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flowerandblood · 3 months

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The Lost Haven (4/16)

[ modern mafia • Aemond x niece • female ]

[ warnings: uprotected sex, drunk sex (with consent), incest obviously, smut, fingering, the angst, suicidal thoughts, description of cruel physical violence, bad, bad things ]

[ description: The vacation from eight years ago still haunts his memories and doesn't let him forget what happened between him and his niece, the daughter of his sister and Harwin Strong. Their paths separate and he immerses himself in his father's mafia world until the day she calls him for the first time since those events. Sexual tension, dark, dangerous, withdrawn, thirsty Aemond. ]

Author’s note: As promised, this is another, this time official modern version of The Fall from the Heavens. In this version, Daemon is not related to the family, but is simply Rhaenyra's husband and the leader of the second gang, Alys and Larys are also not related to each other, but Larys is Harwin's brother. I will partly refer to the original series, hiding some easter eggs, and some will be a completely new, fresh plot. As in every universe, only Aemond calls her Rhaenys and this is not her real name (she is unnamed character and the others also do not know that he calls her that). There will be a lot more brutality and angst in this version, so watch out. You can read this as a standalone story. Song used in this chapter: Every Breath You Take by The Police

Series & Characters Moodboard Aemond & Rhaenys Moodboard

* English is not my first language. Please, do not repost. Enjoy! *

Next chapters: Masterlist

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Over the next few days, Daemon tried to get out of her what had happened and who had put the rape pill into her drink. To his fury, she lied that some guy she didn't know had done it, afraid of what would happen if her stepfather declared war on Larys Strong.

She figured this man wanted just that.

Chaos that he would be able to cash in on, using what was happening to destroy them.

"I do not comprehend you. From now on, I or your mother will be dropping you off and bringing you back from your classes at the University. No meeting friends or going out until you come to your senses." He communicated to her coldly and she replied nothing, not having the strength to stand up to him.

It wouldn't do any good anyway.

Although she should have been worried and terrified, she felt a strange kind of excitement and tension because her uncle, whom she hadn't seen for eight years, had really taken her out of there.

He had really helped her.

She closed her eyes, remembering the touch of his warm, broad hand on hers and his voice, so different from his childish one, deep and low.

Her heart beat harder at that memory, a pleasant, familiar warmth rippling through her lower abdomen.

She felt she had to write him something and after hours of thought she simply wrote the usual thank you. She couldn't stop the feeling of disappointment that spread through her body when he didn't write her back, even though she checked her phone once in a while.

For some reason, she had naively believed that something would now change between them, that she would regain contact with him, that his person would return to her life making her able to finally close this difficult chapter of her past.

However, he remained silent, exactly as he had done for eight years.

She thought it would stay that way until it turned out that her grandfather was organising his sixtieth birthday party with pomp and her whole family was to attend.

"No." She heard Daemon's voice standing in the corridor, overhearing in silence their conversation which he was having with her mother in his office. "There's no way I'm shaking that whore's hand."

"Daemon. My father is dying. You can only show up for a little while and then lock yourself in a hotel room. None of us like it, but I don't want to say no to a man who may not be among the living tomorrow."

Although no one seemed to be happy about it, they were all going to travel there and with each day approaching the event, she was panicking more and more.

She was going to see him for the first time in eight years.

He had no Facebook, Instagram or any other social media accounts: she had no idea what kind of person he was now, what he looked like.

She was afraid that seeing him would make her feel disappointed, that something inside her would finally snap, that the thought that all was lost would make her fall into a state she would never get out of again.

In addition, no one but her knew about what Larys Strong had told her.

Otto Hightower had ordered the murder of your father.

How was she supposed to look that man in the eye?

How was she supposed to look her uncle in the eye knowing he worked for him?

Driving there in their big, black Mercedes she felt like she was about to throw up, her heart pounding like crazy, making her head spin.

"Are you all right? You're pale. I don't want to go there either." Said Jace, glancing at her over his shoulder from the front passenger seat.

Daemon, who had been driving while her mother, following behind them drove the other car, looked at her in the reflection of his mirror, throwing her a piercing, menacing look.

He knew she was hiding something, he could feel it, and the tension between them grew more and more.

When they arrived, they were all searched: no guns were allowed inside.

This was to give the guests some sort of sense of security.

As they walked into the great hall, she was overwhelmed on the one hand by how many people were there, but on the other she was glad to disappear into the crowd. She felt her heart stop for a moment when she spotted Aegon talking to his mother – his blonde hair was pulled back, his jacket carelessly thrown over his shirt, sunglasses on his head.

She spotted Viserys sitting next to him, she spotted Helaena, she even spotted Otto measuring her with a focused gaze, but she didn't see him anywhere.

She felt a wave of disappointment at the thought that he would not come.

As they sat in their seats, searching for their name cards, she felt she was on the verge of crying.

He won't come because of her.

He would never forgive her.

They were served starters and drink, the loud music and the conversations of the people around her made her feel like she was at a wedding, only the guests were individuals she wanted nothing to do with.

She saw how tense Daemon was, looking around the room impatiently, throwing Otto Higtower a warning glance once in a while.

She saw out of the corner of her eye that someone had entered the room and froze, recognising him instantly – he was looking at her, his healthy eye wide open, his nostrils quivering with each of his deep, anxious breaths.

She was taken aback by how tall he was, how drawn and sharply defined his jaw and nose were, his pale, long scar running from his eyebrow arch to his cheek.

He was dressed all in black, in a leather jacket and turtleneck tucked into belted trousers, his short hair, although visibly styled in a hurry, looked elegant.

She wanted to get up, to approach him, to thank him for everything he had done, but as she rose from her seat he immediately turned his head away, something akin to disgust flashed across his face, from which she felt a squeeze in her gut.

She watched, feeling like an idiot as he took his seat next to Aegon and turned tense, thinking that she needed to get out of this place as soon as possible.

She walked out into the garden and headed towards the pier, wanting to be alone – she felt like her heart was about to leap out of her chest, burning tears squeezed under her eyelids, wanting to run down her face.

He couldn't even look at her.

He just pretended not to see her.

She couldn't say why it hurt her so much, why she couldn't let him go when he wanted it so badly: she felt there were years of unsaid words between them, wrongs that had never been made up for.

There had been no apology or explanation from anyone's lips, nothing to help her get back on the right track.

She sat on the wooden platform, staring dully into the black surface of the water, thinking about how it looked in the starlight as if it were some disgusting, dark, dangerous thick mass.

She had a feeling that if she jumped into it she would be all sticky.

She shuddered as she heard someone's footsteps, convinced for some reason that it was Daemon who had come out after her, unable to bear sitting with all these people alone. As she turned over her shoulder she froze, noticing him and stood up quickly, terrified by his gaze, piercing and cold, his eye wide open.

Her heart pounded like mad, her breath heavy in her chest as she watched him pull a packet of cigarettes and a lighter from his jacket pocket, his gaze fixed on her face.

"− what were you doing there? −" He asked finally.

She shuddered to hear that his voice was exactly like the one in her dream: cold, deep and low. She swallowed hard, overwhelmed by how close he stood to her, that he had come to her, that he smelled of some intense, masculine perfume.

"− what do you mean? −" She choked out with difficulty, unable to take her eyes off his face.

He took his time answering − he leaned with the cigarette between his full lips over the flame, its tip lit red and hissed as he took a drag.

"− what were you doing in that club −" He hummed. "− looking for a new experiences? −"

Something in the way he said it, mocking and amused, made her feel discomfort and pain in her chest. She furrowed her eyebrows, unsure of what she should answer to such a brazenly asked question, surprised by his directness.

His lips tightened in displeasure, something in his gaze changed – she had the impression that his iris had turned completely black as he puffed out smoke with his mouth, the smell of tobacco filling her lungs.

"− I don't like to ask twice −" He said coolly, making an unpleasant shiver pass along her back. She swallowed loudly feeling that her whole body tensed, ready to run away.

There was something about him that she feared, as if he wasn't fully human.

You don't even know what monsters lurk in the shadows.

"− I wanted to find out how my father died −" She said finally, wanting to see how he would react to her words.

To her surprise, he burst out laughing, however, it was a downright chilling sound that had nothing to do with genuine amusement. He tapped his finger on his cigarette, causing ash to fly to the ground.

"− and what did you find out? −"

She looked at him with big eyes feeling her heart in her throat, wondering if she should tell him, if she should confront him.

Will he kill her for what she says?

Will he hurt her family?

Despite the questions in her head, it seemed to her that her words had left her mouth without participation of her will.

"− that your grandfather killed him −"

He stared at her for a moment, surprised, his hand frozen in mid-motion to his mouth as he laughed again – this time it sounded like a low chuckle.

"− who told you that? − Larys Strong? − was he the one who dragged you there? −" He sneered making her feel a cold sweat run down her back.

How did he know?

Seeing the look on her face he grinned in a way from which she felt a shiver sweep through her − her breath caught in her throat as he took a few steps towards her, towering over her with an expression on his face from which she could read nothing, taking a drag on the remnants of his cigarette.

"− it was Larys who reported him − after the death of his father and brother, all the fortune fell to him − my grandfather just passively looked on −"

She felt as if he had stabbed her in the heart with his words − the real pain in her chest made her open her mouth wide, her eyes filled with tears of horror.

Larys had used her like a silly little girl.

He had planned everything.

"− did you know about this? −" She muttered, for some reason wanting to believe he had nothing to do with it.

The smile disappeared from his face, as if her question had frustrated him.

"− everyone knew −" He replied. "− he passed sentence on himself when he started talking with the police − his days were numbered anyway −"

His answer made her simply move ahead, bursting into a sudden, hysterical sob, as if everything she had held inside her for the past days, months, years, had poured out of her like a dark, viscous, thick wave that could not be stopped.

Everyone knew.

She sighed and squealed when she felt his wide hand clamp down aggressively on her arm like steel tongs, turning her violently back towards him, causing her pain. She tried to push him away, panting and whimpering, something about his movements, his brutality, the ache he was causing her gave her pleasure.

Some part of her felt she deserved it.

Some part of her wanted him to kill her, to strangle her with his own hands.

She sobbed when his hand tightened on her hot cheeks, wet and red from the tears that flowed down her face, forcing her to look at him − his wide-open eye seemed completely black to her, his lips parted in a heavy, drawn-out breath swollen with excitement and rage.

He was so obscenely close, watching her as if she were some pretty, interesting, expensive object, the smell of his perfume, his sweat and his cigarettes made her dizzy, everything around them seemed blurry to her.

"− don't you miss your favourite uncle anymore? − hm? −" He breathed out at last, his words on the verge of a hiss, his face so close that the tips of their noses rubbed against each other once in a while.

There was a kind of desperation and helplessness in what he was doing, in his words, in his gaze fixed lustfully on her lips, as if he wanted to bite her.

The person in front of her had killed the boy she loved and she knew it perfectly well.

"− I don't recognise you − God, I don't recognise you −" She mumbled at last, feeling the warm tears of grief run down her cheeks.

She closed her eyes, thinking that he could do whatever he wanted to her − strangle her or throw her in the water – she would let him do anything as long as she finally stopped feeling anything.

She squealed in pain as his fingers dug into her tender skin as hard as if he wanted to break her jaw − he took a loud breath through his mouth and shuddered as if something in her words had broken him.

"− good − because I don't fucking recognise myself either −" He hissed out in a trembling, dispassionate voice full of pain from which she felt hot in her heart.

A quiet sigh escaped her lips as his forehead pressed against hers, accepting at last that his brutality stemmed from a need for closeness, a need to take by force what he was sure she would never give him of her own free will.

Something in his words and in his gesture of despair made her hands, clenched until now on his jacket, rise higher, to his neck and to his face, running slowly over his jawline. He sighed and shuddered, feeling it, closing his eyes for a moment, the grip of his fingers on her cheeks easing.

She felt her nipples harden under the material of her dress, felt the space between her thighs swell and pulsate at the thought of what she wanted to do.

The moan that involuntarily escaped his throat when her fleshy, moist lips ran over his sounded sweet and innocent, the lick of his tongue that was his response made them cling to each other in a violent, loud, sticky kiss.

It had nothing to do with a gentle caress because it seemed to her that they were simply trying to devour each other − their hands clamped down on each other's bodies as if they wanted to merge into one, their slick tongues meeting again and again between their teeth, licking and teasing each other with loud clicks of their saliva, stripping this act of any sense of innocence.

They knew it was wrong and that's why they wanted it so badly, so when his fingers tightened on her plump buttocks, pressing her against the throbbing bulge in his trousers, she felt her sticky wetness run down her thigh, her hands clenched on his hair, letting him know he could take what he wanted.

"− it's your fault − it's your fault −" He panted into her mouth between deep, passionate, messy, hot kisses, his lips beneath hers swollen and wonderfully wet – he tasted of mint chewing gum and cigarettes, something forbidden, strange, terrifying.

He was a monster, and she wanted him to devour her.

There was no longer a lamp to light for her.

"− mghm −" She mumbled as she felt his hips begin to roll back and forth, rubbing deliberately against her lower abdomen, his tongue thrusting again and again deep into her throat, telling her that he could fuck her, he could destroy her, he could take everything from her, and she felt a wonderful heat in her lower abdomen at the thought.

She wanted him to do this to her.

She wanted to know what it would be like to feel him there, deep inside her.

What it was like to have someone devour you with every thrust of his hips, every loud sigh of desire that was wrong in itself, what it was like to experience fulfilment on the brink of revelation.

"− are you sure you saw her here? −" She heard Daemon's voice and froze, pulling away from him instantly.

They looked at each other with big eyes, pale and terrified, panting hard and quivering as if they didn't recognise each other.

Oh God, oh God, oh my fucking God!

"− I'm here − I'm coming −" She called out in a trembling voice and ran towards them, towards the light, seeing the silhouettes of her step-father and her brother standing just inside the entrance where two evening lamps were lit.

Back to the light, back to the light, back to the light.

Oh God, oh God, oh God.

Daemon furrowed his brow as he looked at her, his gaze fleeing to the side, far away to the silhouette of her uncle standing in the distance.

"Did he do something to you?" He asked coldly.

"N-no. No, I just thanked him for what he did for me. Let's go inside." She lied, stepping back into the hall, struck immediately by the loud music, Every Breath You Take was playing all around her, dancing pairs of businessmen, gangsters and drug dealers made her feel like she was about to vomit.

Oh, can't you see You belong to me? How my poor heart aches With every step you take?

"Mum, excuse me, will you show me what room I'm going to sleep in? I feel bad." She muttered with difficulty feeling like she was suffocating, her heart pounding like mad.

His tongue deep in her throat, his heavy breath smelling of cigarettes and mint, his swollen lips pressed against hers as if he had been dreaming of this moment for years.

This is your fault.

Rhaenyra stroked her shoulder, worried, and rose from her seat.

"Are you sure? There will be birthday cake and wishing soon." She said softly, but she shook her head, the words of the song echoing around her had her on the verge of crying.

Since you've gone, I've been lost without a trace I dream at night, I can only see your face I look around, but it's you I can't replace I feel so cold, and I long for your embrace I keep crying, baby, baby please

"I can't make it." She whispered.

She and her mother went to get her backpack with her things from their car, and then they walked to the hotel part of the manor − the lady at the reception gave them the right key, and her mother escorted her to her room wanting to make sure she could manage.

"Do you need anything? Shall I give you some pills for a stomach ache?" She asked, but she shook her head quickly, opening the door with her card.

"No, thank you. And I'm sorry. Have a good night."

"Don't apologise, my love. Sleep well."

As she closed the door behind her she turned on the light and saw that her room was tiny: it contained a small toilet, and beyond that a single bed, a desk with one chair and a wardrobe for clothes.

She pulled off her dress, washed her face and teeth, then changed into her pyjamas, which were really just an oversized white T-shirt and panties. The night was warm, so she turned off the light and opened the window, lying down in bed.

She tried not to think about what had happened, about how wonderfully he had kissed, about how she had never felt with any boy she had dated what she had felt with him, after years of separation.

She thought she was broken, that she was attracted to something that would help her destroy herself.

Even though her whole body screamed for her to relieve herself with her hand, to sink her own fingers into her warm folds, leaking with desire, she decided that she would not do it, that she would keep the remnants of her dignity before herself.

She fell asleep only hours later from exhaustion, dreaming of him, of him coming to her, of him taking the pillow in his hands, only to press it to her face.

She shuddered, terrified, seeing only darkness around her, hearing some noise. Only after a moment did she realise that someone was knocking on her door.

"− Rhaenys − fuck −" She heard his unclear mumble indicating that he was barely conscious and drunk. Her shoulders lifted in some subconscious defensive gesture, her lips parted in a terrified, accelerated breath.

Oh no, oh, God, no, no, no, no.

She heard a rustling and a thump, as if someone had fallen over, her hands clenched into a fist on the fabric of her duvet.

"− I want to go to sleep −" He muttered so that she barely heard him. She covered her mouth with her hand, feeling that his words, his request, what he subconsciously wanted was tearing at her heart.

He wanted to return to that moment, to fall asleep beside her as he had then.

It frightened her how well she understood him.

She stood up on trembling legs, feeling that they were as soft as cotton wool, and walked quietly to the door, pressing the handle slowly. She looked uncertainly out into the corridor, afraid of what she would see – his silhouette sat on the floor leaning against the wall, his head bowed, a nearly empty bottle of whisky in his hand.

He was not coping.

"Come." She whispered.

He shuddered and lifted his gaze to her, his stare soft and dishevelled. He muttered something under his breath, trying to get up, but fell over, collapsing to his knees, his bottle falling out of his hand, spilling its contents on the floor.

"− fuck −" He growled, wanting to reach for it and pick it up.

"− no − leave it − come inside −" She mumbled quietly, afraid someone would hear or see them.

His body was heavy and numb, making her help him up with great difficulty − he had to grab onto the frame of her door and lean against the wall to keep from falling over, and after a moment he slumped down on her bed, sighing heavily.

She closed the door behind him, swallowing loudly, and walked slowly towards him. He only flinched when she untied his shoes and pulled them off his feet, but furrowed his brow, displeased when she tried to pull his leather jacket off him.

"− you'll be too hot −" She muttered, slipping it off his shoulders but unable to pull it from behind his back, which was crushing the material. She squealed, surprised, placing her hands on his chest for balance as he drew her down with a sudden, sharp movement, causing her to fall against his body.

"− come here − God, you smell so good −" He exhaled making her moist insides pulsate greedily around nothing, a pleasant, tickling sensation filled her lower abdomen as his fingers ran through her hair in a gesture she might call affectionate.

He forced her to bend over so that her body clung to his − his thighs parted so that she could feel what was happening to him, how hard he was because of her proximity, while his lips clung to hers with a loud, messy click.

He smelled of alcohol, the taste of whisky melting on her tongue with each of his wet, hot, hungry licks − his hands slid from her neck down her back to her buttocks, slipping under her panties, his fingers digging into the soft texture of her skin.

"− tell me to leave −" He gasped out. "− tell me to stop −"

She moaned softly into his moist lips, knowing that she should do it.

But she didn't.

She felt his erection pulsate hard beneath her as she let the motions of his hands guide her body, rubbing against the bulge between his thighs, her weeping cunt all hot and swollen with desire, leaking with longing.

How could she let him do this?

How could it be so pleasurable?

She got the answer to her questions when his fingers slid deeper between her legs − she squirmed in his mouth, simultaneously terrified and delighted when the tips of his fingers found her hot, throbbing slit, slowly teasing her opening.

"− shhh − easy now −" He whispered in such a way that she felt a tickling shudder run through her lips, nipples and insides making her wetness begin to drip onto his hand, the circular motions of his fingers pressing wonderfully into her sticky folds began to be accompanied by the quiet clicks of her moisture.

She moaned into his mouth like a helpless little child − he hushed her as if he wanted to soothe and calm her, one hand placing on her head, combing his fingers through her hair, the other teasing her puffy little bud, once in a while running over her entrance, making wonderful waves of heat flow again and again through their bodies.

Their kisses became deep and lazy as they concentrated on the movements of their hips, rocking them so that they brushed against each other.

She shuddered and squirmed, shocked when she felt the tip of his middle finger sink between her fleshy walls, soaking wet with desire, sliding in and out of her with the sticky sound of her moisture, making her hips roll back and forth, coming out to meet him.

"− uncle − we can't − we can't, we can't, we can't −" She mumbled out, feeling his tongue thrust deep between her mouth with his sigh of pleasure, repeating the movements of his finger between her lips, her hands roaming over his cheeks and hair, stroking him tenderly as if she loved him.

As if she loved him.

"− we can − we will − we need to prepare you properly − shhh −" He gasped softly, making her body arch in a spasm of pleasure, a helpless, girlish moan ripped from her throat as his finger sank fully into the hot, soft structure of her throbbing cunt.

"− please − it's wrong − God, it's so wrong −" She whimpered, feeling tears of terror begin to run down her cheeks, her hands clenched on the material of his black turtleneck, her hips falling and rising on his finger, seeking fulfilment.

They both knew it wasn't enough.

"− shhh − I know, baby − I will take care of you − I got you −" He whispered as his free hand from her head slid down between their bodies, undoing his belt and the button of his trousers − she cried out loudly as she felt him slide them down along with his boxers, his fingers slick with her wetness pushing the material of her panties aside, directing her swollen, pulsing slit at the head of his cock.

"− please, Aemond, please −" She mewled, trying to pull away at the same time and spreading her legs wider, involuntarily allowing him to open her wide on his thick, long erection.

"− let me − I need you −" He exhaled, tilting his head back only to look again a moment later at their bodies, at what he was doing to her, at the way he was forcing himself deep into his niece's body.

The experience was wonderfully painful and pleasurable, as if something that had remained empty had at last been filled, as if she was at last whole, as if his body had always been part of hers.

Her walls offered him only apparent resistance, clenching against him in delight, his quiet, helpless moans were evidence of how good it felt.

She let him sink into her fully, sitting up on top of him, placing her hands on his chest, surrendering − she tilted her head back as his hips with deep, sure thrusts began to slam his cock into her body, his fingers clenched on her soft buttocks.

"− I − ah − mghmmm − G-God −" She mumbled out, bursting into sobs, parting her lips wide, leaning lower, letting him rub her with each stab where she needed it − her silky walls began to throb around his erection, soaking him wet, their breaths heavy and hitched, full of helplessness and vulnerability.

She felt strangely full, with each movement of his hips deep inside her body realising what they were doing and how sickeningly pleasurable it was.

"− thaaat's it − that's my girl − fuck, so good −" He exhaled, drifting off completely into the world of his fantasies, with steady, deep pushes building their way to fulfilment.

She thought in disbelief, panting heavily, that the experience of feeling him inside her was something almost spiritual, a revelation of sorts, her body rocking to the rhythm of his thrusts without involving her will.

What they were doing seemed both animalistic and natural to her, as if it was obvious that it had to end this way.

"− just a little more − please, just a little more − let me cum inside, baby −" He mumbled softly, his hands spreading her buttocks apart, allowing him to sink deeper into her fleshy core − she leaned over him and kissed him, their tongues colliding, licking each other in the most ungodly, perverted, lewd way imaginable.

"− A-Aemond − Aemond-Aemond-Aemond − ah! −" She whined into his mouth as he wove his hand into her hair and sank her face into his neck, feeling her warm moisture run down his thighs − her moans and cries of delight were muffled by his skin as her cunt squeezed and sucked him deep inside her in a stunning, overpowering orgasm that shook her body like a wonderful, hot, tickling wave.

She heard him sigh loudly and tilt his head back, clamping his fingers on her flesh, his body convulsing several times as if he had suffered some kind of attack when his hot seed filled her insides at last.

"− God − oh my fucking God −" He gasped out, panting heavily along with her, their hips moving for a moment more in a subconscious desire to prolong this feeling full of relief and warmth.

"− oh, baby −" He whispered, stroking her head and buttocks as if she were a small child.

For some reason unfathomable to her, she was not indebted to him, stroking his torso, neck and jaw, snuggled into him as she had been then, many years ago, feeling at peace, feeling safe, feeling good.

She felt his hand slide from her ass under his back, slipping his leather jacket out from under them, with which he covered their hips. His hand returned immediately to her soft buttock, as if he liked the feel of her silky skin under his hand, his soft manhood pulsing gently deep inside her.

She didn't mind.

"− sleep − don't worry − I want this baby −" He muttered and she swallowed hard, smiling involuntarily, wondering if he even understood what he was saying to her.

I want this baby.

His drunken alter ego was ready to become a father if it turned out that she became pregnant.

She sighed quietly and closed her eyes, focusing only on his scent, on his heart pounding hard beneath her breasts, on his broad hands embracing her body.

She thought, feeling a strange lightness in her heart, that she hadn't felt this wonderful in eight years.

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artsekey · 10 months

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Disney's Wish

Look, Disney's Wish has been universally panned across the internet, and for good reason.

It’s just…kind of okay.

When we sit down to watch a Disney film—you know, from the company that dominated the animation industry from 1989 to (arguably) the mid 2010’s and defined the medium of animation for decades—we expect something magnificent. Now, I could sit here and tell you everything that I thought was wrong with Wish, but if you’re reading this review, then I imagine that you’ve already heard the most popular gripes from other users across the web. So, let me focus in:

The biggest problem with Wish—in fact, the only problem with Wish—is Magnifico.

Whoa, that’s crazy! There’re so many things about Wish that could’ve been better! The original concept was stronger! The music was bad--

I hear you, I do. But stay with me here, okay? Take my hand. I studied under artists from the Disney renaissance. I teach an adapted model of Disney’s story pipeline at a University level. I spent a ridiculous amount of time getting degrees in this, and I am about to dissect this character and the narrative to a stupid degree.

First, we need to understand that a good story doesn’t start and end with what we see on the screen. Characters aren’t just fictional people; when used well, characters are tools the author uses (or in this case, the director) to convey their message to the audience. Each character’s struggle should in some way engage with the story’s message, and consequently, the story’s theme. Similarly, when we look at our protagonist and our antagonist, we should see their characters and their journeys reflected in one-another.

So, what went wrong between Asha & Magnifico in terms of narrative structure?

Act I

In Wish, we’re introduced to our hero not long into the runtime—Asha. She’s ambitious, caring, and community-oriented; in fact, Asha is truly introduced to the audience through her love of Rosas (in “Welcome to Rosas”). She’s surrounded by a colorful cast of friends who act as servants in the palace, furthering her connection with the idea of community but also telling us that she’s not of status, and then she makes her way to meet Magnifico for her chance to become his next apprentice.

Quick aside: I'm not going to harp on Asha as a character in the context of Disney's overall canon. Almost every review I've seen covers her as a new addition to Disney's ever-growing repertoire of "Cute Quirky Heroines", and I think to be fair to Asha as an actor in the narrative, it serves her best to be weighed within the context of the story she's part of.

As Asha heads upstairs for her interview, we're introduced to the man of the hour: Magnifico. He lives in a tower high above the population of Rosas, immediately showing us how he differs from Asha; he’s disconnected from his community. He lives above them. He has status. While the broader context of the narrative wants us to believe that this also represents a sense of superiority, I would argue that isn’t what Magnifico’s introduction conveys; he's isolated.

Despite this distance, he does connect with Asha in “At All Costs”. For a moment, their goals and values align. In fact, they align so well that Magnifico sees Asha as someone who cares as much about Rosas as he does, and almost offers her the position.

… Until she asks him to grant Saba’s wish.

This is framed by the narrative as a misstep. The resonance between their ideals snaps immediately, and Magnifico says something along the line of “Wow. Most people wait at least a year before asking for something.”

This disappointment isn't played as coming from a place of power or superiority. He was excited by the idea of working with someone who had the same values as he did, who viewed Rosas in the same way he does, and then learns that Asha’s motivations at least partially stem from a place of personal gain.

Well, wait, is that really Asha's goal?

While it's not wholistically her goal, it's very explicitly stated & implied that getting Saba's wish granted is at least a part of it. The audience learns (through Asha's conversation with her friends before the interview) that every apprentice Magnifico has ever had gets not only their wish granted, but the wishes of their family, too! Asha doesn’t deny that this is a perk that she’s interested in, and I don't think this is a bad thing.

So, Is Asha’s commitment to Saba selfless, or selfish? I’m sure the director wanted it to seem selfless, wherein she believes her family member has waited long enough and deserves his wish granted, but we can’t ignore the broader context of Asha essentially trying to… skip the line.

Then, we get our first point of tension. Magnifico reveals his “true colors” in snapping at Asha, telling her that he “decides what people deserve”. This is supposed to be the great motivator, it’s meant to incite anger in the audience—after all, no one gets to decide what you deserve, right? But unfortunately for the integrity of the film and the audience's suspension of disbelief, at least part of Magnifico’s argument is a little too sound to ignore:

Some wishes are too vague and dangerous to grant. Now, there’s visual irony here; he says this after looking at a 100 old man playing the lute. The idea that something so innocuous could be dangerous is absurd, and the audience is meant to agree.

... But we’ve also seen plenty of other wishes that might be chaotic—flying on a rocket to space, anyone? The use of the word vague is important, too—this implies wording matters, and that a wish can be misinterpreted or evolve into something that is dangerous even if the original intent was innocuous. His reasoning for people forgetting their wish (protecting them from the sadness of being unable to attain their dreams) is much weaker, but still justifiable (in the way an antagonist’s flawed views can be justified). The film even introduces a facet of Magnifico’s backstory that implies he has personal experience with the grief of losing a dream (in the destruction of his home), but that thread is never touched on again.

What is the audience supposed to take from this encounter? If we’re looking at the director’s intent, I’d argue that we’ve been introduced to a well-meaning young girl and a king who’s locked away everyone’s greatest aspiration because he believes he deserves to have the power to decide who gets to be happy.

But what are we shown? Our heroine, backed by her friends, strives to be Magnifico’s apprentice because she loves the city but also would really like to see her family's wishes granted. When this request is denied and she loses the opportunity to be his apprentice, she deems Magnifico’s judgement unfair & thus begins her journey to free the dreams of Rosas’ people.

In fairness, Magnifico doesn’t exhibit sound judgement or kindness through this act of the film. He’s shown to be fickle, and once his composure cracks, he can be vindictive and sharp. He's not a good guy, but I'd argue he's not outright evil. He's just got the makings of a good villain, and those spikes of volatility do give us a foundation to work off of as he spirals, but as we’ll discuss in a bit, the foreshadowing established here isn’t used to the ends it implies.

While I was watching this film, I was sure Magnifico was going to be a redeemable villain. He can’t connect with people because he's sure they value what he provides more than they value him (as seen in “At All Costs” and the aftermath), and Asha’s asking for more was going to be framed as a mistake. His flaw was keeping his people too safe and never giving them the chance to sink or swim, and he's too far removed from his citizens to see that he is appreciated. Asha does identify this, and the culmination of her journey is giving people the right to choose their path, but the way Magnifico becomes the “true” villain and his motivations for doing so are strangely divorced from what we’re shown in Act I.

Act II:

His song, “This is the Thanks I Get!?” furthers the idea that Magnifico’s ire—and tipping point—is the fact that he thinks the people he’s built a kingdom for still want more. Over the course of this 3:14 song, we suddenly learn that Magnifico sends other people to help his community and doesn’t personally get involved (we never see this outside of this song), and that he’s incredibly vain/narcissistic (he's definitely a narcissist). I think feeling under-appreciated is actually a very strong motivation for Magnifico as a character-turning-villain, and it works very well. It’s justified based on what we’ve seen on screen so far: he feels under-appreciated (even though he’s decidedly not—the town adores him), he snaps and acts irrationally under stress (as seen with his outburst with Asha), and he’s frustrated that people seem to want more from him (again, as seen with his conversation with Asha in Act I).

But then… he opens the book.

Ah, the book. As an object on screen, we know that it's filled with ancient and evil magic, well-known to be cursed by every relevant character in the film, and kept well-secured under lock and key. But what does it stand for in the context of the narrative's structure? A quick path to power? We're never told that it has any redeeming qualities; Magnifico himself doesn't seem to know what he's looking for when he opens it. It feels... convenient.

I think it's also worth noting that he only turns to the book when he's alone; once again, the idea of connection and community rears it's ugly head! Earlier in the film, Amaya-- his wife-- is present and turns him away from taking that path. In her absence, he makes the wrong choice.

This decision could make sense; it contains powerful magic, and if it were framed in such a way that the people of Rosas were losing faith in Magnifico’s magic, as if what he can do might not be enough anymore after what they felt from Star, going for the book that we know contains spells that go above and beyond what he can already do would be logical. Along the lines of, “If they’re not happy with what I do for them, fine. I, ever the “martyr”, will do the unthinkable for you, because you want more.”

It would keeps with the idea that Magnifico believes he's still trying to help people, but his motivation has taken his self-imposed pity party and turned it into resentment and spite.

But, that’s not the case. Instead he talks about reversing that “light”, which has had no real negative or tangible consequences on Rosas. Everyone had a warm feeling for a few seconds. Again, it’s meant to paint him as a vain control freak, but… he hasn’t lost any power. The citizens of Rosas even assume the great showing of magic was Magnifico.

Act III

Then, we get to the consequences of opening the book (and perhaps my biggest qualm with this film). The book is established as being cursed. Magnifico knows it, Asha knows it, and Amaya—who is introduced as loyal-- knows it. The characters understand his behavior is a direct result of the book, and search for a way to save him. This is only the focus of the film for a few seconds, but if you think about it, the fact that his own wife cannot find a way to free him of the curse he’s been put under is unbelievably tragic. Worse still, upon discovering there is no way to reverse the curse, Magnifico—the king who built the city & “protected it” in his own flawed way for what seems to be centuries—is thrown out by his wife. You know, the wife who's stood loyal at his side for years?

It’s played for laughs, but there’s something unsettling about a character who’s clearly and explicitly under the influence of a malevolent entity being left… unsaved. If you follow the idea of Magnifico being disconnected from community being a driving force behind his arc, the end of the film sees him in a worse situation he was in at the start: truly, fully alone.

They bring in so many opportunities for Magnifico to be sympathetic and act as a foil for Asha; he’s jaded, she’s not. He’s overly cautious (even paranoid), she’s a risk-taker. He turns to power/magic at his lowest point, Asha turns to her friends at her lowest point. Because this dichotomy isn’t present, and Magnifico—who should be redeemable—isn’t, the film is so much weaker than it could’ve been. The lack of a strong core dynamic between the protagonist and antagonist echoes through every facet of the film from the music to the characterization to the pacing, and I believe if Magnifico had been more consistent, the film would’ve greatly improved across the board.

I mean, come on! Imagine if at the end of the film, Asha—who, if you remember, did resonate with Magnifico’s values at the start of the film—recognizes that he's twisted his original ideals and urges him to see the value in the people he’s helped, in their ingenuity, in their gratitude, & that what he was able to do before was enough. Going further, asking what his wish is or was—likely something he’s never been asked— and showing empathy! We’d come full circle to the start of the film where Asha asks him to grant her wish.

Pushing that further, if Magnifico’s wish is to see Rosas flourish or to be a good/beloved king, he'd have the the opportunity to see the value in failing and how pursuing the dream is its own complex and valuable journey, and how not even he is perfect.

The curse and the book (which, for the purposes of this adjustment, would need to be established as representing the idea of stepping on others to further your own goals/the fast way to success), then serve as the final antagonist, that same curse taking root in the people of Rosas who’ve had their dreams destroyed, and Asha works with the community to quell it. Asha’s learned her lesson, so has Magnifico, and the true source of evil in the film—the book—is handled independently. Magnifico steps back from his role as King, Amaya still ends up as Queen, and Asha takes her place as the new wish-granter.

This route could even give us the true “Disney villain” everyone’s craving; giving the book sentience and having it lure Magnifico in during “This is the Thanks I Get!?” leaves it as its own chaotic evil entity.

All in all, Magnifico's introduction paved a road to redemption that the rest of the film aggressively refused to deliver on, instead doubling down on weaker motivations that seem to appear out of thin air. Once the audience thinks, hey, that bad guy might have a point, the protagonist has to do a little more heavy lifting to convince us they're wrong.

Look at the big-bad-greats from Disney's library. There isn't a point in the Lion King where we pause and think, "Wait a second, maybe Scar should be the guy who rules the Pridelands." Ursula from the Little Mermaid, though motivated by her banishment from King Triton's Seas, never seems to be the right gal for the throne. Maybe Maleficent doesn't get invited to the princess's birthday party, but we don't watch her curse a baby and think, Yeah, go curse that baby, that's a reasonable response to getting left out.

What do they all have in common? Their motivation is simple, their goal is clear, and they don't care who they hurt in pursuit of what they want.

Magnifico simply doesn't fall into that category. He's motivated by the idea of losing power, which is never a clear or impactful threat. His goal at the start seems to be to protect Rosas, then it turns into protecting his own power, and then-- once he's corrupted-- he wants to capture Star. The problem is, there's no objective to put this power toward. Power for power's sake is useless. Scar craves power because he feels robbed of status. Ursula believes the throne is rightfully hers. Maleficent wanted to make a statement. Magnifico... well, I'm not really sure.

#wish #disney #review #magnifico

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camilledlc · 10 days

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I think Wade Wilson is way more intelligent than people give him credit for. Or, another character essay no one asked for :

This will be based both on comics and movies. Also, spoilers for Deadpool and Wolverine.

I think it's often said that Wade doesn't know how to read situations, as he often acts inappropriately during them. He doesn't seem to sense the mood of the person he's talking to, angering them more often than not, and he doesn't really care about watching his mouth around children, etc. There are tons of examples of Wade being 'stupid', and 'immature', blah blah blah. But I don't think that's quite true.

Wade has also numerous moments where he perfectly reads a situation. He is extremely aware of how others may perceive his scars, he figured Negasonic Teenage Warhead pretty easily during the first movie (when talking about sarcastic comments or whatever, if I remember correctly). He knows how people act and think, and he definitely knows how to assess a situation. When he got Johnny Storm killed, he knew what he was doing. He was into a dangerous situations, just having been kidnapped and he couldn't fight, not even knowing how strong and what powers Cassandra Nova had. But by turning her against Johnny, not only was he able to assess her, but also prove that he wasn't here to cause her trouble. It was a cruel and ruthless action, but it was smart nonetheless.

Besides, people often forgets very important facts about his skills. Wade is an extremely good fighter, and that's partially due to the fact that he's a master at almost every martial arts. He knows a bunch of them, and he is capable of practicing them with impeccable form. He's also a master at espionage, infiltrations, cover missions, etc. He knows how to handle a lot of different weapons, and he is canonically one of the best fighters in the entire Marvel Universe. All of those skills require a certain level of intelligence. Fighting demands to remember the different styles and techniques, as well as enough practice to switch between them easily. Espionage, infiltration, and cover missions demand someone who is capable of discretion and and ability to judge a situation, notice details that no one else would and invent on the spot creative ways to do things. All in all, he has to be extremely smart to be able to do all of that. That's also without counting the fact that he knows how to speak fluently five different languages.

With all of these proofs, it's impossible to say that Wade is dumb. But why does he acts like it?

There is no official answer as to why Wade is this way. The most you can get is that he is extremely mentally unstable. This is the result of both a bad childhood and very traumatizing experiences as a superhero. It is said he was already mentally unstable during his childhood, so I'm inclined to believe that it also has something to do with his brain in general.

What I personally believe is that Wade is someone who gets bored extremely easily. He has ADHD (not really official in the movies, but canon in the comics), and he always seems to jump from one topic to the other. His mind is often considered a mess, and he himself sometimes has trouble keeping up with it. I think that someone like him has to be stimulated at all times, because boredom is definitely the worst thing that could happen to him. Even in the last movie, he seemed to hate his job because of how boring it was, not hesitating to go back into action and becoming more and more himself again as he just do exciting things. He has always been like this, even before he got his regenerating factor. When he did his job, he wasn't always careful and often loud-mouthed. It didn't interest him to just kill people, he wanted a fight. He wanted a back and forth, a sort of game. He needs to feel in danger, needs the thrill of it.

But then he gets his mutation. Suddenly, he can't die, he can't be seriously hurt, nothing has any real consequences. And so the games became boring. What is the point of putting himself in dangerous situations if he's never really in danger? How boring it is to do a job where you're perfectly safe? The only kind of thrill he can find anymore is by having the back and forth verbally. That's when it has consequences, and people actually able to surprise him, to beat him even. Attacking by talking his is one way to not feel bored. He surprises, he shocks, he annoys, but it's always different. Even during the last movie, when he was with Logan, he clearly said they didn't need to fight, yet he couldn't stop edging him verbally, always finding ways to push his buttons.

Wade is a very bored person, with a great understanding of where the limits are. And because he's so good at finding the limits, he's even better at crossing them willingly, sometimes at the expanse of the people he loves, because he can't be bored.

(I also like the interpretation of him just needing to be at the centre of attention, but I think it's a bit more classical and has already been done and re-done. So, this one is a bit trickier and way funnier for me.)

#poolverine #deadclaws #wade wilson #deadpool

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l3monlem0n · 6 months

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Some Murder Drones Episode 7 screenshots I thought were interesting and my thoughts on them :>

SPOILER WARNING!!!! is spoilering

Nori, despite being a middle aged woman with a child, appears to be an Otaku or otherwise likes "edgy" and "scene" stuff, as well as listening to nightcore, very much like her daughter. Good for her tbh you're never too old to have fun

She also has a photo of Khan and what I can only assume is baby Uzi, though it appears to have blue eyes, but maybe it's just the lighting. Still very cute she has a pic of her husband

As well as all the previously mentioned Otaku stuff, she also drew herself as an anime character. She has a skinsona. Phenomenal (pos)

Nothing much here, just Uzi coughing up blood. Girl got the goop (gore) inside of her already

Lab Space. Apparently the Church was just down there and not even the humans know why. The canonicity of this is questionable; it could just be a joke

OT, as per google, stands for "Occupational Therapy". Makes sense for the context, and makes the bottom text funnier

"Fun Time To Universe Big Crunch: 87". The Big Crunch is a hypothetical way the Universe could end, where the universe folds on itself and shrinks into a single point. 87 "what" I don't know. If it's months, that 7 years and 3 months

Honestly the Murder Drones lore is super confusing. I think what this is trying to say is that every other Zombie Drone is doing poorly, (Except for Yeva), they are trying to reactivate 002 (Nori) via the USB. I'm not sure what this means. Maybe they only got the results they wanted from the two of them, and are trying again with Nori since she was the only other one that worked (also why they got Yeva when she failed; this may all be referring to how the episode opened up) Also, the date says SER. As revealed in the episode Cabin Fever, Copper-9 has months that Earth does not. SER most likely stands for Seramorris, the month revealed in that episode

Looks like the "bad event" wasn't the first one. Certainly was the last one though lol

Just a good pic of ghost/hologram V with the scary stuff. Might use this as a wallpaper

You can literally see the hole in his neck where N bit him in...

...And it's to the point his HEAD FALLS OFF. (including because I didn't notice the first time around)

Yup, the idea that Uzi became the Admin for N and V is completely true. I wonder what would've happened if she didn't, since Cyn didn't react whatsoever

friggin bug (very pos)

You would not believe how difficult it was to get a good pic of this (I'm using snipping tool lmao). Always a pleasure to see Uzi's doodles. Things her gun can do (upper right):

NOT judge her

Forced prom date (?)

Allows her to say she had friends before she frickin murdered them with sci-fi machinery

The cut off text at the bottom: Plan B: Normal gun + Shoot really fast

This is while Tessa is looking for something in the lockers. Claws, chains, magnets, Wings, and scribbled "HELP". Looks like the lockers were all specifically to hold the infected worker drones. Oof

We are in the future now baby. We have rererererereCAPTCHA. Funnily enough, it still couldn't stop a robot

There is a message board where someone who doesn't like robots is talking. They also are scared. Also no one else is using this system, which is unsurprising. "Ur aight ;)" Wait is the winky face intentional foreshadowing? Or unintentional?

We get the names of a bunch of other Worker Drones. Unfortunately for all 029 fans, her name was not visible. (also can someone tell me what "JWEB" could be short for?) And Yeva is said to have a patch. That may be the crucible thing idk

Cyn (which I will be calling this version Skyn [Skin + Cyn]) apparently took of the space suit just to give Doll the Withered Foxy jumpscare. Honestly really terrifying. If this photo was teased before release I think the fandom would've exploded

Just N being a good boy :3

The MDs, Cyn's pets. Nori refers to them as "Nerfed" so the "Entity" can ensure control, and says they were made to destroy other hosts. I don't know why Cyn would want them dead, but I'm not the loremaster here. YouTube line is there because I couldn't be bothered after the Railgun image

Probably already confirmed, but doubly confirmed that a symptom of the Solver is giving Drones organic insides. A Worker Drone body with a rib cage and guts. I wonder what would happen if the infection continued uninterrupted (also R.I.P. Doll I loved you :frown:)

I'm sure everyone noticed, but when Uzi tried to manipulate Tessa, the ERROR noticed appeared. Already hinting Tessa is not all she says she is

Apparently the Solver can create Black Hole Saws. Interesting development (Blackhole Blitz)

I know most people (I think) see this as a joke and N just being a bit of goofball. But honestly, I think he did it intentionally to shock Cynuzi and give Nori a chance. In the Pilot, he licked V's sword to surprise her too, which means he isn't unfamiliar with doing something weird and surprising for the advantage

Skyn eating Doll's core. R.I.P. Doll again. Seriously, was that Doll in Core Form like Nori was? Or was Nori a fringe case because she was "Exorcised" and this is just a regular core? Questions, questions. Also yeah the Solver also gives you a Core. Fun

This tag makes me think that this body is Cyn's actual body. Not longer a hologram, but her actual body from the mansion. The reason Tessa gave N, J, and V their names was because that was the first letter of their Serial Designation (she's very uncreative). However, Cyn's tag was slightly faded, which meant her SD couldn't be seen, so Tessa gave her the name "Cyn" after her P/N, even though the other 3 already have the same P/N as Cyn (Tessa, again, is very uncreative)...

...and for some reason, Cyn or the Solver, which ever theory you subscribe to, decided to wear Tessa as a skin suit for some twisted reason. It did help her with the Captcha. Also scary because this doesn't have the right proportions for an adult (unless Cyn really forced that skin on), which leads me to believe that this is a Younger Tessa, and she faked having an older voice. Maybe I shouldn't call her my wife... I'm sure Eldritch J is still available :^)

(Seriously, the eyes are burnt out, leaving two eye holes over the visor, so she gives herself two X eyes so it looks better. Also yeah we found out what that thing on the "It Came From Copper-9" poster came from. It really was Cyn or Skyn)

Just a frame of the final...frame... for coolness. I'm probably also going to use this for a background. Also, this is definitely Copper-9. You can see the ring and ringless moon together on the right. Uzi somehow got sent to orbit after falling in the meat hole

Well that was all for now. This series has consumed me entirely, body and soul, and I wouldn't have it any other way. Goodbye and goodnight

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yellowocaballero · 1 year

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Miguel is Fine, Actually (Being Spider-Man's Just Toxic As Hell)

Before I watched ATSV I said that I would defend my man Miguel O'Hara's actions no matter what, because he's always valid and I support women's wrongs. I was joking, and I did not actually expect to start defending him on Tumblr.edu. But I'm seeing a lot of commentary that's super reductive, so I do want to bring up another perspective on his character.

Miguel wasn't acting against the spirit of Spider-Man, or what being Spider-Man means. Miguel isn't meant to represent the antithesis of Spider-Man. Miles is the antithesis of Spider-Man. Miguel represents Spider-Man taken to its extreme.

Think about Miguel's actions from his perspective. If you were a hero who genuinely, legitimately, 100%, no doubt about it, believed that somebody is going to make a selfish decision that will destroy an entire universe and put the entire multiverse at severe risk - if you had an over-burdened sense of responsibility and believed in doing the right thing no matter what - you would also chase down the kid and put him in baby jail to try and prevent it. He believed that he was saving the multiverse, and that Miles was putting it in danger for selfish reasons. Which is completely unforgivable to him, because selfishness is what he hates the most. And then he goes completely out of pocket and starts beefing with a 15yo lmfaooo he's such a dick.

But why did Miguel believe that? Why did he believe that Miles choosing himself and his own happiness over the well-being of others was the worst possible thing? Why did he believe that tragedy was inevitable in their lives, and that without tragedy Spider-Man can't exist?

Because he's Spider-Man.

Peter Parker was once a fifteen year old who chose his own happiness over protecting others. It was the greatest regret of his life and he never forgave himself. Peter's ethos means that he will put himself last every time, and that he will sacrifice anything and everything in his life - his relationships, his health, his future - to protecting and helping others. Peter dropped out of college because it interfered with Spider-Man. He destroyed his own future for Spider-Man. He ruins friendships and romantic relationships because Spider-Man was more important. If Peter ever tries to protect himself and his own happiness, then he's a bad person.

That is intrinsic to Peter. Peter would not be Peter without it. A story that is not defined by Peter's unhappiness is not a Spider-Man story. If Peter doesn't make himself miserable, then he's just not Peter.

That is a Spider-Man story: that not only is tragedy inevitable, that if you don't allow yourself to be defined by your tragedy then you're a bad person. If you don't suffer, then you're a bad person. If you ever put anything above Spider-Man, then you're killing Uncle Ben all over again. Miguel isn't the only one that believes this - as we saw, every Spider-Man buys into what he's saying. There's no Spider-Man without these beliefs.

Miguel attempted to find his own happiness, and he was punished in the most extreme way. He got Uncle Ben'd x10000. He tried to be happy, and it literally destroyed his entire universe. It's the Spider-narrative taken to the extreme. Of course Miguel believes all of this. Of course he believes this so firmly. He's Spider-Man. That's his story. And the one time Miguel tried to fight against that story, he was punished. And like any Spider-Man, he'll slavishly obey that narrative no matter the evil it creates and perpetuates. Because if he doesn't, the narrative will punish him. The narrative will always punish him. It's a Spider-Man story.

I don't think the universal constant between Spider-Mans, the thing that makes them Spider-Man, is tragedy. I think it's the fact that they never forgive themselves. And Miguel is what that viewpoint creates. He doesn't believe this things because he's an awful, mean person. He believes them because he's a hero. He's a good person who hates himself.

Across the Spider-verse isn't really a Spider-Man story. It's a story about Spider-Man stories. Miguel's right: if this was a Spider-Man story, then Miles acting selfishly really would destroy the universe. But Miles' story isn't interested in punishing him. It pushes back against Peter's narrative that unhappiness is inevitable and that you have to suffer to be a good person. It says that sometimes we do the right thing from love and not fear, and that Peter's way of thinking is ultimately super toxic and unhappy. ITSV was about Miles deciding that he didn't need to be Peter Parker, that all he needed to be was Miles, and ATSV is about how being Peter Parker isn't such a good thing. Miguel shows that. Whatever toxic and unhealthy beliefs he holds - they're the exact same beliefs that any Spider-Man holds. He's a dick, but I don't think he's any more awful a person than Peter is.

TL;DR: Miguel isn't a bad person, he just has Spider-Man brainrot.

#across the spider-verse #atsv #atsv spoilers #across the spider-verse spoilers #across the spiderverse #across the spider verse #miguel o'hara #atsv meta #source: i recognized an embarassing amount of those cameos #im also seeing a lot of ppl make a lot of assumptions about what miguel was injecting and why #we dunno guys! im not gonna suppose anything #I just think that Miguel and Miles are great foils #and that what makes them interesting as foils #is the fact that they're both good people who want to do the right thing #miguel shows how that gets twisted #to the point where you beef with a 15yo sometimes which is still so funny #im a big spidey 2099 fan #which I love bc it is NOTHING like spiderman and yet it's such a good spiderman story #but talking about comics migs is useless bc he has 0 in common with atsv migs #but there is a lot of VERY cool stuff to say about how #the sm2099 comic has nothing to do with spiderman at all whatsoever extremely pointedly #but its still a wonderful spiderman story that finds its own way #tbh it was kind of a breath of fresh air to read a spider-man story that wasn't about spider-man for once #and that was just about miguel #anyway stan women's wrongs #miguel o hara #miguel ohara #my writing

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ot3 · 1 year

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The Flower That Bloomed Nowhere

What is it, and why you should read it.

(Art by purple)

The Flower That Bloomed Nowhere is a currently updating webserial by author Lurina. It's one of my favorite things I've read in a long while and I'd like to convince you all to give it a chance.

My elevator pitch is this: A time-loop murder mystery directly inspired by Umineko, with a lot of similar vibes to the Locked Tomb Trilogy - partially due to it's meditations on grief and mortality and partially due to it's far-future magical sci-fi world where we follow a fucked up lesbian necromancer on a task she is determined to see through to the end. A deeply complex, unique, and believable world that plays hosts to one of the best interpersonal dynamics I've read.

In a future so far-flung that it is past the heat death of the universe, humanity has constructed a new society that is post-scarcity but not post-stratification. Utsushikome of Fusai is one amongst a class of prodigious young medical arcanists (essentially grad students) who are invited to visit a recently legitimized conclave of top-of-the-line researchers studying immortality. Accompanying Su is her best friend Ran, a fellow arcanist. Over the course of the novel we begin to slowly unravel exactly what ulterior motives have brought them to this conclave and how events in their childhoods and years of working toward their shared goal has warped their relationship into what we now see. This relationship is the crown jewel of Flower's narrative, and getting to peel back the layers of it as you read is a delight.

Like Umineko, Flower is a murder mystery that prevents itself with in-universe Rules that dictate the murders' parameters, meaning there's a lot to chew on for anyone who likes solving mysteries. For those that don't, like myself, Flower offers instead a richly developed world and plenty of open questions about the sociopolitical and metaphysical implications of its own worldbuilding.

Below the cut, I'll go into more detail about the series (without spoilers!) for those of you whose interest has been piqued.

The Flower That Bloomed Nowhere is currently ongoing, updating every few weeks. It's several hundred thousand words, so if you're looking for something substantial to keep you entertained, you've got it. As you might expect from the length, the pacing is decently slow. I don't see this as a bad thing at all, because within this pacing Lurina dripfeeds the readers enough new and interesting information at a regular rate that it never feels like your time is being wasted. But if you can't handle slow burns, I wouldn't recommend this one for you.

If you enjoyed the Zero Escape series and liked that they stopped solving murder puzzles to infodump about fringe science, I think you'll get a lot out of Flower. Characters are frequently interrupting their life-or-death scenarios to have lofty, philosophical and political discussions. It's a ton of fun if you like reading characters argue.

'People have to sleep.' 'People have to work.' 'People have to die.' But those were just vague rules, phrasing I'd used because it had been easier in the context of that conversation. What really mattered, on the day-to-day level, was the idea that it was all for something. If someone invented a elixir that made people not to need to sleep, it would, in retrospect, recontextualize all nights everyone ever wasted sleeping as wastes of time. Not something that occurred for some inherent purpose, but whims of circumstance, a tragedy of when you happened to be born. If you accepted that all unfair things in the world could be removed, if only someone knew how - fatigue, labor, death - then to exist in the world we had now, with all its grotesque imperfections, was to know that you had been violated by fate.

Along those lines it's just got a sense of humor I really enjoy. Pretty dry and cavalier. It manages to keep the mood light without feeling like it's undermining it's own stakes. I'm particularly fond of Su's penchant for telling incredibly depressing suicide jokes that just Do Not Land.

The peer pressure cut into me like a hot knife. I hesitated a little, biting my lip. "Well, uh, okay. I'll just tell a quick one." I swallowed, my mind quickly scrambling. "Okay, so, there's a woman who runs a dispensary for second hand goods. She sees a man come in who's a regular customer. He's kind of a mess-- Has a big beard, a bad complexion. He buys a razor, and tells her he needs it to clean himself up, because he has a date." I could see that I now had Ophelia's attention and that Kam was looking pleased with herself, but Ran was watching me, too. I could see the look in her eyes. It screamed at me, with such vividity that it could be sold at an art gallery: You better not be telling a suicide joke right now, or we're going to have a talk. But it was too late. The wheels were already in motion.

As I mentioned up top, the relationship between Ran and Su is just one of my favorite interpersonal dynamics ever. Period. The author is playing some insanely complicated 5th dimensional yuri chess and I am absolutely here for it as someone who likes characters who are deeply devoted to each other in a way that is deeply deeply fraught. I cant emphasize enough how obsessed I am with what they have going on.

Additionally, as stated, the worldbuilding in Flower is top tier. The author clearly understands how every part of her world functions, which makes the moral quandaries and politics presented all the more impactful because they're very believable. It's hard to talk about Flower's world without spoiling too much of the specifics that get slowly revealed, but it doesn't fall back on any typical sci-fi standard fare and feels like a breath of fresh air amongst recycled and repetitive worldbuilding tropes.

A lot of really fun side characters. Strong voices for all of the supporting cast (♥♥Kamrusepa♥♥) and even though not every character gets their own arc, they all clearly have plenty of interiority. Once again, another thing that makes Flower feel very believable despite it's absurdities.

Autism

"Did you notice anything out of the ordinary with anyone?" She eyed him. "Anyone who seemed tense?" "Saoite, I'm not sure if you've noticed, but half of our class is so autistic that they constantly seem tense. You might as well ask me to find a specific turd in a sewer." "Just answer the question, please," she replied flatly.

Guys it's really good just trust me I don't want to spoil you for the more intricate plot beats but they're doing some crazy shit here. It's never a bad time to support an independent author's project. If you're sick of corporate mass-media and stuff needing to be marketable, getting into independent works owned and supported by individual creators is a great way to push back against that. I highly recommend it.

#media recs #the flower that bloomed nowhere

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pascaloverx · 4 months

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Moonlight

Summary: You and Edward Cullen used to have a romantic relationship. But fate seemed not to believe in the possibility of a vampire and a potential she-wolf being together. Years after your separation, you return to Forks. Edward is committed to Bella Swan, and Jacob Black has his own pack. What happens when, upon your return, you begin to transform into a she-wolf and both Edward and Jacob seem eager to revisit the past with you?

Author's Note: The characters in this fanfic do not belong to me but to Stephenie Meyer and the Twilight universe. The story blends events that happened in the Twilight saga movies with invented ones. Enjoy reading. This story will contain inappropriate language, a possible love triangle, scenes of violence, and romance.

AO3 LINK TWO

ONE

The same nightmare every night, recurring in your mind as if it were an impossible memory to forget. A large part of the Quileute tribe killed by the hands of the one you will someday love. Not that your love story with Edward Cullen was worth anything. After all, he is a vampire. You are a descendant of a lineage of shapeshifters who transform into wolves. What could go right in this story? You've been driving for about two hours to reach Forks. It's been a month since you started having nightmares involving the tribe to which you belong and your ex-boyfriend. So, you decided to return to Forks to see your friends and those who are like family to you and, if possible, stay as far away as possible from Edward Cullen.

"If you had picked up your phone, Sam, you'd know I'm almost there. But since you didn't, just know I'm entering Forks now. I'll head to La Push as soon as possible." You say, leaving a message on Sam's voicemail. He knew you'd be arriving soon but didn't know exactly when. In fact, it was his idea for you to return to Forks. As your nightmares have become more frequent, you're so sleepy that you can barely tell how you're still managing to drive.

And then, like flashbacks in your mind, your moments with Edward and the pack you were part of come to the surface. You remember how you met Edward amidst a fight between the Quileutes and the Cullen vampires. One of them had accidentally crossed the border that separated the vampires from the wolves. It was chaos. Your father, who was alive at the time, was very angry and considered killing a Cullen to show that invading Quileute territory was a bad idea. Luckily, Jacob's father was more sensible. Edward read your mind for the first time that day. He knew you were curious about what the Cullens were doing crossing the border that separated the two enemies. So later, at the border, he found you and explained. Jasper had been hunting an unknown vampire who had hurt Alice and ended up crossing over. That was the first time you wondered if a vampire was okay, and when Edward noticed your slight concern for Jasper, he believed you were different. Amidst your moment of recollection, you lose concentration. But you only realize this when your car hits someone hard. You're dazed by the impact, but as soon as you look ahead, you feel a certain relief. Edward is right in front of you, staring at you with a curious look as if he doesn't quite understand that it's really you.

"What are you doing, Cullen?" you ask in an enraged tone. Of course you're angry. He's a vampire, unscathed after the collision with your car, while your car and you have suffered some impact. I mean, you can feel blood trickling near your right eye, but the damage to your car is definitely more significant.

"It's going to sound strange. Alice had a vision that saw me doing this as soon as you arrived here. I'm not saying I did it on purpose. In fact, I am hunting. But you really are here." Edward speaks as if he still doesn't quite understand that you're actually in front of him. You take a deep breath, trying to resist the urge to kill him for what happened to your car. In reality, you're unsure whether you should get out of the car or not. You're bleeding, and that could be a challenge for Edward.

"I'm not going to attack you, don't worry. I thought you knew I would never do something like that to you. I mean…" Edward says, and you automatically get out of the car, walking toward him. Something about the proximity between you leaves both of you speechless. You always hated when Cullen listened to your thoughts, and he knows that. The courtesy of having your private thoughts respected seemed to be valid only during your relationship.

"You mean you wouldn't attack anyone unless it was absolutely necessary. I know, I know you, Edward. What surprises me is the fact that you don't seem to know me. You know I hate when you… never mind. Maybe you only respected me while we were together. Now we're strangers to each other." You say, realizing how different he seems, even though he hasn't aged a day since the last time you saw him.

"I'm still the same, Y/N. The same guy you walked away from years ago." Edward speaks softly but with a certain sadness in his words. You look at him, unsure of how to respond. Yes, you ended your brief relationship out of fear of what your father would do to him if he found out.

"Look, I didn't intend to bring the past back. I think it's better if you go your way and I go mine." You say, turning to leave and drive your somewhat damaged car. But Edward appears in front of you before you can open the door.

"Carlisle can take care of that for you. I know he'd be glad to see you again." Edward says, stepping a little closer to you. You stare at him, this time not understanding what he wants. It's obvious he's talking about the injury on your head, but you don't understand why he seems so reluctant to distance himself.

"And I should go to your father figure and ask him to help me based on what? The fact that you and I were together years ago? The fact that my tribe has no idea what happened between us? Maybe I should go ask him how he feels about seeing you about to marry a human. What do you think, Edward?" Your tone is absurdly ironic but realistic. Just the fact that you're here now with Edward could jeopardize everything. If Sam or Jacob see you here with him talking about your past relationship, it could cause a mess. Not to mention that Cullen is now committed.

"I caused this in you. Maybe you should go to Carlisle for the same reason anyone in this town would. You've had an accident, Y/N, you need to take care of this." Edward says, gently touching the area where you got hurt. You let out a soft groan of pain and then pull away.

"How do you suggest I deal with the complications that going to Carlisle would bring me?" You ask, almost grumbling. Edward smiles slightly, as if he even misses these conversations you used to have when you were together.

"Do you remember the farthest spot from here where we used to meet when we were dating? Meet Carlisle there when you can. Unfortunately, Jacob is already on his way here, and I think it's better if I'm not here when he arrives." Edward speaks, and before you can say anything in response, he's already gone.

"Your cowardice is remarkable!" You shout, hoping he hears you. As you turn around, Black is behind you. He's clearly sweaty, must have come running in his human form.

"What happened to you, Y/N?" Jacob Black asks, quickly approaching you. He must be worried because you're injured and apparently talking to yourself in the middle of the road.

"I had an accident. I hit an animal, actually. It was quite a mess. How did you know I was here?" You ask curiously as Jacob gets closer to you, analyzing and sniffing you. You wonder if you smell bad, but then remember that Edward was here just a little while ago.

"Since when did you learn to lie to me? I thought we were honest with each other." Jacob says, looking into your eyes, and you feel guilty for lying to him.

"You want to have a relationship argument here? Then it was better not to have come at all. If you could excuse me." You say, walking past Jacob and heading towards your car, but he gently grabs your hand before you can open the car door.

"I missed you," Jacob says as he gently strokes your hand. You look at him and then walk towards him, embracing him.

"I missed you too, more than you can imagine. How about you drive what's left of my car to La Push, so we can have a better conversation?" You say, hugging him tighter, as if you didn't want to let go. It's strange, but seeing him safe made you feel better. After dreaming so many times about Jacob's death, it's good to see him like this.

"I'll drive your old tin can here. You can sit comfortably in the passenger seat. And don't worry, I'm sure there will be some bandages for you there." He says, kissing your cheek and opening the passenger door for you. You get into the car and watch him enter the car and take the wheel. He starts driving, and you slowly begin to close your eyes, hoping that now that you're in Forks, your nightmares won't come true.

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spidey-webs · 8 days

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Scrolling through AO3 and saw something I wasn't expecting: Hal and Jason fics. And usually, the Jason Todd-ification of DC fandom is not my cup of tea. But. There's an interesting concept there. Just not one I've ever personally seen addressed.

And that's:

Hal actually fucking did it.

Every single thing Jason fantasized about at the height of his wrath? Hal actually did it. Hal killed his mentor and his tormentor, Sinestro, with his own hands. And he decimated the friends that didn't stop his tragedy, killed the comrades that didn't care for his grief, and reduced his all-mighty masters to nothing. He actually ripped Henshaw to shreds.

Hal is the dog that bit back. The dog that not only bit the hand that fed, but went for the throat next.

Hal is the League member that went bad. There's many parallels there to Jason's narrative, should one want to look for them.

Moreover, Hal's pain became a palpable, all-consuming thing that devoured everything. Hal's tragedy, his grief and his rage and his pain, was so great it caused a literal Crisis (the second crisis ever! Out of only seven!), tore reality apart, erased entire timelines. It had long-lasting effects on the entire universe for years to come. (On a more personal note for Jason: It hurt Batman. On a deep, psychological level.)

It mattered.

But it also did not help. It didn't make Hal feel better. It didn't fix anything, despite how desperately Hal believed it would. It, in fact, made everything worse. Hal regretted all of it.

And I think Jason Todd reckoning with that tale would actually be a genuinely interesting way to explore his character.

I'm not caught up enough to know whether these two characters have ever interacted in canon, but I think I'm well-read enough to say: probably not. And if they did, probably only superficially.

But I think there is room for a very interesting conversation between these two characters.

Hal being basically the embodiment of Vengeance for a time is also an interesting element, if the timelines were shifted around so that Jason crawled out the grave before Hal's rebirth. Like. There's a foundation for one hell of an interesting dynamic here.

#hal jordan #green lantern #parallax #jason todd #red hood #it almost makes me sad ive never seen this explored #like. a one shot about this would probably honestly rock

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a-town-called-hometown · 6 months

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yippee! apologies if my takes are horrendously bad

my personal take on the matter is that i definitely think the dark worlds can work as a metaphor for escapism without undermining the darkners' personhood. it can be more than one thing, yknow? the darkners are important, their lives matter. and the lightners do go to the dark world as an escape from the problems they face in their own life. but that's not the darkners' whole PURPOSE, yknow? i mean. according to the laws of the universe of deltarune yes darkners' "purpose" is to serve the lightners but like it's not their whole purpose in the STORY.

it's sort of like how, in UNDERTALE, LOVE represents how distant you've become, how easy it is for you to hurt people. but it also literally gives you the power to destroy the world.

i think the biggest reason i believe escapism is at least a part of deltarune's narrative is queen.

queen's whole speech in both of her fights is about how she intends to provide escapism for the lightners (so that they will worship her but also so that they will he happy). she wants to turn the whole world into a dark world, so that everyone can live in bliss and not have to worry about the woes of the light world. she mentions "Staring, Tapping, To Receive Joy. Staring, Tapping, To Avoid Pain." which is like pretty much the definition of escapism

she wants to help Noelle with the problems she faces in the light world ("Noelle. Who Will Be There To Help Her? Her Strange And Sad Searches" and "My One Idea To Help Noelle, Failed") by just... shoving it away for a blissful fantasy world ("Wake? No, She Has Already Awakened Too Much. Let Her Close Her Eyes And Sleep Away, Into A Darker, Darker Dream.")

...i forgot the rest of what i wanted to say!

well first off, thank you for your ask! I'm going to get extremely in depth in my answer, so bear with me here. sorry it took several weeks to write this. the escapism reading of deltarune is pretty deeply entrenched in fandom, and to refute it, I felt it required a full-length essay to completely explain my viewpoint.

yes, "the lightners desire escapism" does not automatically translate to that being the darkners' actual narrative purpose. escapism can be a theme without dehumanizing those who are used in order to escape - in fact, I've read a number of stories that use someone's desire to escape to HIGHLIGHT how they're hurting others in pursuit of that. I believe that toby fox is definitely capable of telling a story about kids having a valid desire to escape, and about them grappling with having inadvertently created a world of real, living people as a result.

(I'll reiterate again that this is not the story arc that generally shows up in fanon. the common consensus is that the game will end in an omori-esque "growing out of" the dark worlds. it's why I have a huge dislike of the fanon escapism reading, given that the darkners are shown as people whose lack of agency parallels kris' own. it would feel cheap if the resolution to that plot was that the darkners were actually never meant to be agents in their own fates. but this is a digression.)

the reason why i DON'T believe that this is a story that toby fox is telling is because of the way the world, themes, and characters are written. put simply, it just doesn't come across as congruent with the story being told.

deltarune's main themes are agency, fate, identity, and control. this is a conflict that shows up in nearly every major character, is baked into the worldbuilding, and is the central struggle involving us, the player. the protagonist of deltarune is literally possessed by us against their will. the darkners are objects that have no choice but to serve and be discarded. over and over again, there is emphasis on roles that characters play - and crucially, roles that are imposed on them.

what would escapism mean, in this thematic context? in real life, escapism can represent any number of things, but in a story, a major narrative theme generally has to dovetail with other major narrative themes in the work. I would argue that escapism in deltarune would likely mean going to a place where characters are able to choose for themselves what roles they embody, or even to discard the notion of roles altogether. a fantasy of control is the only way to escape a reality where you have no agency. and honestly, it's hard to imagine that something could count as an escapist fantasy if you don't even get to choose whether or not you participate in it.

let's talk about kris.

I see a lot of discussions around kris that say that kris goes into the dark worlds to escape. the dark worlds are posited as kris' fantasy of heroism. it's a world where they can seem heroic and cool, a world where they can have friends. this theory makes a decent amount of sense on the surface level, but only until you consider that kris is being controlled in order to go into the dark worlds. and it is not a control that they appear to welcome.

if those worlds represent kris' fantasy, then why don't they get to choose what happens in those fantasies? why are they being controlled by an external force, one that they actively push back against? if it's really an escape, then why does everything about this world reflect their lack of agency? if they really think this world is just a pure fantasy, then why do they care if spamton falls when his strings are cut?

because they're being deliberately obscured to the player, it is hard to say how kris actually feels about many subjects... but I do seriously doubt that they view the dark worlds as an escape. they don't act in a way that is consistent with that. they resist their lack of agency, and what little we do see of their reactions to darkner characters doesn't suggest that they view those characters as part of a disposable fantasy, either. they seem to have complicated feelings on ralsei. and of course, one of their biggest emotional reactions in the game is to the spamton fight. I would argue that that suggests they have empathy for spamton, which is a hard emotional reaction to have if you believe he's just part of a fantasy. not impossible, mind you, but it seems unlikely that kris believes that all this is simply fantasy.

also, considering that snowgrave both actively discredits the idea that the dark worlds are mere fantasy and is actively traumatic for kris... I seriously doubt they'd open another dark world in chapter 3 on a snowgrave run if their motive was purely to escape. on that route, they've seen the damage we can cause in a dark world. they know that berdly has sustained lasting damage due to our actions, assuming he's not outright dead. why would they want to try and "escape" to a place like that again now that they know what can happen?

the only answer is that they have a motive that isn't escapist.

now, as for ralsei... what part does he have to play in all this?

ralsei does play a lot to the fun, fantastical elements of the dark worlds. he delivers the prophecy that kickstarts the adventure. he flatters both kris and susie endlessly when they act appropriately heroic. he welcomes them into the castle and even makes nice rooms for them. he initially seems tailor-made to enable a fantastical experience where no real issues can ever complicate anything, and where the pain of reality can successfully be hidden from. but there's a lot of complications to the idea that he might represent an escapist fantasy.

the first, and what honestly seems the most important to me, is that he doesn't encourage kris and susie to remain in the dark worlds. he is welcoming and kind, but once the adventure is over, he prompts them to return to the light world. he wants them to deal with their more "real" problems like homework. that doesn't feel like he is trying to facilitate escapism in them. a real fantasy would encourage you to stay in it, wouldn't it?

and while ralsei is definitely invested in making sure the lightners are happy, there are always cracks that show. he isn't able to make kris ignore what happened in the spamton fight. he isn't able to convince susie to be peaceful and kind. and in his very essence, he represents a number of uncomfortable ideas. very importantly, he represents a number of uncomfortable ideas to kris.

this probably ain't your first fandom rodeo, so I'm not going to explain all the different ways that ralsei interacts with kris' personal issues. there's plenty of posts on it out there. what i will point out is, once again, it feels odd that a character who seems tailor made to bring up kris' most uncomfortable associations with their lack of agency and their outsider status in their own family would be part of a fantasy of escapism to them. you'd think that they'd prefer something that didn't have an inbuilt hierarchy, a prophecy that denied them autonomy, or especially a person that reminded them how little they fit into hometown.

that doesn't mean kris doesn't care about him at all - it seems very likely that they do. what I mean to say here is that he just seems ill-suited to an escapism reading, both behaviorally and on a conceptual level. it doesn't seem like that's at all part of his servitude towards the lightners.

of course, there is another non-lightner entity that ralsei seems diegetically engineered to serve. but I'll discuss that later.

now as for susie...

yes, susie definitely views the dark worlds as more fun than the light world. and why wouldn't she? the light world sucks for her, and she doesn't seem very aware of the fact that the dark world can also suck. you could definitely make the argument that she views the dark worlds as a fantastical escape from reality... were it not for the fact that she treats her darkner friends with just as much importance as she does kris and noelle.

can someone treat components of an escapist fantasy as real and important? of course. but given deltarune's themes of agency and control, as well as the fact that darkners exist in servitude to the lightners, I feel like you'd have to make escapism tie into forcing others into a lack of agency if you wanted the theme to feel coherent with the rest of the work. this would require susie to be limiting the agency of the darkners around her. and obviously, she doesn't do that. her presence around them might be inherently limiting, just by simple virtue of being a lightner, but she isn't aware of it, and clearly is uncomfortable with the idea of limiting anyone's agency. she encourages ralsei to make choices. and she supports lancer in basically anything he wants to do. her treatment of lancer is integral to chapter 1's narrative, and it seems like that treatment of ralsei is integral to the ongoing narrative as well!

her preference for the dark world feels very rooted in her engagement with it as its own reality. rather than trying to avoid her real-life problems by engaging in a pretense, she seems to simply want to spend time with her friends in a place that isn't cruel to her. she isn't ignoring any of the dark world's problems in service of that, either. she notices when things don't line up. if she thought of it as a fantasy, wouldn't she be inclined to ignore issues that impede the fantasy?

and critically - like kris, she does not intentionally choose her imposed role in the prophecy at first. she steps into the role of bad guy to resist it, but that role is limiting too, and she eventually acquiesces to being a hero. it's never something she's completely on board with, though. she actively pushes back the limitations that the role places on her. I find this important to reiterate when we are discussing the notion of the characters viewing the dark worlds as fantasy.

noelle has a complicated relationship to the dark worlds. susie tells her that it's a dream to make her accept the strange reality she finds herself in, which works well on her. she continues to think of it as a strange dream throughout the chapter. (though, like the others, it is not a 'dream' she entered of her own volition!)

it is also a markedly unpleasant 'dream' at times. she has her agency restricted, is kidnapped, has to evade a controlling monarch, and is even tied up in a weird evangelion cross thing on the hand of a giant robot. it's not purely fun. noelle does like scary things, and while it might be healthy for her to have an experience where she stands up to a controlling adult figure... again, the circumstances make it difficult for me to assume that this is a fantasy she would choose for herself. not impossible, mind you, but it's not the first reading of the situation that comes to mind.

and while she does say she wishes she could dream like this every day in the normal route, that does happen specifically because she was talking to the girl she likes. it makes sense she'd find that pleasant. I don't think that necessarily equates to her finding the dark worlds escapist.

and importantly, this isn't the sentiment that she expresses in every route.

again, there's a lot of analysis on snowgrave, so I won't bother regurgitating it much here. but it's nightmarish for both kris and noelle, and very likely fatal for berdly. noelle needs to believe that the event is a dream, for her own psychological safety, but one of the most important parts of snowgrave...

...is that its events, and the world it took place in, are very, very real.

noelle wants to have the strength to face her problems, both in the regular route and in the snowgrave route. rather than escaping from them, she views the "dream" as a chance to practice dealing with her day-to-day issues. it's just that in the regular route she finds that strength authentically, and in the snowgrave route, that desire is manipulated and pushed until she is forced to kill berdly. she doesn't interpret snowgrave as an escape gone wrong. she views it as a dream that became a nightmare. and those are two extremely different things.

but i haven't even gotten to the biggest thing that undermines the concept that the dark worlds are a metaphor for escapism! which is: this fucking guy is dead wrong about everything.

so full disclaimer - I really love berdly. I think he's slept on a lot in the fandom because he's annoying and weird. which is fair, I suppose, but I think ignoring him hinders a lot of people's understanding of deltarune's overall narrative. because berdly often illustrates a lot of concepts in the game, but his narrative framing as a joke (usually...) prevents the player from taking it completely seriously. he has things to say and ideas to show off, it's just that he's often very loud and kind of dumb in his expression of them. which is kind of the point!

ralsei brings up the idea that the darkners are meant to serve the lightners very seriously in chapter one. by extension, and by way of the literal mechanics involved in a dark world's creation, we can infer that this logic is probably something that also applies to the dark worlds themselves. they are allegedly worlds and characters that only are supposed to fulfill a dream of the lightners. but due to narrative framing and deltarune's themes, we know that that's not the full truth. however dark worlds and darkners are created, they deserve to have their own agency. they can't just exist to fulfill a higher being's wishes.

you know who else undermines that view of the dark worlds? berdly! berdly does!!!!

because berdly is the only lightner in the game so far who does take the dark worlds to be an escapist adventure! he wants to turn cyber world into smartopia. he views this as a chance to be a cool hero. he believes he's going to get the girl, he's going to shape this world to his own liking, and maybe also he's going to get queen to acknowledge him or something so he stops being a forgettable little bluebird. and not only does none of this happen, his steadfast belief that it will happen is continually a joke within the narrative!!

berdly's wishes for uncomplicated escapist fantasy are flat-out denied by the dark worlds themselves. as a lightner, those worlds should be serving him. he should have the power to do whatever he wants within the bounds of an escapist fantasy. these npcs should be singing his praises!

but he doesn't have the power. and this world doesn't sing his praise. because it just isn't an escapist fantasy. he isn't right to view it that way. his wishes for heroism are always going to be thwarted.

so now that I've gotten all that out of the way, let's swing back over to the subject of your original ask. queen.

because, like berdly, queen's entire character arc is about how she's completely wrong about what the lightners actually want.

queen would in fact like nothing more to place the lightners into an escapist fantasy. she believes that that's the best way to serve them and make them happy forever. as a darkner, queen has very much internalized the idea that a lack of control is what actually makes people happy. since darkners have no choice in their destinies and are supposed to be happy in it, and since she personally finds her role as a darkner fulfilling, she believes that that's true of all people everywhere. if you want to make people happy, you just have to remove that pesky personal agency!

so she spends the story trying to force the lightners and particularly noelle into situations where she controls them in order to make them ostensibly happier. she does genuinely believe that this is the right thing to do, but as she finds out eventually, she's just wrong. noelle doesn't want that. queen believes that escapism is why the lightners use the internet... but that's totally wrong too.

while there are other searches mixed in, noelle is trying to use the internet to find her sister. instead of trying to hide from whatever happened, noelle wants to figure it out. queen's thesis about noelle and the lightners is proven wrong even before she personally encounters noelle in the dark world. it's just that queen doesn't realize it due to her limited perspective.

the concept of escapism being brought up with both queen and berdly is not there to say that the dark world is escapist. rather, it's there to say that it isn't. despite the dark worlds being a fantastical place, they are extremely real. to view them as a means of escape is foolhardy at best. you cannot act as though you are above consequences within them.

themes and ideas exist within the story for a sake of an audience. so let's get into the final character I need to discuss here. hopefully this will tie my thesis of deltarune together neatly.

that character is of course us. the player.

when creating a piece of fiction, an astute author will often identify and anticipate an audience's reactions to certain things in their work, and write things in such a way that they elicit the desired reactions. in essence, a writer is directing the "character" of the audience. how we feel and how we are anticipated to react to things is an integral part of nearly every fiction.

that effect is far more overt when dealing with metanarrative fiction that diegetically involves the audience. since the fiction is saying a lot of things about the general 'you,' the audience in aggregate, your reactions to certain things in the story have to be finely cued and anticipated by the author, so that the author can thus commentate on the reactions that you have to the story. the "character" you are assumed to inhabit is posited by the author to have certain traits.

to explain what I mean in plainer terms, I'll use the player of undertale's no mercy route as an example. because undertale is commenting on the way rpgs generally work. the player's behaviors in no mercy are attributed by characters in the story to be the result of us acting like a typical gamer. we kill the characters in the game because we want exp. and more than that, it's because we want to see everything the game has to offer. the role we inhabit in this role-playing game is that of a completionist. you could say that that's assumed to be our "character" in no mercy.

deltarune also posits that certain things are true of its audience. by being written to evoke certain cultural ideas, rpg tropes, and references to undertale, it guarantees that its audience will probably have certain traits, and spends a large amount of its conceptual focus commenting on those traits. one of those traits is nostalgia, which is probably an idea that I'll expound upon in a further essay because it's quite integral to my reading of deltarune. but the main one I mean to discuss here, and why I went off on this tangent about how audiences are dealt with in metafiction, is that we are posited as someone who believes in the logic of certain narratives.

deltarune's writing evokes a lot of portal fantasy narratives. alice in wonderland, narnia, pretty much every story where it's revealed at the end to be all a dream... the story of deltarune superficially resembles a lot of those. this, I think, is responsible for the popularity of the escapism theory. because those stories are often at their end about a child learning to put away fantasy and grow up, people tend to believe that deltarune must be about the same thing. but I truly don't think that deltarune is trying to do anything with that aspect of portal fantasy narratives, at least not directly. its main characters aren't involved in that exact type of coming-of-age arc.

instead, deltarune is very concerned with what happens to characters in fantasy, and specifically fantasy rpgs. if your world is deemed to not matter because it's a dream, what does that mean for you, who has no choice but to live in it? if you are an npc whose role has been predetermined for you via script, then can you ever decide for yourself what you want? what if you want to matter? what if you want to be your own person?

as the major controlling force of deltarune, we are initially cued to believe that deltarune is like a dream. it superficially fulfills so much of what we want from undertale fanon. hometown seems like it's a perfect idyllic town, at least until you start noticing the obvious cracks. and remember what I said about ralsei earlier? he is so reminiscent of asriel, and extremely eager to help us. it's not a stretch to say that making us specifically view deltarune as dreamlike and idyllic is probably part of his purpose in the game.

I would not say that we are posited as escapist. but the idea of escapism as brought up with queen and berdly is meant to strike at the heart of a much deeper idea that deltarune is trying to deconstruct. because if we view deltarune as a dream, escapist or otherwise, then we are inclined to write the internal realities of the characters inside off. the dark world can disappear without it mattering. we can control kris without it mattering. if it's all a dream, what does it matter? why should we care to let its characters go free? aren't we supposed to be in control?

if deltarune is an rpg... what is the significance of us interacting with it?

#deltarune #deltarune analysis #BIG big thanks to tvlandofficiall for being my sounding board and providing the flavor images for this essay #this one gets into some big overarching analysis of deltarunes construction and what it deconstructs. hope u enjoy

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