#I'm so sorry for this wall of text

[demodraws0606]

What Cyberpunk DeadBoy Means and What it's Potentially Foreshadowing (aka very complicated analysis that makes a lot of sense and could happen depending on how colorpalet is feeling while writing the story)

Now I'm seeing so many people like running around wondering what this event could mean for the future for multiple reasons and like I've made like one post throwing my hat into the ring.

I've been frustrated with people's unwillingness to realise that this comm is prob foreshadowing because this is not the first time Colorpalet has hidden foreshadowing into comms weither subtely or not

Exemple's being :

-Akito's second comm foreshadowing his third event

-Lower's cover art literally foreshadowing what would happen to Mafuyu's phone in her event

-88 vocals being emurui and nenekasa foreshadowing the kind of dynamic the disbandement arc had with nenekasa wanting to move forward with emurui being scared of isolation

-Probably way better exemples that I forgot

I've seen people make Some assumptions which I don't agree with but there is one thing I think is true

There is 100 pourcent gonna be struggle between corporation/reality and WxS.

Purely because that's been WxS's entire theme since the beginning. They constantly bash you over the head with the theme of compromising with reality and the importance of dreams. In fact the pick of Maiki-P is not at all surprising as he basically has the same message WxS has just... well harsher.

The Big thing people have ignored however is by focusing on the lyrics, they've ignored something that's personally to me even more telling and that's the line distribution

We know for a fact colorpalet loves to mess around with line distribution, weither it's to make characters say lines that fit them or to kind of foreshadow their headspace.

Now something Big happens with the line distribution of Cyberpunk Deadboy that i've seen NO ONE notice and that's in the last chorus (that and also Tsukasa's lines which people have pointed out but it works less on it's own which is why I'm gonna analyse his lines afterwards).

This is the only time the chorus is like that, the others have a much more even distribution.

In fact the distribution choice makes it look like the rest of WxS is Talking to Rui.

It's even more evident considering the lines they chose to make WxS sing compared to only just Rui

Emu/Tsukasa/Nene saying kimi (you)

Rui saying boku (i)

Which honestly makes me think this is colorpalet foreshadowing some kind of issue reguarding specifically Rui. Remember Emu's second event ? The story of Rilley whose imagination was crippled by the industry to the point where he didn't really have any artistic vision until Emu's grandpa helped him.

In fact remember how the flashback that showcases that has Rilley working on a film

Now we get to Tsukasa's line which have been pointed out to be kind of sus but it's not just his lines.

Tsukasa refuses to sing with Rui (unless it's a line they all sing together but i consider those exceptions). In fact pretty much everyone has a duo line with each other except those two.

In fact in the section where Rui has duo lines with everybody, Tsukasa is the only one he doesnt sing with and the visuals make it clear that it's something that we're supposed to find strange

And then we of course have Tsukasa's solo lines

Tsukasa is the only one that say "fuzakeruna" outside of Rui (of course ignoring entire group WxS lines) and i've seen some people pointed out how it sounds like he's saying it in response to Rui's lines. Which I agree with.

Then we got his big boy solo lines

These lines will make more sense with my theory/analysis but right now if we go with the idea that WxS in the last chorus were speaking to Rui and Tsukasa in this comm refuses to sing with Rui then this implies those lines are Tsukasa speaking to Rui.

And this is where the insanity begins because people have pointed out a concerning trend with Ruikasa that I know some people use for shipping fuel but for me kinda feels more so like foreshadowing.

IGNORING all the ARG ass weirdness of the Fixer 2dmv, this choice to switch Ruikasa's colors have to mean something in my opinion outside of just wholesome shipping influence especially considering the two songs they do this are less than jovial.

What this kind of color switching signifies to me is that, Ruikasa somehow are/or will switch places.

And with that let me bring back Tsukasa's lines

These lines stand out because Tsukasa before remembering his dreams was extremely shallow only doing things for fame and probably the money that would come with it.

Now if you think about everything I've layed out I think you can gain a pretty clear picture.

Of Rui falling into the trap Rilley did, becoming jaded and losing the true motivation of his dream (or at least starting to have doubts). Becoming stuck with the struggle of managing dreams and reality.

Rui's costume even has a mask which can be a metaphor for his artistic voice and individuality being silenced .

Which now you get into the line distribution where WxS is implied to be talking to Rui.

And you get to Tsukasa, who is refusing to sing with Rui and in fact seems to be arguing with Rui if we really want to overthink it. In fact almost switching their roles from the main story.

Because Tsukasa has grown now and how else to show that growth than to switch Rui and Tsukasa's perspectives/roles.

Now how this would happen really depends since there are multiple ways they can go about it with the time they have.

There is obviously mystery dude dude (who i know now is sakaki) who still gives me bad vibes. However there is actually two way they can make mystery dude trigger this sort of plot :

-Mystery dude is malicious and actively manipulates/confronts Rui to make him rethink his worldview

-Mystery dude isn't malicious but instead is just jaded/has been through a lot of industry bullshit which ends up rubbing off on Rui accidentally

But you can even just not have mystery dude involved with this at all (which i doubt but still) because you know what loose plotpoint is still lingering over WxS, fucking Asahi

Rui still has not talked about Asahi to WxS, in fact Curtain Call ends on an explicit cliffhanger which is never really emotionally concluded (at least in Rui's own events, technically the arc ender did but there are still a lot of loose threads from that arc). Why would Colorpalet make Asahi come back after Rui graduates, they could've just had him disappear into the sunset but instead they hint at his potential comeback.

Unless Rui will be forced to again confront similar feelings he did during Curtain Call this time with possibly an added layer of whatever happens during WxS's freelance arc.

Anyways yeah this is overly complicated but then again colorpalet is not being easy with us so...yeah.

[melverie]

Okay, but you guys do realize that the reason Mephisto behaves the way he does is because he has been raised with the intent of only being beneficial to the future demon king and nothing else, right?

(Buckle up because this is going to be a loooonnngggg post)

Mephisto comes from a family that has been serving the royal family for ages. He mentions multiple times that his family has always acted as their knights, their advisors and their protectors to them, and it won't be any different with him. It shouldn't be any different with him. Being beneficial to Diavolo has literally been decided to be the very meaning of his life even before he was born. He's been forced into the role and he's following it to a T because he's never known anything else, and because he can't afford to lose that. Without it, what else is left of him? What worth does he hold other than being essentially a tool for Diavolo?

And then the brothers fall and suddenly his position is at risk. Lucifer and Diavolo have already gotten along fairly well back when Lucifer was still an angel. Both Diavolo and Lucifer (as well as several others) mention that they go way back in their Nightbringer homescreen dialogues, and we see them having mutual respect by the end of the 'The Glory Days' Devilgram in the original game. Mephisto and Diavolo meanwhile might be childhood friends, but here's the thing

Diavolo wants a friend. A real friend. Someone that genuinely appreciates him for who he is as a person instead of focusing on his status as the future demon king. And that's something Lucifer can give him. They often hang out for the sake of it (apparently even eating dinner at Ristorante Six together regularly), they regularly engage in lighthearted banter, and Lucifer isn't afraid to give Diavolo his honest opinion

But that's not really the case with Mephisto...? He was never meant to be on equal footing with Diavolo; Diavolo even calls him "mini-Barbatos" at one point. He is literally still calling him 'Lord Diavolo' all the time, requests to speak his honest opinion first and waits for Diavolo to allow him to do so before actually giving it. That's why Mephisto keeps pushing down his own feelings and keeps showering Diavolo in praise any opportunity he gets while he adjusts every aspect of life to be beneficial to Diavolo in a way. Sure, he might be popular, but as long as Diavolo doesn't want him to get married he doesn't even waste a thought about relationships. He might have no real interest in journalism, but of course he'll take over RAD's Newspaper Club. After all, Diavolo asked him to! He's part of the House of Lords because as the future king's right-hand man that just makes sense. He was always just meant to be a tool for the crown prince to use, so he doesn't know how to treat Diavolo as anything but. He was literally groomed to be dispensable, so he's obviously going to act like it

And that's also where Mephisto's dislike for Lucifer stems from—he can only watch as Lucifer slowly grows closer and closer to Diavolo, and threatens to take the role that was always made up to be his. And so Mephisto keeps challenging Lucifer over and over again, trying to sabotage their friendship any way he can in hopes of winning back his position as the crown prince's right-hand man

That obviously doesn't make the way he treats Lucifer (and the rest of the brothers!) right. Lucifer isn't responsible for any of this, and blaming him for it is misguided. But it still doesn't change the fact that Mephisto has the right to be hurt at the situation at hand. His entire purpose of existence is just being ripped away from him right before his eyes and all he can do is watch. That must hurt. Especially when your entire familiy's purpose has been to serve the royal family, and you are the first one to lose that

Also, I feel like something else we need to talk about is how his fight only ever really seems to be with the brothers, especially Lucifer? Again, part of the reason is the entire Diavolo situation, sure, but I feel like it also has to do with the situation in the Devildom at large? I already vaguely talked about this in a different context a few months back, but ever since the brothers have been cast out of the Celestial Realm and arrived in the Devildom, the entire situation has just been super unstable. We as a player have a unique perspective on the events because we only have a limited outsider view to on the actual politics going on the the Devildom, while also being aware how things will play out in the future. We know that ultimately letting the brothers stay is the right choice, but that's not the way a regular denizen who has to live through all this sees it. I mean, just the way Mephisto describes the brothers really puts things into perspective:

The entire realm is super destabilized, they just semi-lost their current king, and there have been multiple very real threats of war—first when the Devildom took the brothers in in the first place, then when "Raphael" showed up and told the brothers to return, and Lucifer rightfully points out to (a comatose) MC that they are bound to go to war should the Celestial Realm ever find out that Diavolo turned Lilith into a human. There's just a lot of tension in the air, and the brothers—extremly powerful as both angels and demons—seem to be at the root of most of it in one way or another. From a the House of Lords' perspective, it makes sense to want the brothers gone, same goes for a denizens perspective. And while it is a delicate situation all around that can't just be blamed on the brothers, it makes sense for Mephisto to also see them at the center of it all. Again, that doesn't make the brothers' treatment right, but it's at least understandable given the circumstances

On a side note, when discussing his beliefs, I think it's also important to remember that he to this day is incredibly sheltered. He just accepts all this as normal because to him it is normal, but as we've seen in lesson 31 hard mode Thirteen was so shocked by his views that she immediately decided to drop everything and play therapist for him (absolute Queen for not just blaming it on him btw 💖). I know this was just a throw-away line, but this paired with him basically excisting to serve Diavolo already says so much about his character:

And with everyone else he seems to be generally pleasent? I mean, he says he doesn't want anything to do with angels or humans, and yet he risks getting injured in order to save Luke from falling. Yet he actively seeks out MC to solve one of the 666 Mysteries of RAD together with them, and saves them from tumbling on the floor because "anyone else would have done the same" (they wouldn't have. The season 1 brothers would have laughed straight in MC's face). He literally complained to Thirteen about how he was just about to go home and how he doesn't have time for her, yet diligently carries all her things for her as rain is pouring down on him. His actions always end up betraying his words

Also he has a massive sweet tooth which alings perfectly with one of the headcanons I had for months and is RAD's local horse girl so we stan! <3

-> more character & relationship analyses -> masterlist

[dr0wnmyselfinwhiskey]

No one asked for this, but I need to get it out of my system, so here are my thoughts on Rite Here Rite Now (mostly in regard to the lore and what I noticed during the movie, as far as I can remember). This turned out way too long, you’ve been warned.

Seestor must have known for quite a while that she’s gonna die, and prepared for Copia to take over her position

Maybe she invited Mr. Psaltarian to overlook the orderly transition and keep an eye on C when she’s gone. That might also explain his grumpy attitude towards him, I bet playing nanny to a 50+ year old autistic man isn't exactly Psalty's idea of a dream job

Would also make sense if the additional coffin in “Tax Season” was meant for her

Speaking of “Tax Season”, where Copia plays ‘Driving Miss Daisy’. Could that be another hint that Psaltarian is supposed to be the calm and wise character guiding the now ‘widowed’ Copia? Interesting parallel

Another thing about Psaltarian (now that we know his name is written like that): most of the Psalms stem from King David, who, among a lot of other things, is considered the patron of the Meistersinger (master singers) and in the Dies Irae announces the approach of the Final Judgement 👀

Anyway, Sister’s illness was kept hidden from Copia, or maybe he knew but deliberately ignored the signs, and I loved how this was solved visually by having Sister sitting in a baroque chair in all shots from Copia's perspective, but in the counter shots from her perspective you can see the back and the backrest of the wheelchair 💔

During the father-son-conversation between Nihil and Copia (I didn’t cry, you cried), Nihil tells him how he always wanted to entertain people, and he can even do that after he died and then says something like "Do you think I imagined it like this?". Perhaps this indicates that Nihil, now that he's reunited with Sister in the afterlife, is ending his stage career for good and Miasma will be retired from the set list? I hope not, but to me, it sounded a bit like that. Overall, the movie felt to me like a farewell to many characters, especially Sister and Nihil, whose story is concluded by the scooby-doo-esque part during MOAC

Would also fit the overarching theme of the film: letting go, not clinging too much to the ephemeral, coming to terms with the fact that everything in this world is subject to change (a beautiful message, tbh, I totally wasn’t crying about that 🥺)

Speaking of change, I guess by now everyone and their aunt got the hint that Copia is apparently a fucking twin?!?

With this new information, can we just talk about how cruel Copia's naming is? It literally means "copy"? Hello?? Seestor, wtaf?!

Anyway, going by the visuals provided, I’m leaning towards fraternal twins (one blonde, one dark-haired) and there are a lot of theories about who the twin could be

I’m not a fan of the Defroque theory, because I just don’t see how he would be the frontman of the band, as he has an assigned actor with his own face and voice. But on the other hand, I was certain he would play a bigger part in the Ghovie, since he was featured in the JHKM Video and in the teaser-thing they did for Download. But he wasn’t even mentioned?

I love the Terzo theory, although I don’t think that one very likely, given TFs reluctance to repeat things. BUT, I always thought Terzo and Copia looked quite alike, and they are around the same age. And we’re talking about a fictional satanic cult here, there would certainly be ways to bring him back from the dead, so why not?

However, I think this twin storyline is the perfect opportunity to introduce a completely new character, like they did with Copia back in the day. Imagine the door opening and a man standing there with Copia's old face. And Frater Imperator is like ????? (But that might also be just my love and nostalgia for his old look speaking, OG Copia is my babygirl, I don’t think TF will pull that off, again because he doesn’t like to repeat things and C’s old mask was changed for a reason, so why go back?)

TF also said in an interview that he doesn’t want to just have Papa after Papa after Papa. What if the new guy is something else? A bishop? They also wear mitres. Or the whole shadow in the door thing is just TF trolling us again? Or the Romulus & Remus reference was meant literally and Copia and the new guy will try to kill each other? Damn, I’m so excited for whatever that silly swedish man has cooked up in that silly head of his! 🫶

Just one last thing I noticed because on my second viewing I paid close attention to the backstage set and all the trinkets and knick-knacks. Whenever Sister, Copia or Kevin looked at one of those control monitors or TVs, there were VHS boxes in frame. Most of them were titled after the chapters, I saw a “Meanwhile in Dublin” one, and “Tax Season”. But there was also one titled “Ghost in the Trees”. My research only brought up a song from the band “Thee Oh Sees” from 2008, but I couldn’t really make any connection to something Ghost related. Maybe it’s just a song that TF likes that has “Ghost” in the title?

Okay, I think that's it for now. Maybe I'll do an update when RHRN is available digitally, maybe not. This has already taken way too long for nobody to read it anyway.

[maliciousalice]

@thresholdbb omg tumblr ate your ask but thankyou for asking!!!!

👕Character whose fashion you like.

Phoar! Startrek really isn't a show I associate with being fashionable. It's very camp isn't it? In theory a lot of the wardrobe is really cool and they wanted to gain that retro-future aesthetic. Did it work? I'm not sure. However it does make a statement. The Startrek aesthetic is really recognizable and that's important! I think that's where modern trek kind of looses the plot. It's not as careful about the unique visual design as a whole anymore and as a result it doesn't settle in our minds. Is it bad artistry? No but it's not as stringent. What I mean by that is older trek cared about nuance. For example every haircut was done the same way on men, or suits were tailored in a way to look sleek but practical (they weren't). Gaudy patterns were important to denote things like status. It looks ugly on the outside but when you're watching the show it envelops you and makes you feel welcomed into the universe.

I digress.

To answer this, the most fashionable character, hands down, is Quark! That mfer always looks good, and has the finest drip in the galaxy. Love that.

🥲 ST moment that makes you cry.

There are two moments that make me particularly sad. Kate's acting in the climax of Resistance is incredible. I read somewhere she had a special-wink-wink- relationship with the Director in the early seasons and she was being tested by this episode in some regard. I think it paid off. I treasure any time her captain-hood is removed, and the extreme vulnerability of Janeway is on display-MWAH MWAH poignant. This episode is beautifully intimate, particularly this scene. It's overall gorgeous and unique in how she whispers to him, as if there is nothing more important than to secure his peace of mind as he dies, and it's heart rending when it ends with her just crouching there, emotionally alone. I love how Janeway is forced into the father-daughter dynamic between her and Caylem, one that she would ordinarily resist (heh themes) because I think it inherently weakens her status. The back and forth throughout the episode of them taking care of each other's welfare is so it's terribly sad when it's torn down and we discover the truth behind Caylem's family. If you've dug around her character you know that her Admiral-Father has had impact on her life. She's haunted by him in both a figurative way by being a Captain, and literal sense later on in Coda. Much like Caylem, she looses her father in a violent manner that she has to carry around while she forges ahead. It also reflects well on Kate's relationship with her actual father, she recently revealed that she was never able to get him on her page, but in spite that she adore him with all her might. So a scene like this is really revealing-I believe she was able to draw upon those feelings and that's kinda neat to be so raw as an actor. SIGH.

This one just straight up made me cry fr because Prodigy s1 is a really mature, well done piece of (Startrek) media. Holo Janeway has an irony about it where in the end she is program designed to be a teacher, and she didn't expect to develop a strong bond with the crew. Her final moments are of displaying a huge amount of selflessness and courage to help the kids get out of trouble, similarly to how Janeway would approach dire circumstances. The music swelling and the ship activating is just OOOOF!!! I love how it parallels Dal's initiation of the first Protojump in a Moral Star. By that means It suggests how proud she is to get to do this for them. As a character she is really interesting to think about, in a way I can't entirely articulate. A lot of her moments are quite sad in general, she has to keep an active role so she isn't ignored, and help where help is needed, but at the same time she has constraints, one being that she manipulated by the antagonists. And In contrast to that, the kids do their best to help her feel like she is important and more than a command program to be used insincerely. She grew to love the Protostar crew, that's evident in her body language in this scene. She has a lot of depth overall. Equal to the real Janeway she deeply feels love, guilt and pain, but importantly she is transformed by the her time on the Protostar and while active, learns and grows with Dal, Rok-tak, Zero, Jankom and Gwyn. It's REALLY sweet that they care all care about each other.

I love her and I love JANEWAY!!!!

🥹 Favourite behind the scenes picture.

Ooooh I love all behind the scenes stuff. My brother in Christ It's super difficult to just name one thing and I'm very greedy!! I wish we had more BTS content for Voyager but sadly, it's a matter of grab what you can, however you can. Anyway, I have an inherent interest in seeing the cogs behind the wheel. I chose these samples because I think they're charming.

The continuity polaroid's are so fun and a lost technique, I like to think about assistants having to pull the actors aside and asking them to take those. How daunting! Kate's grin in the one where she is offset is SO cute. So she must have been in a good mood, super Cheeky!

Following that is a screenshot from a video of her having her makeup done. A rare catch. I like this because she often sooks about how much time hair and makeup was spent on her to become Captain Janeway. I get it's a huge time-sink, but love or hate it, the full irony is that her early season appearance is really iconic and in it's own right adds to Captain Janeway's sensibility. Silly goose Kate! Besides that, she looks hot checking herself out, haha.

Moreover, I love on-set editorial photos of actors in costume. While we did have heaps of them in the Starfleet uniform, I wish we had a larger collection with clearer releases, it would have given an opportunity to see in things of interest better detail. Particularly the lower half of unique costumes. For whatever reason special outfits weren't often established or framed for us to see the legs in the show, so a nice big photograph would have solved that. Also I love that these style of pictures capture an impression of an episode without giving it away.

Similarly, fly on the wall on-set photos are cool. They're way more intimate and candid than anything else and it makes me feel as though I am spying on the actors, but they're also a good way to document how things might have been on set.

The Timeless one is interesting too because it's of a deleted scene, we never see Chakotay look at a dead Janeway (how deliciously macabre!), but at some point in time it was in the script and they filmed it.

Hmm this bts picture of Janeway in the Cardigan is adorable! I believe it was worn by Kate for a Charity but look how cute she looks? Makes me wish we saw her mess around with things like that more because 7 Years is a long ass time to be in uniform everyday ( coming from someone who went to school in a Uniform and enjoyed it for the most part). Casual Fridays anyone?

I love this gif. It's from the first shoots of Caretaker and Kate looks so radiant! Her smile is is breathtaking! Whenever I see this gif I get a sense of delight. Poor thing had no idea what she was getting herself into, haha. Really though, check out the original Caretaker photos, they're super-cool. The history behind it is fascinating; I'd love to see more footage from that version of the pilot episode. Unfortunately, it's probably not preserved well, much like lots of Paramount's historical material.

On a similar trend, it's fun to see this set of pictures too. It's for the First Contact film / maybe the Universal studios ride, when she reprised her role as Vice AdmiralJaneway. Kate was genuinely delighted to do this cameo and it shows. As per her operandum she put her whole self into this small segment and that's so darling. It makes me wish we had more of this Janeway at that point in time. I love post Endgame chubby-Janeway. In a fictional sense it denotes that she is comfortable or stressed to be an Admiral (sadly it's the latter in real life) or whatever and I love that for her.

These kind of pictures are fun because it's been said that at times it was the most playful set to be on. There are tales that the cast were not that serious all the time. You get that impression here, and it's probably why the majority of them are still good friends to this day. They're like a family bros!!! Having worked in media I know that wrapping up after working on something for a long time is really rewarding and I bet they had a good time at parties.

Apropos previous, the opposite can be said. While they had fun, the hours were long and the scripts intensive. Kate was around for all of the episodes of Voyager in one way or another, and still managed to bring her A-game each time. She is truly admirable! Seeing her so exhausted is charming. She had a lot of weight to carry for the franchise and did an exemplary job performing her way through 7 years of weird and wonderful material. I wonder how often they fell asleep on set? I know I would. Get some rest queen!

Finally, I've been following Prodigy bts as best I can, and because of my career in animation I get pretty interested in Production art. I love seeing the fast metamorphosis of a visual style. It's really impressive how much attention they applied to the designs, maintaining the older stuff, while adapting a new frontier. One of the lead artists made some pretty neat observations to get Kate's appearance right. It's so cool that they documented that journey, because from my dabbling I know she has a very beautiful, distinct face that isn't easy to capture.

ANYWAY Thankyou for reading my fat thesis fellas. tl;dr i love this stinky Startrek Voyager and by extension the franchise.

[dw-flagler]

In this post, I will attempt to calmly, reasonably, and in-a-good-faith-manner argue all the points raised by tumblr user @library-bat-girl in the following posts. I am starting a new thread so as not to further destroy the original poster, @skitterenjoyer's, tumblr notifications. Worm (+MHA) spoilers ahead. This will be a long post.

Firstly, I would like to apologize on the worm fandom's behalf. We will not engage in ableism of any kind. I sincerely hope that this was a singular incident and @skittersdrippygirlcock will be better about this in the future.

"MHA has better characters,"

My Hero Academia's primary achievement, I think, is managing to make many decently well rounded characters in a fairly short time-span. It certainly has very good visual character design, with easily memorable character designs, like Mina Ashido or Tsuyu Asui. Most of Class 1A is shown to be more than single-note gimmick characters. For a story with such a tight schedule, and only so much page real-estate, that's impressive! For instance, a character decidedly outside of the main cast, Fumikage Tokoyami, is shown to have more to his personality than "is an edgelord," showing a humility and friendliness that is highly against-type. This is very different than a lot of its peers, especially in Shonen manga, where side characters (and sometimes even main characters) are never more than their tropes (see Fairy Tale, One Punch Man*, The Seven Deadly Sins, or Black Clover). My Hero Academia does clear that bar, by making side characters little more than their tropes. This is to say nothing of the primary cast, who, again, is largely defined by tropes and easily slotted into standardized interchangeable Shonen roles. Rival, Love Interest, Rival but Nice About It. Additionally, MHA has an uncomfortably sexualized main cast, for one composed primarily of minors.

This is compared to Worm, in which many characters are fully realized and could have been the protagonist (and often were in older drafts of the story, due to Worm's 10-year development hell). Every character that gets an interlude, and most that don't, all have fully realized interiority, traumas, and wants. In fact, this is one of the major themes of Worm. Every character, from the protagonist Taylor, to characters so minor they're seen only once (see Damsel of Distress, Dauntless), to major antagonists and monsters (see Jack Slash, Bonesaw) all have their own story, even if this is never shown on-screen. There are no "side characters" in the same manner as in My Hero Academia, because every character is a protagonist of their own story, and not in a trite "life is so beautiful" way.

Taylor isn't the center of the universe, there's an entire world outside of her 3-block bubble. The mechanism by which all characters get their superpowers means that the mere fact of having powers implies this about them. Even the seeming exceptions, aren't (see Alexandria, Garotte). Taylor is a good character. I don't even know how to elaborate on that. She just is. Worm does not have the character Minoru Mineta.

"a better plot,"

What... what is the plot of My Hero Academia? For the life of me, I can't seem to recall. I can tell you the general formula of most of the arcs for the first ~2/3rds of the story. Class 1A goes to do a hero high school thing, like do rescue training, or on-the-job training, or on-the-job-training, or on-the-job-training (they do it like 4 times for some reason), the League Of Villains shows up (even when it's seemingly not the league of villains it actually is the league of villains) they fight about it, the class beats all the villains, and Deku beats up strongest bad guy and also breaks his bones. Repeat step 1. But like. What's... the plot? The League of Villains is evil and wants to kill people and do bad stuff. They explicitly do not have greater motivations. There's generally themes of passing-on-to-the-new-generation, so there's Tomura Shigaraki as the arch nemesis to Izuku Midoriya, just as All Might's Nemesis is All For One. Eventually they fight a big fight about it and I stop reading because I find out about Worm. From what I understand (I have not read the conclusion) the series ends without addressing any long-running questions, wrapping up any character arcs, or concluding anything in a narratively satisfying manner. As if severely rushed.

Worm, there are maybe 15 main stories going on simultaneously, which are all tied into the final confrontation with Scion. The most obvious is Taylor's and the Undersiders' story, about taking over Brockton Bay and defeating Coil, which is a smaller part of Coil's story about taking over the bay, until their confrontation with him in arc 17, when it supersedes Coil's story, and then intersects with Cauldron's story, the Traveler's story, the Case 53s' stories, the Wards' story, all of it, in arcs 18-19. This is one example. A great deal of attention is spent making sure the reader knows that Taylor, the Undersiders, Coil, all of them, are bit players in a very large game. Despite this, it's never hard to follow, because Wildbow, while lacking some of the more flowery prose, manages extremely well at making his stories easy to understand.

"I feel like even people who like Worm can agree that Worm is not the most consistent piece of fiction ever written. The disjointed way it was written meant that emphasis was primarily put on 'What Wildbow thought was cool in the moment', [sic] and the story RADICALLY shifts gears every time a new arc starts."

What? Huh? Worm is extremely consistent. Like. 1.1 to E.x. It's, like. Not disjointed? Oh my god, are you talking about interludes? Is that what you mean? The interludes shift gears? Because that makes sense. It's one of the hardest things about worm, yeah. It's gripping! The interludes are a great idea to expand the world of worm, but the problem is that taylor's story is so intriguing that stepping away from it to focus on something else is hard, no matter how individually interesting. I want to read about taylor's escalation spiral, not the travelers! (As opposed to My Hero Academia having random escalation and de-escalation between arcs with no real explanation. We're reading about lives-on-the-line battles with child-slavers and then move to playing on a playground with little kids? Best I can think of is that this whiplash is intentional, but this is never communicated to the reader. Worm does not do this. Any de-escalation is met with the explicit understanding that this is merely a period of calm before things get even worse). Taylor's story wraps up in an extremely narratively satisfying fashion, following her story to its logical conclusion. There were so many ways it could have been avoided, but there was really only one way that it could have ended.

"better worldbuilding,"

This actually offends me. MHA could have had great world-building. It doesn't. Every potentially interesting bit of world-building is backpedaled out of or stopped before it could get anywhere. Or it's just never elaborated or expanded upon. Everyone having a superpower could have been cool, but the implications of this are nonexistent. The reasons for this having no real implications, that being the banning of quirks, also has implications that are also immediately backpedaled out of. It's been hundreds of years since our time, yet life is exactly the same. Nothing ever happens. Endeavor is a cool concept. I like Endeavor. his existence implies such interesting things about the world, how important hero ranking is to these people's lives, that he would create this horrific system of domestic abuse to try and get to the #1 spot. What does this say about this system of heroes that operates like a popularity contest? It could have said a lot. It says nothing. What does the League of Villains, a league of people who call themselves out-and-out villains, who base their ideology in opposing this system of heroes, say about society? Nothing. On purpose. Worm does something with this. One Punch Man does something with this. My Hero Academia puts it in the story, and lets it sit, unused, for a decade.

Worm has... unique world-building. Because it's both good and bad at the same time. Worm's #1 feature is its world. It's brilliant, full stop. Triggers, The Birdcage, the PRT, Exclusion Zones! Why does the status quo exist? what does it say about that society? What does it say about our society? Why hasn't society radically changed from how it is in our world? This is explained. This plays into the themes. The story wants to say something about this world, and so it does. There are characters whose stories explicitly delve into these themes that are set up in the worldbuilding, like Armsmaster, or Battery, or Bonesaw, or Coil, or Piggot or Alexandria or Taylor herself or Brian or Lisa or ANY OF THEM THEY ALL DO THIS. Sorry.

Anyway, the bad part is that the actual world is not well built (and is kind of racist). What's going on in Europe? There's a 3 blasphemies! a 3 what? never explained. What's going on in Asia, aside from Japan? China is a monarchy for some reason. Why? It's never elaborated on. India gets a little bit of elaboration, we're told its different but not how it's different. Wildbow uses machine translation wrong and names some guy caliph of dogs. This is like worm's #2 problem honestly (#1 is Amy). Wildbow tries to make the implication of a well thought out globe without actually making a well thought out globe.

"stronger themes,"

It really doesn't. As I said in the worldbuilding section, MHA makes a point out of not saying or doing anything. I don't know if editors made Horikoshi walk back the more ambitious story beats or what, but there are multiple points in the story where the author pretty much looks you directly in the eye and goes "This Story Isn't Saying Anything At All Even Though It Looked Like It Would. Lmao."

Worm has lots of themes. I think Armsmaster/Defiant's story is my favorite. His entire character arc (which is fully realized despite him being a background character for nearly the entire story) has a point to it. It says something. It's misanthropic and uplifting simultaneously, and manages to feel like it earns both. It's a shared theme with Bonesaw/Riley's story, explored in two different ways.

"Meanwhile MHA establishes an actual overall theme/message right from the start that expands and develops throughout the story. The worldbuilding is informed by the message, which informs the characters arcs and the people they become by the end of the story."

I notice that you never actually say what that message is. What is it? Like, for real. I'm not being confrontational or anything, like what is the message? Cuz' I can't think of one. My Hero Academia, at its very core, is a defense of the status quo. Much like its world-building, but much less forgivable, because it does do something new and unique with its world-building. MHA could have done some extremely interesting stuff with its early implicit critique of heroic society as shown with characters like Bakugo, or Shigaraki, or Endeavor, or Overhaul, or Midoriya himself! It just doesn't! It doesn't do stuff that Worm does do!

Worm does have a message. It has a lot of messages, actually, some that the author disagrees with somehow. Prison abolition, for one. We know Wildbow loves prison. Anyway, the big one is in the subtitle: doing the wrong things for the right reasons. Taylor's constant spiral of escalation, her dwindling attachments to her friends and greater focus on treating herself like a soldier is prevalent, and it is to be avoided. Taylor isn't a sin-eater. They don't exist. From what I remember, this is sort of explored in Deku's character arc for a short period of time, but much like everything else in MHA, it is backpedaled out of.

The funniest is "don't text and drive" though.

"Just on a basic level the way that the audience is meant to feel about Taylor oscillates wildly between being directed to think of her as a misunderstood victim of circumstance, or history's greatest monster."

That's kind of the point. Like. the audience isn't meant to look at Taylor the same way throughout the entire story. It's meant to change as she changes. Taylor's opinion of Taylor changes. The mistake here is saying it "oscillates wildly." it doesn't. It's a slow and steady change for the worse, as Taylor gets more violent and starts throwing away greater and greater parts of herself to become more like a robot and less like a person.

"But a bigger issue in general is tone. It's very focused on being dark and gritty and edgy, and it makes the mistake a lot of consciously edgy media does. IE: it thinks that all it has to do to be smart is be bleak and/or graphic. It doesn't really try to say anything, in fact it contradicts itself throughout the book as I mentioned before, it just throws in extremely graphic scenes and content periodically to remind the audience how fucked everything is."

Did you read the boys and think it was worm? What? It's not being smart when it's bleak or graphic? I actually personally like the endbringers or the slaughterhouse 9, and not because I like watching people suffer. These things exist for a reason. It's not being dark for the sake of being dark. The heroes could stop the slaughterhouse 9. We see that, when they almost stop the slaughterhouse 9 (it's explicitly shown that they are stopped from destroying the slaughterhouse 9). The question then becomes why don't they? It's a grim, brutal calculus, and one that wasn't worth it. That's the point. The Endbringers are different. It's not until arc 27 that they're really explained. You could either read them as a criticism of Eidolon or of ableism, honestly. I mean, it wasn't intentional, he didn't create them on purpose, he needed something to fight, because without that he's nothing. His powers are all he has.

"Worm spends so much time trying to be edgy that as with a lot of edgy media the edginess loses all impact quite quickly and becomes sort of cringe."

I don't really think so, but like. Okay. I don't think this is a reconcilable viewpoint (none of this is really but this especially), so like we're probably gonna have to agree to disagree. The only thing I can really think of as edgy for the sake of edginess is Amy's arc. But even that's not really true. It's meant to be an utterly avoidable tragedy that could never have been stopped because of the people involved. Much like Taylor, actually. Amy could have stepped back from the brink, but she didn't, because Amy could never have done that, and nobody else was willing/able to help. It's supposed to be a thing where you sit back and think of all the tiny ways this could have easily been avoided, but wasn't.

"When body horror happens it still has impact because it's not happening constantly."

I mean, I guess. But like. I never got desensitized to the body horror in Worm. It hit pretty consistently for me throughout. As opposed to MHA, where it was usually walked back by the end of every arc. I never felt much tension or suspense because it felt as if there weren't actual consequences. In Worm, when Brian was strung up on his nerves, it felt disgusting because I was fully aware Worm would explore the ripple effects of this. It felt entirely possible he would die there, or never recover, because Worm didn't pull its punches. MHA did. This is a matter of opinion. We'll just have to agree to disagree about it.

"But most importantly - you root for the heroes because the world actually seems like it's worth saving."

that's just, um. sorry. I'm really trying here. That's just. Uh. Dumb. Do you root for Batman cause Gotham is a nice city? Everything's worth saving, that's, like, at its most basic what the concept of a superhero is about.

"Not only that but MHA simply does villain protagonists objectively better than Worm."

um. No? There straight up aren't villain protagonists in MHA. The villains are the POV characters for, like, one arc? You know what, here's a good spot for it. It's stated throughout the story that Shigaraki and the League of Villains have a goal, beyond just death and destruction. They're here to stop the corrupt society of heroes (that MHA hints at the existence of before backpedaling away from), and bring about a fairer society. But then, and this part pissed me off, one of the characters, I think Bakugo, says: "you're just using that as cover! you just want to kill people, you have no noble goal!" and shigaraki's like "dang you caught me." and then it happens again with Deku! Because My Hero Academia is allergic to saying something. Nope! They're villains! No moral depth here! They're Villains, We're Heroes, Go Put Them In Jail.

This is opposed to Worm, where- "The characters of the villains and their origins are used to highlight the flaws in the Superhuman society"

"Most of the villains are only villains because society failed them in some way, and the specific ways in which that happened become big plot points that then play into the future arc of our heroic characters."

I had to walk away from my computer for this one. It's hard to be civil. It's really hard. Polite and reasonable.

So Worm is about this. To even say this without a shred of irony makes me thing you've never once read a single word of Worm and are doing this purely as bait. Or you've read all of Worm and are doing this purely as bait.

"They're actually extremely complex in a way that ends up being fundamentally important to the overall story - where in Worm the villains are either based heroes fighting a corrupt system or they're histories [sic] greatest monsters... until they're presented as heroes again."

I think I get it now. I really think I do. You're not supposed to agree with all the characters. Like. Worm is inconsistent, in that it follows the perspectives of inconsistent people. Of course Triumph and Armsmaster don't agree on what is right! They're different people, they have different perspectives!

"See. Worm fans keep saying "This is Bait." It's not Bait, you all are simply ridiculous and obsessed with this series to such a degree that you feel compelled to say "This is Bait" instead of just... ignoring it, because you have no actual counterargument."

Perhaps worm fans are inclined to believe you posted rage bait because you brazenly walked into another fandom's post and wholeheartedly proclaimed that the thing they liked was Stupid Idiot Bullshit For Fucking Morons, and refused to elaborate until prompted, at which point you said several things that are demonstrably false about Worm.

"Your only response to anything I've said is pedantry, bigotry, and deflection. If it was obviously just bait why are you engaging?"

Well, I'm engaging because I've been in a foul mood since I woke up this morning. Also because you, again, said some very rude and patently false statements about a story that I really enjoy and find narratively rich, even in its faults.

"MHA's characters do fall into archetypal shounen character roles - but they are all given a solid amount of focus explaining why they are like that and developing them into something bigger."

Again, as I said, it's a genuinely impressive feat to have an ensemble cast like what My Hero Academia has, and give so many of the characters a degree of depth, with such little manga to work with. I think worm does it better, but worm doesn't have to be economical about it. MHA does. The problem I have with this statement is that it becomes a question of scale. How much bigger? They're no longer defined by their tropes, instead defined by their opposition to their tropes. It's still a one-note character, you've merely changed the note from C to C sharp.

"so almost every member of the cast has an arc that either develops them past the person they initially seemed to be or explains why they're like that."

This is probably my favorite part about MHA. They do have arcs! I love ensemble casts! it does a much better job in this than all of its contemporaries, even One Piece. However, they are comparatively simplistic arcs that all follow a similar formula.

"I've heard people say MHA is neocon or pro-establishment but the story literally concludes by showing that society HAS TO FUNDAMENTALLY CHANGE or the same problems that created the villains in the first place will keep happening. The entire time skip specifically focuses on the fact that for eight years the main characters have been forcing change in the world and addressing the issues the villains brought up."

Now, I'm going to be clear. I stopped reading My Hero Academia around chapter 275. I don't know the exact number, but it was the latest chapter in ~mid 2020. I would occasionally attempt to reread, in an attempt to catch up, but give up around chapter 200 out of boredom. I don't know exactly how the story ends, but I have read ~2/3rds of the story. I feel this gives me a pretty good understanding of the general tone of the story, unless it wildly changes tone at the 3/4ths mark, which you have explicitly said it does not, as it is extremely coherent and consistent. Therefore, I believe I can state with some degree of confidence that MHA does not do that.

I would certainly believe that it tries (and fails) to SFP it, but SFP does not promote a fundamental societal change. That's the problem. Strong Female Protagonist was willing to come up and say that Alison lived in a fundamentally unjust world, even if it was never willing or able to offer real change. And hey. You do what you can. I sincerely doubt My Hero Academia is even willing to call its world fundamentally unjust, from the 200+ chapters that I did read.

"In the case of the actual main characters, they have extremely comprehensive character arcs."

Adding this behind the last point just so that I don't have to reiterate I haven't finished the book. I am, however, very much not inclined to believe the actual main characters had extremely comprehensive character arcs.

Which plays back into the initial theory that ANYONE CAN BE A HERO.

man, spider-man did that better (not a real argument, but like, spider-man totally did that better). Not least because midoriya specifically could not become a hero were it not for all might giving him a power.

No, the Villains don't get happy endings,

Why not? Why do they go to jail, even the ones who changed and wanted to redeem themselves? Endeavor never goes to jail. He did some horrible stuff. He's redeemed himself in the eyes of the story, right? Anyone can be a hero, right? So why not them? Why haven't they redeemed themselves in the eyes of the story?

You may wish to turn this back on me and ask why doesn't Armsmaster go to prison? Because he's similar in some respects. But worm never calls prison justice. (for some reason, even though wildbow totally loves prison). Prison is punitive, a tool for those in charge to control those it manages to capture. Maybe some deserve life in the birdcage. Many don't. It doesn't matter. Because the birdcage isn't a tool of justice. It's not meant to be. it's a box to put the uncontrollable capes in, until they can be used as meat shields. So Armsmaster doesn't go to prison because the story says explicitly there is no point to it. But MHA? MHA says there is a point to it. Endeavor needs to go to prison if he wants to atone. He's escaping justice every second he's outside.

I have actually read Worm, and for the first half to two thirds I loved it.

Weird. That's exactly how long I really enjoyed MHA. Not, like relevant, to anything. Just odd. I mean, I don't actually dislike MHA. I think it's fine, actually. It feels like Indiana Jones and the Last Crusade to me. Funny (when Mineta isn't around), bombastic, and a good time, even if I don't think it's super thematically rich.

I'm not coming at this from the perspective of someone who has never seen any of the merits of Worm, I'm coming at it from the perspective of someone who really liked it, gave it a fair shot, and was eventually disappointed when it ended up not tying together right.

See, this makes me more inclined to think it's bait, actually. since you said "Oh yeah. MHA is published. MHA's been an ongoing publication with a large following for ten years, in a notoriously competitive industry. Now this might seem kind of unimpressive, it's a very low bar to clear I know. But it's one Worm hasn't, so. I dunno, I'd say that's fairly objective. Now you may think "Yeah, but Trash fiction gets published all the time." And that's true but again - Worm hasn't. The worst piece of fiction you can think of got published and Worm didn't. You wanna be an asshole about this? The thing you love is so mid that it was self published in 2013, couldn't get picked up for professional publishing until 2019 and as far as I can see has stayed in development hell since then." in your previous post. Sure, perhaps we can say you were pissed at the time, but "the thing you love is worse than trash fiction, an altogether nothing piece of literature that isn't even worth the paper it would hypothetically be printed on" does not strike me as the words of someone who "really liked it, gave it a fair shot, and was eventually disappointed when it ended up not tying together right." In fact, going back through your other statements on the story, you seem to have genuinely disliked it from the very beginning, on grounds of being too edgy (which I can fully understand the logic of): "IE: it thinks that all it has to do to be smart is be bleak and/or graphic," thematically incoherent: "It doesn't really try to say anything, in fact it contradicts itself throughout the book as I mentioned before, it just throws in extremely graphic scenes and content periodically to remind the audience how fucked everything is," and utterly devoid of purpose or meaning. "When it does introduce new lore that new lore is almost always overly convoluted and acts as a catalyst for things happening, but not really things happening that play into a wider theme or message. It's just "Oh and here's this team of god-level serial killers who are gonna string a dude up by his nervous system." Like yeah, cool visual, but what is any of this actually saying?" This does not sound like a ringing endorsement of the first half of Worm to me. In fact, this sounds like you hated every second of it.

"And frankly given the number of comments that are just people saying "Bait" - I don't think any of y'all have engaged with this in a fair or honest way"

I'm going to reiterate on my previous statement. I like my hero academia. Capeshit is my favorite genre, it probably always will be. They're my favorite genre of story. While I find the themes—or lack thereof—extremely frustrating, I still think of it as fun. I gave it a fair shake. I would probably really enjoy the ending if I didn't have a reading list that was 300 books long.

[silusvesuius]

n*loth not being able to bag anyone over the (human term) age of 25-30 at most is the only logical and real conclusion to me because it can be just explained away as him wanting to prove and control everything and anyone (Cus he's a man!) but being stuck in that demographic because his unbearable and vile personality is a force that nobody can look past once they've outgrown the possible fear and idolization period of anyone but also n*loth in particular.

[kimeoshi]

the way I'd devour a fic of aven and ratio with your buckshot crossover, that thing has EATEN my brain

if anyone writes one 🙏🙏🙏🙏

YES!! I WAS THINKING THE SAME THING

If nobody does it I will do it myself HOWEVER that doesn't mean I wouldn't like any additions heheh

(in that case I MUST be sent a link to that fic before getting admitted to emergency care)

If anyone has the tiniest urge to write too, I implore them to join me!! Even if it's just one particular dialogue or sentiment that comes to mind, one small idea can surge much more once you end up starting it.

I really love this crossover particularly because the game's undertone themes (not saying what due to potential spoilers) deals with the exact same things Aventurine struggles with, oh, the angst potential.

[seriousbrat]

imo it's not so hard to accept that SWM takes place after the prank. I mean it is canon so too bad but it makes complete sense to me. there's no evidence the prank was some big life-altering character development moment for any of the characters involved and that they all learnt their various lessons. in fact we see that they don't. in SWM the marauders are clearly still tormenting Sev. In Sev's conversation with Lily post-prank he's still just as obsessed with the marauders and exposing their secrets as ever, if not more. he doesn't consider what lily's saying at all because he's too focused on his hatred towards them.

my hc is that sirius (rather masterfully) used reverse psychology on sev to get him to go down the willow. Sev isn't stupid, he wouldn't have let himself willingly be led into a trap by his worst enemies. I think Sirius probably "let it slip" and then "backtracked" and acted like Snape wouldn't be brave enough to go down there anyway and that he should just forget it. I doubt Sirius directly told him to go down the willow, I think cleverly he told him not to, knowing that Sev would do so anyway (not that this makes a difference ethically bc his intent is still clear, but anyway. this isn't about who is morally better because idgaf honestly lol, I'm just trying to work through their mindsets)

the marauders received no real consequences for the prank, so why would they learn their lesson? Objectively you can't really punish someone for telling someone not to do something if they do it anyway. Not particularly fair, but still. Which brings me to Sev's responsibility in the matter (which yes, does exist imo) we're shown that he was obsessed with finding out what the marauders were up to and particularly obsessed with Remus's secret. Yes, this is understandable given how they treated him, but absolutely not healthy and he still chose to go down there, whether out of pride, greed, curiousity, vindictiveness. He obv was manipulated but there's a reason he was so easily manipulated. As I said previously, his obsession with revenge is what causes him to be blind to lily's feelings.

James rescuing him wasn't some moment of epiphany about how bullying is bad actually. It was just a fundamental part of James's character already. He would never have let him die regardless of how he felt about him.

All of this makes SWM the PEAK moment of hatred between Sev and the Marauders, which explains a lot of their responses. Sirius and James hate Sev more than ever for trying to expose Remus. Sev, justifiably, hates them more than ever for trying to kill him (and he ropes James into this, which is incorrect but understandable in his position)

James "deflating his head" probably wasn't just based on one event in particular. He just grew up and learned what was more important- being a good person, fighting against voldemort. But Sev also had growing up to do of his own during this time. As I talked about in in this post yesterday I think post-swm Sev was beginning to realise that his lack of control over his emotional responses (calling lily a mudblood out of humiliation, for example) was dangerous both to lily and to himself.

Yeah they still hated each other and attacked each other in seventh year. There's too much bad blood there to do anything else. I've talked about the dynamic between Sev and James here and how that might have developed as they grew older. I honestly find it extremely interesting, I could go on about these two for hours rip. My point is that the development of these characters into adults wasn't instant or linear, it was messy and rough. people don't usually change overnight, it happens slowly over time because they have to.

[legobiwan]

TotJ Rewatch: Ramblings (1 of 3)

After a long abstention from consuming anything Star Wars-related, I plopped down on my couch yesterday and decided it was time to dip my toes back into this arena, mostly for the purposes of writing.

And what better way to delve back into this universe than by starting with the Dooku episodes of Tales of the Jedi?

Boi, oh boi, had I forgotten how much I love this character.

And so without a thesis or much a point whatsoever, I'd like to ramble about a few dozen thoughts I had while yelling incoherently through this rewatch.

Episode 2, "Justice"

One of the overarching themes of Dooku's episodes is this unsettling notion of darkness. Even at the start of this episode, gone are the usual triumphant Star Wars themes are so familiar with - the militant and boisterous brass, the rising strings and woodwinds. Instead, this episode opens with somewhat dissonant string passages interspersed with with a subtle, almost glistening electronic tones that meld in and out of the sustained string notes.

There is no optimism whatsoever as Dooku and Qui-gon set down on what looks to be the charred husk of village.

The remainder of these episodes rarely lighten in tone. And I don't think the thrust here is that Dooku is the only Jedi to have encountered these unfortunate situations - suffering and devastation due to corrupt politicians in a Republic the Jedi is supposedly tasked with protecting. What I do think is that this is all meant to be seen through the lens of Dooku's increasing disillusion. That these scenes are bleak because that's what Dooku is focusing on, more and more, to the point where...well, we know what happens.

But anyway, to get back to the episode.

You have give props to the animation team here. The continuity with Qui-gon's older self having a tendency to show cleavage apparently stems from his youth, where it was even more exacerbated. (Aren't you cold, Qui-gon?) The best part of this is the contrast with Dooku and he (of course) very well put-together outfit.

Maybe teen!Qui-gon just went through too many growth spurts and the Jedi tailor threw up their hands in frustration. I do find it infinitely amusing that Dooku - Mr. Propriety himself - had two students (Rael and Qui-gon) who might as well have been wearing burlap sacks half the time. Never let it be said that Dooku didn't allow his charges to express themselves, even though I'm certain it vexed the hell out him.

What's fascinating about this episode is the absolute economy of dialogue. There's not much of it, letting the visuals of the ravaged village and Dooku's own tight-lipped anger carry much of the weight of the narrative. It's almost as if we're at a point with Dooku where he knows he's angry, he knows his base instincts are trending in a bad direction, but he's still trying so, so hard to be a Jedi and toe the line, to believe in the Order he brought up in, which I think is partially why Dooku is so reserved in this particular episode, minus the part where he tries to Force-choke a guy.

I love that Qui-gon is doing the majority of the talking here. There's no disapproval written on Dooku's face, no motion made for him to hold his tongue or know his place. It truly shows the level of trust Dooku has in his student (and the level of trust in himself as a teacher) and also the level of respect he has for Qui-gon (despite his sartorial missteps). I've said it before and I'll say it again. Dooku is a teacher, through and through. He trains Qui-gon and is devastated at his death. He trains Ventress and is unwillingly forced to abandon her. He trains Savage as if he were a dark Padawan. He's constantly making remarks to Obi-wan as to how he could improve. The man can't help himself. But Qui-gon was special to him, as we'll see in another few episodes.

One of the most fascinating layers of Dooku's character is his political idealism. I'll point it out in more detailed fashion when I recap the next episode, but young Dooku and Padmé Amidala have so much in common. And it's wild for Dooku, as someone who (both canonically and in the EU) was born into a noble family, was aware of his heritage, and by all accounts, maintained a level of haughty distance from most people exacerbated by a taste for the finer things in life.

And yet...and yet. This is a man who is unbelievably angry at the actions of a corrupt Senate. That a village could be treated and forgotten this way. Padmé is little different, as we see in TPM and throughout TCW. (You have to wonder what a political powerhouse those could have been if they had stood on the same side of the aisle at the same time).

When we think of Dooku, we think of a relentless man who would go to any length to see the Jedi destroyed. And later, he goes on to commit some true atrocities. But like many roads paved to hell, it begins with good intentions, even if they may be self-serving.

Is it noblesse oblige? Maybe there's a hint of that. Does Dooku really care about the little person? In a way, but I don't think that's his major motivating factor.

Dooku grew up with the Jedi. He loves the Jedi, or at least loved the Jedi. He was talented and became one of their best. And then he started to see the cracks in the foundation and began to question everything about the Jedi, everything about himself. So much of this, in my mind, stems from a sense of betrayal by an organization and ideal which he held so dear to his heart (not to mention his main teacher was the head of the whole shebang).

What do you do when the thing you identify with the most - the thing that is you identity - your passion, in a way, your first love - curdles into something unrecognizable? If Dooku loved the Jedi any less, he would have left. (And that touches on a whole other cultural aspect of the Jedi Order and a type of institutional pressure that I won't get into here). Well, in Dooku's case, you start by trying to reform it from the inside. By bucking authority and replacing cracked edifice with your own hewn stone. Until you can't anymore, until the weight is too much to bear and your grievances begin to spill and metastasize into something else altogether.

The funny thing is, I feel like the start of this confrontation would have gone the same with almost any other Jedi. I can't see, say, Mace Windu (and I choose him as he gets underserved flak for being rule-abiding to the point of inhumanity) just up and saying, "Oh yeah, dude, you're totally right. Let's fuck over these peasants."

But where it gets interesting is when Dooku allows it to become a firefight. There's a long series of shots showing the fear of the villagers, the way Qui-gon looks around and is uncertain as to whether or not this is the right path.

Yes, Dooku, you do.

But. You're also willing (if not thrilled) for these people to become momentary collateral damage in an idealogical battle, as we see during the firefight exchange.

And the thing is...there's no easy answer here. It's not Republic vs. the Confederacy. It's not good versus evil. It's a lot more complicated than that, and Dooku isn't wrong in allowing the confrontation to happen. The Senator is corrupt. The Senator is willing to burn the village to the ground. The Jedi do (or should) serve the people of the Republic, first and foremost.

You can see why Dooku Force-choked the guy, in a way. He's still at a point where this collateral damage goes against everything he believes in, where he sees that the only option of restoring justice is through darkness, and he's willing to go there. For justice. For peace. (For himself).

The real hero here is Qui-gon, who is quick enough to realize number one, that his Master is going over the edge again (and given Qui-gon's response, I have zero reason to believe this was the first incident), and number two, that the Senator's son would be far more effective in persuading his father to abandon his terrible, awful plan of obliteration (although would his father have listened had Dooku not choked out of him first?)

As we know, Dooku is an aloof man. Touch is probably not one of his most-used emotional languages. I realize that in raising a child, even if they are ten to twelve years old when they come into your care, you probably have to have some comfort or at least tolerance of physical touch. But the fact that Qui-gon has no fear of Dooku and his possible reaction, that he instinctually takes him by the shoulder. I feel that with Dooku, so little can say so much, and to me, this is obvious proof of the solidity and trust in that relationship.

Part of the issue here is - Dooku's gambit works. Now, yes, he is absolutely correct in the exchange below that Qui-gon truly saved the day, but as I noted, it's not guaranteed the Senator would have listened to his son prior to having the life choked out of him. And what does Dooku received in response? Positive reinforcement. The village is being rebuilt. The Senator (for now) is reconsidering his actions. Brute force, in a way, worked, even if Dooku at the time was not fully in control of his own actions. And there's this weird negative/positive feedback loop where Dooku is rewarded for his actions, even if he knows his methods were less than savory, even his guilt eats at him, leading to the discussion below.

It's so interesting that Dooku is teetering on the edge during these years, but is always somehow brought back. It's really when he stops having a Padawan - that's one of the tipping points, where he has no counter-balance, has no one else to invest himself in, to learn from and, in some ways, live for. You almost have to wonder if some of Dooku's issues could have been solved by forcing another student on him after Qui-gon was knighted.

Next post on the docket: "Choices"

[starflungwaddledee]

What Starstruck Dee theory have people made that is your favourite?

there have been quite a lot, and i genuinely love them all!

early on i think the most popular theory was that she was possessed or had been possessed at some point, most likely by dark matter. she actually debunked this theory personally, but i think people just assumed she was lying! 😂

my favourite part is not any one theory, but watching a shift in thoughts over time as more things are revealed, and seeing people share theories/work together in comments and reblogs. i like the "OOHHH WWWWHAT...!?!" moments a lot; whether they are a reaction to my storytelling or to other folks' detective work!

early theories revolved around how she was weird for a waddle dee, or at least a native of popstar. despite my never explicitly confirming anything to the contrary, theories have now broadly shifted to assuming she is not from popstar at all, and most people do now generally agree she's not really a waddle dee.

i don't recall exactly who first came up with each theory (though some big players are @the-void-is-a-disappointment who did a huge amount of early deetective work and encouraged me to build it as a story for solving, @shibuya-toasted-with-extra-cream, @graycoin and @jojo-schmo) and i'm not sure which of these theories are still held by anyone

but here a few of my favourites, roughly in order that they started appearing...

♻️ she's a total mimic species like kirby or void, copying things around her either by intent or by accident 🗑️ similar to above, but she's an incorrect copy or a "beta" mock-up type of a waddle dee 🧚 that she was just born different, like a fae changeling, and might have been hidden away when young as a result 🕰️ she is something totally inorganic and/or mechanical, created by or like the clockwork stars or stardream, perhaps wish contingent 🥇 sometimes attached to the above, she was created to serve some sort of Greater Purpose. she might have failed at it or been flawed, and was subsequently discarded on popstar 🌠 a dozen and one wildly different things connected to the "falling star that hit her". alien life form on the meteor transferred into her on impact. infection by intergalactic bacteria/dark matter. simply massive concussive trauma that fucked up her signature (back when we thought that was the only thing wrong with her). the star was magic and fused with her. she hatched from it and is literally a star herself. probably missing some here. 🪐 waddle dee from a different place/planet. this one is quite a sensible theory, given that we do see many quite different dees! 🤍 she is a fragmented piece of void/void termina. this one in particular i know is @shibuya-toasted-with-extra-cream 's ongoing theory and she's put in a lot of really cool work towards it! ⚔️ she's somehow connected to the heroes of yore. this theory i think has only started popping up since galacta knight has become a reoccurring visitor in her storyline and we've started asking questions about her familiar looking magic spears, but you can certainly 1hko @moonverc3x with this one 🧿 she's connected to the matters. sometimes soul, because it's sometimes star themed and lacks a token representative. where as a connection to dream might link her to fecto forgo/fecto elfilis in some way (a creature also well known for a catastrophic meteor attack). i've also seen folks confident that she's connected to heart matter as well, probably again due to everyone's favourite grumpy swan showing up

this is all i can think of or locate right now, but there's been a pretty wide range of things. i feel there has been a rather interesting transition over time from "she's a messed up waddle dee" to "she's probably connected to a universal superpower of some kind" which i am genuinely really really thrilled about?! 😂 what a glow up for a pathetic little wawa!!!

i'm also personally really fond of seeing how people's existing biases influence what they can find and draw connections in. for instance: i know @jojo-schmo loves the forgotten land and elfilis, and digs into those connections and draws out some really cool stuff because her knowledge is already so specialised! i think this is the true highlight of working on this story for me, people theorising and engaging in the lore, and laser pin-pointing things that tie into our personal faves-- the way we tend to do with kirby lore as a whole-- is such uninhibited delight

i sincerely hope people will enjoy where starstruck's story does go, in the end!!

[moongothic]

Yeah hello hi I've been falling deep into the Crocodad Rabbithole and my brain is being consumed by small crocodile-shaped worms

So I've done what any reasonable person would do, I went back to rewatch some scenes from Alabasta and Marinford to psychoanalyze Crocodile and try to figure out what the fuck his deal is because genuinely the more I think about it the more questions I have and the more I want answers. And because I'm deranged I need to write all my thoughts down into an incoherent essay and release it into the world

So please, come along with me while and let's be Extremely Normal About Sir Crocodile Together and speculate about his ~Secret Past~

Quick note, my quickest access to some of these episodes is either through unsubbed episodes (not bothering with getting screenshots since there's no subs, also my Japanese is plenty good enough to not need it here) or through Ancient, Questionable Fansubs so don't get too hung up on the phrasing in the subbed screenshots- like they're not entirely inaccurate but y'know

The reason I want to do this is just that... Like I've been a fan of OP since 2008, when I was in middle school. I don't think I ever really tried to think deeper about this series in general at that time, because I was a kid. For a long time to me Crocodile had just been Some Greedy Asshole who tried to take over a country to obtain a tool of mass destruction and IDK destroy the world? Just a very classic Bad Guy McVillianMan, because I had not bothered to think about his character and question anything before.

But now I have brainworms due to the Crocodad Theory, and this is fucking One Piece, you never fucking know how deep a rabbithole can go with this bloody series. So let's go, let's try to figure out what the fuck is Crocodile's deal, because I need to get these brainworms out of my fucking system

I just want to start with this one quick throw-away line because it's kind of a sidenote. Also like. This is such a funny fucking thing for Crocodile to say if he is Luffy's dad. Like.

That's so fucking funny if he's Luffy's dad holy shit

But what really gets me here is that like... Like while I'm like 70% sure Crocodile is trans, there's still a part of me that's like "there's no fucking way Crocodad is real". Let alone, this be some kind of a hint Oda planted to suggest that this early on. Like it sounds absurd. And yet at this point in One Piece, Oda had already started planning out and laying out the groundwork for so many lore and plot-relevant concepts, ranging from shit like everything about Robin, the Poneglyphs, the Ancient Weapons etc. He had already started the "Prince Sanji ARG" (aka dropping the tiniest fucking hints to Sanji's Hidden Backstory that people were able to pick up on and make accurate predictions with about Sanji's backstory). There's fucking Laboon, and about a bajillion other things. And possibly most importantly, by this point Oda had already revealed both Luffy's father and grandfather to the readers, not to mention he even introduced Ace and vaguely hinted at Sabo! It's not like Oda had everything perfectly planned out from the very begining, that is objectively not the case at all. But it also literally would not be unlike Oda to drop hints to a character's backstory like this. He has been doing that for years, and had already started by the time we met Crocodile. Like it feels insane and yet it's perfectly plausible. And if he had Luffy's dad, grandfather and two siblings planned out in his head already at this point, it should not be that much of a stretch to believe that Oda knows and no doubt has known for the past two decades who Luffy's mom is (regardless of if that's Crocodile or not)

All this to say. Crocodile's comment about what Cobra said to Vivi when they reunited is a funny, sarcastic comment. But it would take a whole new meaning if Crocodad was real. Because it really would be perfectly normal if he did/had wondered what he would say to his long lost child if they were ever reunited. And really that just makes his roast turn sad.

Anyways

In Alabasta, we do get a very clear image that Crocodile does not like the World Government, not just because he's a Big Meanie Pirate who wants to conquer the world, but because he does seem to look down on how the Marines + World Government do their "justice" (which, y'know, knowing what we know now about the Government. Fair. That's entirely fair.)

He also dislikes Vivi's "idealism" of wanting to save everyone without bloodshed or anyone losing their lives (especially for her sake)

We learn that he is a broken man with broken dreams. Also he seems to be aware where he (supposedy) belongs in the Grand Line's power hierarchy, as in, he needs Pluton because he knows he's not strong enough in combat that he could take down anyone, let alone the World Government by himself (though he would still make a beeline for Whitebeard's head the second he saw him at Marinford, which, y'know, bold move)

And of course, we learn in Impel Down that Crocodile and Iva-chan have some beef. We can not say for 100% sure what that beef is (like the theory he's trans is very obvious and plausible, but until Oda spills the beans we won't know for a fact what the beef is), but we know that they knew each other. And if Crocodile knew Iva-chan, a high-ranking founding member of the Revolutionary Army, then it is genuinely plausible that Crocodile could also have known Dragon and/or been a member of the Revolutionary Army as well.

Since overthrowing the World Nobles and the Government are the Revolutionary Army's goal, the fact that they're trying to obtain weapons and people for their cause etc, Crocodile's view of the Government and his "Operation Utopia" does kind of align with the Revolutionary Army's

But we did also learn from Iva that "Crocoboy" isn't quite trustworthy. Needless to say, even if Croc used to be a part of the Army, he most certainly left YEARS ago, and clearly not on good terms.

Also, an interesting note, is that at Marineford when Luffy and co finally arrive at the battlefield (episode 466, 17:25 minutes in), when Garp spots the group, he makes a specific comment about Crocodile being there together with the revolutionaries and the prison escapees, believing they can't all be here to fight for the same cause. Which is an interesting thing for him to point out specifically. Like Jinbei was another powerful person who entered that battlefield at the same time, and while Jinbei did clarify to Sengoku that he's quitting being a Shichibukai and was there to save Ace, it's still maybe a little odd Garp didn't think it was worth mentioning that Jinbei had also "allied" with the prison escapees and the revolutionaries to enter the battlefield. Like it was Crocodile only whom he thought needed to be pointed out. I don't think Garp's comment adds at all to Crocodad because it would frankly make little to no sense (like we're all assuming Crocodile didn't know Dragon's lastname, which is why he never realized Luffy was his son (despite knowing Luffy's lastname), but if Crocodile knew Garp was Dragon's father then surely he'd realize Dragon's lastname would be Monkey, right), but it could maybe add to the idea that Crocodile might've been a part of the Revolutionary Army in the past, as Garp could be aware of something like that, thus he'd be puzzled by Crocodile's presencee. Point is, it's an interesting comment, make of it what you will

EDIT 2: Ended up going back to reread parts of Marineford and turns out ^that^ was an anime-only addition from Toei. Like Garp does make a comment about how these people probs aren't at the battlefield for the same reasons but did not specifically point out Crocodile or anything. So. I wasted enough time adding these paragraphs to the post, I ain't deleting 'em. But y'know.

EDIT: Minor addition, because I just remembered how Crocodile really went like out of his way to taunt Vivi about how she "can't stop the rebellion" and save her people. Which, y'know, is a perfectly normal Villian Thing To Do. But we know Crocodile does not think fondly of the World Nobles just like he dislikes the Government. Even if Cobra was a "good monarch" who genuinely cared for his people, he was still a king, and the Nefertari family and the Kingdom of Alabasta were a part of the World Government. The thing Crocodile specifically wanted to destroy. And this is just another one of those "surely that wasn't somekinda foreshadowing" but god fucking dammit what if Crocodile telling a(n unknowing) representative of the World Government that she can't stop "the rebellion", or the revolution if I may, (regardless of if he's allied with them or not) was actually meant to be like foreshadowing. Oda I swear to fucking god---

Anyway, so, Crocodile might've been a part of the Revolutionary Army at one point (the army was formed after the Ohara Incident 22 years ago, and for Crocodad Theorizing, Luffy was born 19 years ago), but if he did he must have left on bad terms for unknown reasons, and we can tell that although his goals in general could vaguely match that of the Revolutionaries, his methods most certainly don't.

Whether or not his methods and his worldview tie to his leaving the Army is unknown. Because we don't really know when and how his worldview was formed.

Like did Crocodile leave the Army because he became a cynical asshole who was willing to make any kind of sacrifice for his goals (thus he no longer fit in with the rest of the Revolutionary Army), realized he was far too weak to ever become Pirate King and thus decided to go looking for Pluton? Or did Crocodile suggest to the Army they should try to obtain an Ancient Weapon to keep casulties to a minimum (still in line with the Army), only ending up getting kicked out (big weapon bad), and soon realizing he had no chance at making a change in the world without "cracking a few eggs"?

Like it doesn't nececarily make a massive difference,, since the end result is still the same, but it does kind of affect the context and how one might view him, right

Of course, there's then the Forbidden Third Option, that Crocodile left due to

Gender issues (internalized shame of being trans and not having it in him to stay around people who had known him)

Postpartum depression

Dragon just divorced Crocodile either due to being straight (in a sad, accepting way) or due to being simply unaccepting and frankly homophobic, regardless, Crocodile leaves with a broken heart

Something else and/or a combo of the above, really, we could speculate endlessly here about what could've happened

(Though I will say that Crocodile's '"trust issues"' and how he views people as disposable could like. I dunno. Be explained if he had gone through some heartbreak and was left permanently unable to open up to people, let alone trust anyone)

I dunno, there's a lot of options, a lot of things to considder.

But there is one more thing that I do want to note on as it could potentially debunk the Crocodad Theory entirely.

It's that Iva-chan didn't know Dragon had a son.

(Episode 441, 9:50 minutes) By which I mean, Iva-chan wasn't shocked to find out Luffy was Dragon's son, rather, they were shocked there was a son to begin with. (To the point they thought Ace was also Dragon's son until Luffy cleared it up for them later) While it's not a massive leap to believe that Crocodile and Dragon knew each other (since Crocodile knew Iva-chan), nor is it a massive leap to believe that Iva-chan transed Crocodile's gender after having Luffy... It does become a bit of a leap to believe Iva-chan didn't know about Dragon having a child with Crocodile before giving Croc the Magic HRT. Like if they had a relationship that resulted in a baby and a divorce, how did Iva not know about any of it, especially when it's more than likely that Iva could not have transitioned Crocodile until after the baby was born (let's not think about how Iva-chan's powers would work on a pregnant person too much)

We do also get this flashback (in episode 441, immidiately after Luffy reveals his dad's identity to Iva) where Iva-chan questions Dragon about how he always stares out towards East Blue when the wind blows, wondering if Dragon has family out there whom he's thinking about (Dragon refusing to comment on it). This does very much confirm that regardless of who Dragon had Luffy with, Iva has no fucking clue who, where and how any of that happened. And althought I personally feel like Iva not knowing would debunk Crocodad, if Crocodile still somehow was Luffy's dad, Iva-chan would canonically not know about it. If Iva didn't know Dragon had a relationship that resulted in a baby, then regardless of if Iva even knew Crocodile got pregnant once, they would not be able to connect those dots.

Now let's be clear, there's many potential scenarios where Crocodad could still be real, scenarios that could explain why and how Iva-chan didn't know about Luffy nor about Dragon and Crocodile having a relationship*. Like it would not be difficult at all to come up with an explanation for it. But in my mind, I feel like the more you have to figure out and explain how the theory could still be plausible, the less plausible it actually feels. Like the more I need to go out of my way to explain it, the more forced it seems.

*(For example, maybe the two kept their relationship a secret, and when Crocodile got pregnant he """left on a mission""" that happened to take like 4-10 months, during the time realizing he was trans. Once the baby had arrived he returned the baby to Dragon in secret for him to deal with, got a divorce for one reason or another*, and sought out Iva-chan to start a new life, Iva thus never found out about anything, just knew that Crocodile left one day after coming out. Like that's one plausible scenario.)

*Hey remember the potential Forbidden Reasons to why Crocodile might've left the Army? What if it was Dragon's and/or Crocodile's idea? Remember how when Jinbei is trying to escape Marinford with the unconcious Luffy, Crocodile tells Jinbei to do better job at "protecting those he wants to protect", a line that felt really sudden and odd coming from Crocodile of all people? What if the two knew their child would be in grave danger if he was ever raised within the army (absolutely not a place for a baby)? What if they knew their baby would become a target for the World Government to hunt, much like Roger's lost child was, if the Government found out Dragon had a baby? What if they wanted to make sure nothing bad ever happened to their baby and were willing to do anything to protect the baby? Even if it meant they'd never see their child grow up? Even if it meant hiding your child from your best friend, pretending to have a horrible fallout with them and transing your gender because Oda doesn't know what gender dysphoria is? Just so nobody would ever find out you had a child?

Mind you. I do not want anybody to think this is an actual argument for Crocodad. Like I could write a dozen different fanfics about how Crocodile could be Luffy's other dad, and they would all be just as much pure speculation with nothing to support them as the above suggestions. It is an example of what could have happened, and a deeply interesting thought, but it is just a theory at best.

In the end, it doesn't really matter though, because until the day Oda reveals Luffy's mom and/or Crocodile's backstory to us, we will truly never know for sure What The Fuck Crocodile's Deal Is

And I'll be just stuck with these brainworms, making myself sad by thinking about sad scenarios where Crocodad could be real, because truly, if it's canon, ain't no way it won't be sad

EDIT 3: Originally I thought it'd be good enough if I just rewatched some parts here and there, but in the end I just fucking absolutely caved the fuck in and went and reread The Good Parts of Marineford. Mainly because I knew I was forgetting things and Toei adding/changing things can affect a character reading. Also it was just going to be easier to go through the manga and literally just all of Crocodile's scenes into an image folder for easier browsing, mainly because there's so much shit that happens between those scattered scenes it can be hard to like focus on one thing (especially if you're trying to specifically FIND those scattered scenes and appearances)

So yeah. Coming back a few days later to add shit to this god forsaken post. I need help

Actually changed my mind and made a separate post to continue this nonsense, enjoy

[daily-whistlepaw]

You must be so freaking pumped rn. The writers are considering making Whistlepaw a POV!!!

I am away from Tumblr for ONE NIGHT, one night where I'm going to a play with some friends and they post it THEN.

My god this is terrible for my heart, they are going to kill me eventually with this. Yes I Am Hyped.

Also, @vulturequills' drawing of my design of Whis is in this article. They Know About Me Lol.

[spill-to-t]

towl ep. 4 spoilers:....

OMFG I AM UNWEELLLLL

So first: I wanna thank Danai and the universe for this masterpiece. I also wanna thank the universe for my current existence and the opportunity to watch what I have just seen with my fucking eyes.

I don't know where to start. It was all I had ever expected of this show. It was almost like a richonne fanfiction, because it dived into so many side topics (I bet Danai got some inspiration, you can not tell me she did not know about our illusions). It was drama, pure love, even heartbreak and comedy all in one episode. It was the first time I was glad an ep. was over 'cause otherwise I would've hyperventilated. I usually don't like all of this romantic 'oh I love you' 'but noo uhhh' but this show and this couple especially makes me feel unwell. My personal favs of the ep. (Basically all of it)

The already mentioned fanfic vibe, the michonne getting undressed and Rick just watching and admiring (can't blame him, I do too), the mention of RJ, the conflict and trauma Rick feels, michonnes frustration with him, the scene (if you know what I mean) +rick needing to pause for a moment, the reference to their last scene together in bed, the fucking robot which Rick obviously does not know about since the apocalypse started in 2010s. The mention of Carl (still not over it), seeing Rick in a sweater and Michonne in that top is just fierce and of course the elevator and car scene are you fucking kidding me. And so much more...

You don't understand how stunned I am. I could start a 2 hours long monologue just about this one episode... I can't function tomorrow

[corffiser]

okay i'm sorry for the incoming rant but i need to get it out of my system ( spoilers for greedfall , idk ) .

i know that people have written about this already but the tragedy that is constantin and his relationship with de sardet .. where do i even begin ? multiple entries in his codex tell us that he values de sardet more than anyone . his dearest cousin , his only childhood companion ( that we know of ) , the one he relies on and the one who shields him from all he perceives is evil . he may be used by his mother for her to gain more influence at court and his father may seem disappointed by his actions but de sardet is always there by his side , making his small world a little better . and because we know so little yet so much at the same time , my mind tends to wander and think about how their youth was .. when they trained with kurt , who was better at it ? did they make secret bets about who'd lose to him this time ? did they ever try fighting side by side ? when studying under sir de courcillon .. how was it ? we know that he taught them well but .. did they always pay attention ? did they ever skip class , hiding from the servants . did they ever pass each other notes during lessons , make faces at each other , scribble things on paper that only they would understand ? just imagine dinners with their family where they tried their best but always cracked a smile at one another , sweets stolen from the royal kitchens shared in secret , sleepovers .. and so much more , whatever else comes to your mind . when petrus told my character that instead of showing interest in his magical talent , he preferred to chase constantin around with a wooden sword , something inside of me broke and never healed . because at the end of the day , de sardet is truly his only friend . a friend he's so afraid to lose and .. in his mind , is losing . you can see it through the course of the story , constantin getting more and more desperate . desperate to keep the only person he truly loves in his life . de sardet slipping through his fingers with each passing day . they make new friends , connections , fall in love .. they travel the land and get to experience it all . yes , de sardet is still there for him but .. after they leave the governor's palace , he's left alone . alone with his thoughts growing darker and darker as his illness slowly takes over , the fear of death gripping his heart . surely he can't die . surely he can't be all alone . surely de sardet , the only person he can truly trust , will save him . but then the cure comes , in a form he'd never imagine ; twisting his features and bonding him to the land . and so the desperation grows , the anger grows , everything is too much . constantin asking his dearest cousin to give him more time , to trust him , breaks my heart every time i play through this game . the " but for you , for us " is such a raw and powerful line , because at the end of the day .. it is just them against the world . two young people who are so dependent on one another , who had to lift each other up from a very young age , who , in constantin's eyes , now pleading you to join him , can rely on no one but themselves ..

[clockworkouroboros]

Now that the 60th anniversary specials are all out, I guess I'm gonna share my thoughts about them all, because it's the internet or whatever. Overall, I do think there's a lot of good in these specials. The fan service is absolutely there, but it's been done in a different way than some of the past special episodes, and it really acknowledges I think the many different kinds of Doctor Who fans, from the people who just watch the revived series (or even just bits and pieces of the revived series) to fans of Classic Who and even those of us crazy enough to get into the extended universe. I mean, featuring Beep the Meep and the Toymaker as your two Big Villains is both ridiculous and speaks to the nature of Doctor Who fans that we were all so excited for them. So. A lot of really nice things about these specials all around.

In The Star Beast, we got a really nice blend of nostalgia for the original Tennant era with new, interesting characters and a healthy amount of fan service towards Beep the Meep's half a dozen fans. Between those three things and RTD's obvious love letter to and heartfelt (if perhaps a little clunky) support of queer (and especially trans) people, it's easy to look past the episode's flaws; namely, that it's very light on the plot, and the handwavey bullshit that retcons Donna losing her memories completely undercuts the emotional heavy hitting of Donna losing her memories. You mean it was *always* that easy? Fuck right off.

Wild Blue Yonder really brought in, for me, more than a hint of Wilderness Years Who. The bottle episode slightly claustrophobic feel, the terrifying unexplainable Not-Things, the goddamn salt—I thought this story was the strongest in the set. I think RTD, like many writers, has a tendency to try and make things bigger and bigger and bigger, when really, his best stories tend to be like this. Consider Midnight as another example—brilliant, terrifying, and also very similar to some of the more experimental stories of the wilderness years. If I had a complaint about this story, it's that I would want it to play into more of the sense of sensory deprivation that stories like Midnight and Scherzo did. But honestly, that's a nitpick. It infuriates me a little bit—RTD likes to go in for some spectacle, as seen in The Star Beast and especially in The Giggle (and also the s3 and s4 finales, and also DT's regeneration story, and also and also and also)—but some of his best work is done when he doesn't allow himself the spectacle and instead really pares everything down to the barest of bare bones.

And, honestly? The Giggle was a bit of a letdown. There are so many ways you could bring the Toymaker into Who again, and he ended up sort of being an afterthought. Neil Patrick Harris was obviously having a grand old time in the role, which is great—so why not give him a little more to chew on? I thought there was a lot that was great—Donna and the Doctor in the Toymaker's domain, as an example. I think, building off of Wild Blue Yonder, coming back again and again to just how much the Doctor has been through and how that has affected them, was also a really nice thing to include, and something that I wish had been brought up more during Thirteen's run, because she really went through it.

But that also brings me to my biggest issue with The Giggle, and that is the way David Tennant's Doctor (Fourteen? TenThree? TenTeen?) has been written in a way that still is overshadowing Ncuti Gatwa's Doctor. This was honestly one of my biggest concerns as soon as Tennant's return was announced, and one of RTD's past issues in Who has been his chronic overshadowing of characters of color in favor of a white fan favorite. (Martha and Mickey both get this treatment.) The regeneration scene pissed me off in a way that I didn't think Doctor Who could piss me off—generally speaking, I'm pretty level-headed about most Doctor Who things because this show is ridiculous enough that you sort of have to just roll with it. I already adore Ncuti's Doctor (from his extremely limited amount of screentime), but I can't help but feel that he's been cheated out of a proper introduction because he had to share his limited screentime with David Tennant, the most popular Doctor to ever exist in the show's 60-year history. Likewise, because of this ridiculous Journey's End 2: This Time It's Stupider nonsense, I'm genuinely concerned RTD will randomly bring DT back for some fun multi-Doctor fanwanks, and sort of write all over the first Doctor of color's era with David Tennant. Not that that will happen (I certainly hope not, anyway), but the fact that he's leaving it open as an option already has me worried.

So. Yeah. Maybe I'm being harsher on RTD than I would otherwise be, because the nostalgia for having him back is so ridiculously high that it's driving me a little insane, or maybe these are genuine issues. I'm not upset that he's back, but these specials—and especially The Giggle—left me extremely wary that we're going to get the same exact issues that he brought to Who in his first run. Overall it'll be fine, and again, I did get a lot of enjoyment out of these specials! There's a lot about RTD's writing that is objectively both good and consistent. That doesn't mean I'm not holding my breath going forward.

[skrunksthatwunk]

aurghhh ok still rewatching '97 and the way guts and casca only have the room to breathe and really come to understand and care for each other in griffith's absence because he has such a strong hold over them both.... and the way their mutual dedication to him is what causes them to bicker for years (casca thinks he's not serving him well enough, guts thinks she doesn't get that he cares/how much he cares, casca's jealousy over griffith's feelings for guts, how he won his heart without even trying or being aware of it or doing anything with it) and is also a big part of what brings them together (earlier when guts deviates from the plan to save griffith and she commends him, in the cave casca opening up about griffith and her's past, showing that vulnerability, while it's mostly confrontational, leads to guts kinda getting her better, and his efforts to save and protect her (falling off the cliff with her, taking on the 100 men so she can escape, encouraging her to return to griffith so she can help him because it's what she feels she's meant to do (her dream, the direction in life guts shares and yet is questioning because of griffith's speech at the fountain, whether or not it's enough to serve him if it means he'll never be a true friend in griffith's eyes because he's not an equal), supporting the idea of her being with griffith/being his most important person like he won't because he doesn't view it as a competition like she has been since day one) leading to her realizing that he's kind of not that bad a guy and they have a lot more in common that she thought. and how the bonfire of dreams conversation is guts opening up to her in kind, the answer to her talking about how griffith saved her, how she feels. how neither of them ever call it love but it's something they know they both have for griffith. how it's something they're beginning to have for each other, different in ways they couldn't put a word to. because they're equals this time. the way griffith kind of becomes less and less important as they find other reasons to live and fight, as they become less singularly obsessed with him. how griffith is unable to stand it, guts' personhood, that agency and peer-to-peer equality he claimed to want (and perhaps truly did) that disappeared guts from his life, his plans, his side. how it barely even matters to griffith how casca changes because he never wanted her like she wanted him. god i can't fucking stand their shakespearean nonsense drama (<- hopelessly in love with their interpersonal dynamics)