the most part as much as stuff was happening to them emotionally, the episodes weren’t intrinsically structured around showing what the grief had done to Dean, or that he stopped functioning without it. Compare the kid gloves about what Dean does in 7x03 killing Amy, and how it tentatively links back to Cas but only when Dean admits that he’s had a hard time trusting anyone after Cas, to Dean vs Jack culminating in Dean screaming in Sam’s face about how Cas’s death has hurt him and he can’t unsee it on Jack. 

And then of course the whiplash on getting Cas back, which Dean never had in season 7, and at best 8x08 was that episode - like a year after Cas was alive again and a whole fresh round of death and guilt and Cas coming back later so in a completely different context. And still nowhere near as good as what happened in 13x06 because there was still a lot of tentative TFW rebuilding to do in 8x08, while by now it’s completely accepted they’re a family unit and it’s been textually stated several times and 12x12 especially was tuned to showing how absolutely final that statement is. There’s no need to be tentative when Cas comes back now - Dean can just let go and enjoy himself for as long as that lasts.

I’ve been answering asks about the UST being gone since I’ve been in fandom, like, season 10, and I do kinda think that the heyday is ONLY seasons 4-6, after which Cas and Dean actually like each other and their relationship moves to more comfortable ground, and romantic tension and coding is way more the order of the day from Carver era onwards. There’s a few things like the boner scene or Dean in the car in 9x06. TBH 13x06 was the first time in ages I thought we’d actually had a scene where the two of them were having sexual chemistry, in the obvious mirror scene to the car in 9x06 bit, but also the entire underlying joke about Dean’s ‘cowboy fetish’ that Cas knew about from season 6, his entire reaction to it, including complaining that Dean made him wear the hat but then voluntarily playing along *for Dean* on their way into the crime scene, his FACE while doing that, and Dean’s reactions to Cas through all this. For the most part they’re considerably softer and more hesitant with each other and that involves much less interaction right up in each others’ faces and much less frustration which then translates to UST quite easily as well as being regular old tension. 

In addition to that, the “i do” and that hug scene apparently convinced people in living rooms across the world that Dean and Cas had been about to kiss and that it was horrifically romantic, and a fake out which genuinely shook people into seeing something going on there who had not previously seen it and even actively disbelieved their shipper friends and family. Of course that’s all down to how Dean and Cas look at each other as they come in for the hug, so their magnetic attraction to each others’ faces is still an ongoing issue :P 

Their interactions are being told in a pretty different way these days, which includes a lot of romantic stuff which is far more overt, and in making their relationship intrinsic to the plot and to each others’ own feelings, all of which I’ve written about so much lately because, well, it’s the main thing going on around here :P I actually feel like this is an extremely good time for if you care about their relationship, to get it in the story as a powerful force and important piece of the story. Things like the issue of clarification - I vs we, and need vs want - are coming back around as themes and that means the issues they’ve caused between Dean and Cas are being addressed or examined again, hopefully to some permanent end. And if not, at least so there’s a fresh examination in recent canon, although as I was saying Dabb era has been changing things in ways it’s hard to back off from later, like that Dean has repeatedly clarified to Sam that his feelings about Cas are the cause of his behavioural changes, even if he doesn’t say what those feelings are, it’s clear that they are affecting him. I mean there’s a part of me that has to read it that Dean hasn’t even realised exactly why he feels differently about Cas than Sam does, he just does… :P

Anyway I really just didn’t want to reassure you without addressing the fact I hate reassuring people things without trying to avoid causing more problems later. I don’t want people to feel strung along either by the show or by ~meta writer promises~ … which, aside from a few people who really were doing it for attention, generally seem to be from people actually just reading the text and being hopeful themselves, not trying to make a cult gathering or get attention or even just try to hurt people. I really urgently would like people to be more credible about where their hopes are coming from and how to feel about it. 

Not to say that you should stop believing everything you hear meta writers say, by a long shot, but to evaluate how likely you feel the speculation that comes from that can be, and how much you do and don’t agree with the analysis they make. And if you agree with the analysis and do see that all the Destiel stuff people point out IS in the show, then you can see that it’s there or not, and decide how you feel about what the show is doing with it as a separate thought. I’d rather not get caught up in pt.2 of it because it’s just frustrating and depressing at this stage of the game, but pt.1 is fascinating to me, it doesn’t detract for me personally to have it not unambiguously stated, and whether Destiel does become unambiguously stated or not I don’t think *any* of the Destiel analysis I agree with/have made is *wrong* because that reading is freely available to make, in large print text and accompanying audiobook >.> 

[happy-trash-panda]

EVERYONE SHUT UP AND READ

THIS

I am seeing some of the WORST takes about tdp season 4. Sweet, sweet tumblr users. This season was a lot of set up, not everything was supposed to be explained or resolved, or even "should" have been. Season 4 had to do the heavy leg work of re-establishing characters and arcs and the plot moving foreword. It just needs a little time to be able to act on everything it's now established. It did a good job building off of arc 1, and now we are fully indoctrinated into arc 2!