#again not an attack on anyone etc everyone does whatever forever

[rawliverandgoronspice]

I think there's something to be said also about how so many Ganondorf redemption arcs in fanfics involve him being shipped with Link or Zelda. It's very ingrained in the fandom to connect Ganondorf as a good guy to Ganondorf as an object of desire, specifically paired sexually with a good, pale, white, heroic hylian who "tames" him out of his savagery.

Yeah, I think that's a really fair point.

Again, I'm always pretty uncomfortable with chiming in on people's desires, as it is complicated enough of a topic as is AND I know I have strange biases and/or know some subtleties may go over my head given I'm aroace. But yes, it is a continuation of that understanding of the character (not even returning on the fact that I don't think Ganondorf needs redemption as much as Hyrule needs accountability).

I think what bothers me, in both canon and fanon (and in spite of Wind Waker), is that there is a latent denial that he is a character that is capable of depth and vulnerability without tearing agency away from him, if that makes sense? And it often lives, at least in my opinion, in the negation of his relationship to his own people. That maybe he doesn't need the hylian heroes to come and "teach him" the meaning of love and forgiveness, and/or reveal he was always incapable of either; shouldn't he have gotten plenty of opportunities to explore that very topic among his own people, on his own terms?

[other-peoples-coats]

struck by the idea where, For Reasons, plan saddest desert hermit doesn't get off the ground and team proto-rebellion have to pivot and pivot fast.

chucking the conspiracy equivalent of a uey at 100mph on the highway, and everyone involved is sleep deprived, stressed as fuck, and experiencing y'know, several levels of Devastating Grief.

the person with the brain cell is bail organa, a man who in canon spends like 20 fucking years playing ding dong ditch with a genocidal psychic space wizard and his boss, an even more genocidal space wizard. This man is not lacking in gumption, one can say. he is possessed of life threatening amounts of chutzpah, one might also say, except that he spends twenty years winning the ding dong ditch match with, again, a genocidal fascist dictatorship which includes two genocidal psychic space wizards who literally know he was in tight with the genocided group of space wizards plus the [mumble] number of other murderous genocidal space wizards, plus the rest of the non-space wizard space fascist cohort.

So. What does a man with a spine of steel, a heart as big as a planet, and more gumption than anyone should possess do, when plan 'split up the kids and hide the most famous man in the galaxy on the saddest hell planet' is a no go?

lie. lie like a fucking rug.

What's palpatine going to do? day one of the empire, his super awesome chosen one space wizard makeover project is still in progress and not yet wheezing his way into the galaxy's nightmares, and bail fucking organa strolls into the imperial senate with:

one (1) baby (female)

one (1) baby (male)

several (~20+) aides and various hangers on, including;

one (1) brown haired blue eyed man who could, if you squinted a bit, probably get third place in a general kenobi lookalike competition, were those now not super duper illegal

Sidious, of course, could be like A JEDI KILL HIM TRAITOR ETC, but, crucially, his wheezing attack dog is still on the lab table getting seven inches added to his height and cup holders installed, or whatever the fuck skeevy sheev added in as extras. Palpatine is an old guy who is still trading on being A Beloved Grandfather who was Reluctant To Take The Throne, and is still easing the galaxy into the whole, y'know, we're a fascist empire now, kneel or perish.

Palpatine, on day one of the empire, can't point at bail fucking organa and be like HABOURING A TRAITOR unless he is really, really sure, like 110% sure, because it's bail fucking organa and every goddamn senator will baulk like a horse at a plastic bag if he accuses, again, the senator of alderaan of high treason on day one of the empire.

A secret rebellion is fine, if not ideal; you can theoretically stamp it out, and, also, it's small, percentage wise.

The entire fucking galaxy thinking that, hey, if the guy in charge is going to go after fucking alderaan, what's to stop him going after us? bigger problem. huge problem. original trilogy kinda touched on that one. Day one of the empire, everyone is still basically on war footing, and fuck man, if alderaan is copping it....maybe this empire isn't great after all. maybe we can make our OWN empire, with a different emperor.

Would palps win? eh maybe. would it destroy all credibility forever and ever amen? yeah. the difference between a 'legally installed emperor' and 'a dictator we must overthrow' is how willing the galaxy is to lick boot, and there's not yet the fear of The Empire black bagging you to keep those tongues going.

so. palpatine can't say shit. palpatine can imply shit, palpatine can get his lackies to say shit. but, crucially, palpatine himself can't say fuck all about the goddamn kenobi lookalike that is now following after organa and wiping his kid's little butts and playing gofer and whatever else.

and what's more believable? bail fucking organa is hiding a traitor, or bail organa and his wife have a situationship with a guy who looks sort of a bit like a former general? the same kind of situationship that like, half the senate has had at one point or another with a guy (or guys) who looked sort of a bit like said ex-general. go to any high level business and/or political building, you'll find half a dozen guys who look vaguely like said hot ex-general, and many of them will have a more or less (often less) accurate coruscanti-ish accent. or will develop one.

(hey, it's a niche. gotta pay the bills somehow, and if you get the job because you dyed your hair and grew a beard, well, you're still using your political science degree, right?)

of course, that only holds for so long, but by that point it's been, y'know, a while. and that looks worse in a different way -- what, kenobi was fucking walking around in front of the whole imperial senate, and none of them noticed? absolutely not, all credibility is gone forever.

which means. that palpatine and the organas are stuck in a full on staring match about this guy who is 100% for sure not kenobi, because -- well. he can't be kenobi. becuase that would look bad. but also. it's kenobi. but also. it can't be kenobi.

(vader takes one look at this guy who looks like his master kenobi and then rolls his eyes, because he has already met aproximately 90,000 people who look vaugely like his master and he got very good at picking out how the newest one was not kenobi his master by the time he was a senior padawan.)

[coraniaid]

Another AU idea, if you're not bored of these already! Spike, for whatever reason, doesn't come back to Sunnydale. (Maybe the flights are expensive or something.) What alternative bad guy could be an interesting new Scooby? (You know, like Dracula, or Glory, or Sunday, etc. etc.)

PS: Faith isn't a bad guy, so she doesn't count! :)

As I think I've mentioned on here before, if I ever get around to writing a sequel to my S3 AU fic Coexist (which, to be clear, is not very likely to happen), I would probably have Sunday be the vampire who gets captured and then chipped by the Initiative.

But just to be a different (and to keep my options open if I ever do end up writing such a sequel), let's go with somebody else: Willow's vampire alter ego from The Wish and Doppelgangland. There are, I guess, a couple of objections to this idea: namely that the last time we saw vamp!Willow she was (a) in another dimension and (b) dead. But these are easily dealt with, I think.

How I see this playing out is that everything in Season 4 happens much the same way it does in canon for the first few episodes (Spike either comes back for The Harsh Light Of Day but then not a second time, or we can replace him in that one episode with somebody like ... I don't know, Lyle Gorch?). Oz and Willow still break up, as in canon, and Oz leaves town after Wild At Heart. Then:

We go immediately into Something Blue [skipping The Initiative for now, and skipping Pangs forever because it's trash]. Willow still casts her will-be-done spell and things play out as much as like canon as they can. Obviously that's pretty different, with no Spike -- we probably need to rename the episode for a start -- but Willow can still make Giles blind and Xander a literal demon magnet. Let's say her suggestion for Buffy is a bit like Dawn's wish in Season 6; she's upset about Buffy going patrolling and not staying with her, so she unwittingly says something that makes Buffy both unwilling and unable to leave the dorms (but it takes them a while to figure out this is what's happened). The other key difference is that, while mourning the end of her relationship with Oz, Willow brings up her doppelganger from last season and says she had a point that "this world's no fun". "Why," Willow says, "She should come back from wherever we sent her so I can tell her she was right." Cue to vamp!Willow in the Wishverse, just about to be staked (again) ... only to vanish and reappear in Willow's dorm room. [With some work, you could play up the fact that human!Willow didn't realize Oz could hurt her so badly with the fact that vamp!Willow was about to be killed by him.] Before our Willow can say anything, her counterpart escapes into the night (and Buffy can't chase her, because of the wish Willow made about her, which is something that helps them figure out what's going on).

At the end of the episode, Willow breaks the spell as in canon. Everyone assumes that this sent vamp!Willow back to her original dimension again -- especially when she doesn't show up to cause any more trouble -- but it doesn't. Instead she gets captured by the Initiative, just like Spike did in canon. And a couple of episodes later, she breaks free again ... only to discover, just like Spike did, that she's been chipped and can't hurt anybody human. She probably finds out a little bit sooner that she can still hurt demons and vampires: in fact, given her MO in Doppelgangland she probably only finds out she can't drink from living humans after she's already taken control of the current vampire gang in Sunnydale and tried to attack the Bronze (again). When that doesn't work (and after her reputation has taken a bit of a blow as a result) she tries the Drusilla approach of being a power behind the throne for a bit (not hurting anyone directly but getting a proxy to lead the other vampires in attacking humans and bringing her fresh blood from already-dead victims), but unfortuntately for her credibility the only vampire she can find who's willing to take orders from a vampire who can't hurt people herself is Harmony (who I guess was dating Lyle Gorch in this AU but broke up with him pretty quickly). And between that frustration and the fact the Initiative quickly show up again looking for her, she doesn't have much choice but to throw herself on the Scooby Gang's mercy [which we know, from Season 3, that they're likely to show her, especially if she can give them any information about the Initiative].

Cue sitcom-worthy plots wherein human!Willow is going to class and (mostly) spending her nights in the dorm room she shares with Buffy and sometimes going home to visit her parents and trying to keep her new relationship with Tara hidden from her friends, while vamp!Willow is sometimes hiding out in a crypt somewhere and sometimes hanging out with Anya and sometimes pretending to be human!Willow in Buffy's dorm (to escape both the Initiative and Harmony). Harmony has at least three conversations with human!Willow which she walks away from thinking she's been talking to vamp!Willow (Harmony thinks vamp!Willow is the coolest person she's ever met but the feeling is not quite mutual). Riley is briefly convinced that human!Willow is the missing "Hostile 17" he and his men have been looking for, then is persuaded that Willow is 100% human and not a vampire at all, then almost immediately runs into vamp!Willow and assumes he's still talking to human!Willow. When Faith temporarily steals Buffy's body in Who Are You? she also completely fails to clock that vamp!Willow and human!Willow are different people (though she figures out almost immediately that both Willows are crazy about Tara). She does get on a lot better with the vampire version of Willow than the human one, but she assumes this is just because Willow has mellowed out a lot since high school. (Faith only learns the truth when she comes back in Season 7.) Anya can tell them apart easily and thinks it's weird that other people can't. She and vamp!Willow get on like a house on fire (which really highlights how much Anya and human!Willow don't); they trade stories about various atrocities they've committed when they're bored (they agree that Anya's are better but Anya cheers vamp!Willow up by pointing out she's a lot older and had more time to practice being evil).

When Oz comes back later in the season, we briefly tease the idea that having two versions of Willow might be a way of resolving Willow's putative love triangle (especially by having vamp!Willow delightedly refer to Oz as 'puppy' when he first starts to transform into a werewolf again). The problem is that both Oz and Tara can always tell the two Willows apart, and neither of them is attracted to vamp!Willow at all. (The fact vamp!Willow remembers a version of Oz trying to kill her is not, as it turns out, much of a problem.) Adam still tries to recruit vamp!Willow to sow dissension in the ranks of the Scooby Gang, but she isn't very interested in trying [she's not interested in playing second fiddle to some other demon] and wouldn't be very good at it if she was. Adam gets Harmony to do it instead, and she is surprisingly successful at it at first (in part because she doesn't think of herself as doing anything untoward: she's just helpfully pointing out facts [cf. that Cordelia quote about tact]). Harmony still can't tell vamp!Willow and human!Willow apart though, so she cheerfully tells human!Willow that she thinks she [i.e. vamp!Willow] has done a great job infilitrating the gang and all Willow's friends already like her much more than the original, which she means sincerely and our Willow does not take well. Vamp!Willow figures out what's going on (and decides to tell the Scoobies about it, mainly because she's annoyed that Adam is trying to take 'her' rightful place as the town's Big Bad). But not before Harmony tries to give her the speech which she'd planned to give human!Willow (which is mostly the same speech about how great vamp!Willow is, actually, but Harmony makes the point of telling her that she's not as smart as vamp!Willow "so you shouldn't even try to stop Adam's plan, because there's no way a loser like you will figure out he's going to have all the demons be captured bythe Initiative then stage a break out and hope they all kill each other").

Vamp!Willow also follows canon!Spike's lead in falling for Buffy in Season 5. She is, if anything, even more mortified on realizing this than Spike was. Buffy and human!Willow try very hard to pretend this doesn't make things weird between them, not entirely succesfully. This gets even more difficult to do in Season 6 when vamp!Willow and Buffy start hooking up.

[theamityelf]

Uhm, hello. Does the tragedy happened on Makoto Kamukura AU? If they did does remnants still exist? How about the killing games?

I'm thinking Junko has still been prying around enough to know something about the Kamukura Project, and she makes it her goal to create a situation where the Student Coucil does something to either harm or expose Makoto, so that either Makoto attacks them or Izuru does. Basically, she's going to use Makoto to get the Ultimate Hope to kill the Student Council, one way or the other.

She uses the fact that she's one of Makoto's old friends to get close to Iteration 2. He can tell that there is a huge performance element to a lot of her behavior, and he is deeply curious about what her whole deal is. She's very careful to only tell him things about his old self that the others can and will corroborate, but she makes a point to really hit the "You were a great friend. You would do anything to help a friend. You never gave up on anyone," stuff hard, to make sure he keeps coming back and stays open to influence.

Again, Makoto can tell that she's being highly calculated about what she tells him about himself, but there is nothing in him that thinks, "Because she is manipulating me, I should be careful around her." It's just, "I think she's manipulating me. That's interesting. I wonder if she did that to Makoto, too. It seems like she acts this way toward everyone in the class. Makoto probably didn't notice, and they all love Makoto, so I shouldn't mention it."

After Izuru has found out about Iteration 2's widened social circle and he has confronted the fact that Iteration 2 has become more like Makoto and acts independently now, Junko targets Izuru's temptation to return everything to normal. He's talked it out with Makoto, and they've established that he loves and values Iteration 2 no matter what he calls himself or how his behavior changes, but he still isn't used to sharing, and Junko approaches him one day while he's feeling especially sore about having to share his Iteration 2 like, "By the way, I have this plan where the world ends and these guys leave you alone forever." And it's tempting. Iteration 2 would be upset, but he'll get over it; he gets over everything.

Izuru sits on the fence about whether or not to do it for a while, and then Junko springs the part of the plan where the Student Council does something that she knows will offend Izuru on Makoto's behalf, whatever that may be, and then he might kill them and spark the Tragedy.

Or maybe Makoto stops him from killing them. (Narrative cop-out, lol.)

Maybe he is about to kill them but thinks about what he's learned and decides not to do it. (Less of a cop-out, in my eyes at least.)

Maybe he does kill them but it doesn't spark the Tragedy because Makoto has been doing so much behind the scenes that the surrounding circumstances are now different. (As in, he's been spending a lot of time with the reserve course and decreasing that sense of helpless resentment, etc.)

Or maybe he sparks the Tragedy, leaves with Makoto and Nagito, and never looks back.

I do think Nagito avoids joining the Ultimate Despair just because he has something else to focus his energy on, now. (Two somethings, who are literally called the Ultimate Hope.)

[asterekmess]

Been seeing you getting hate mail and while I absolutely can't understand why anyone would go to all the trouble to make some one else feel bad... I also kinda really love the discourse on Scott? Like YOUR RANTS oh man. On point. Always. Tbh I tried giving Scott a chance... He is the main char after all... But I was like??? Wtf? That dude does nothing but refute others and does whatever he wants. And this was when I didn't particularly like Stiles either (first time watching Teen Wolf). But then I got to know more of him and like Tony he went asshole to lovable asshole—seriously, Stiles might not be the ‘nicest’ but he tries and his heart is in good place—while Scott is just... self-righteous. Someone pointed out that he sees people as possessions and that irks me too that I can actually see it being true. The dude has literally nothing going on except for being the one that gets bitten. And the Romeo-and-Juliet-esque romance he has.

Okay, okay, where was I going with this?? Right. LOVE YOUR RANTS. People need to understand that Scott not being liked isn't because of his race or anything trivial like it—he just happens to be—but because of his actions. Or inactions, as it were. *remembers the pool scene and Scott saying he's busy and resists the urge to chuck a shoe at him*

Basically, love you, love your work, and love your words! ❤️

I've talked with some friends about it, and our number one issue sort of...boiled down to the hypocrisy of the show? I....sort of rant a lot here, and I would add a Read More, but I can't find the option anymore?? I fucking hate Tumblr. EDIT: I found a post that told me how to do it!

So, since he's the character I focus on the most, let's talk about Stiles' morality. Because, you're right. Stiles is an asshole. He does some fucking awful shit in the first season, and even if he had a Reason to do it, it was still bad. And I still don't like it. But I understand it.

Stiles' lack of shits about what is 'lawful' is literally established in the first ten seconds of the show. He's a sheriff's son who sneaks onto people's roofs in the middle of the night bc they aren't answering his calls, who listens in on his dad's work conversations and is willing to fuck up a crime scene because he's so excited about getting to see a dead body. He doesn't care about laws. He doesn't even care about most basic manners (invasion of privacy much, with having Scott sniff Lydia to see if she liked him?). He's a dickhead, even to the people he cares about sometimes. But personality and morality aren't the same. Stiles' entire actual morality system is based around whatever he needs to do to keep the people he loves safe and happy. Lying to his dad so he doesn't get murdered by hunters? Totally fine. Telling Scott that it was "Jackson's own fault" that Scott attacked him with superstrength and dislocated his shoulder, so Scott doesn't feel like an asshole? That's just best friend duties! He will lie, steal, cheat, and he will kill to keep his loved ones safe (let's not forget this boy threw molotovs at Peter, knowing damn well what they would do to him). We can headcanon all we want about all the different people who are in this group of loved ones, but the list is canonically very short: Scott, his dad, and Lydia. Later on, like, past s3B? It includes Derek. Canonically. Stiles puts his life and the lives of others he cares about on the line while he lies to the matriarch of the Calavera hunter clan, to save Derek Hale. Derek is just canonically a part of that group now, and he fucking knows it bc Stiles is his anchor (that's canon too bb). End of Story, Sterek or no Sterek. It's why we get that insane number of lookbacks when Derek is dying before his evolution. Because Stiles is being forced to choose between two people who are BOTH in his ride-or-die group. He Cannot Pick between Scott and Derek, until Derek begs him to leave.

SO, yes, Stiles does fuckface things, and I don't always agree with what he does, but it is ACCURATE TO HIS CHARACTER. He is morally grey. He NEVER CLAIMS to be pure or good or just or righteous. Stiles knows who he is, and he stays true to himself. And I love him for that.

The same goes for a bunch of other characters! For Peter, who is strikingly similar to Stiles, in that family goes above literally everything. Screw the idea that he was following Derek around waiting for the chance to steal back the Alpha spark. That man put his life on the line (his second life, no less) to get the shit beaten out of him until Derek let him help save Derek's life Again and Again. Family Comes First.

Scott's morality is...confusing as fuck. I thought at first he was similar to Stiles, in that family came first, but...while he's protective of his mother, he also does a lot of stuff that puts her at risk without seeming to care/worry (like leaving Peter alone with her once Stiles hits their car, so he can chase Jackson) (or asking her to come to the high school when he's convinced there's a bomber in it)? Seriously, he's more protective over Allison, than his mother. It's very black and white the rest of the time. Very "this bad" "this good." And if you do "bad" then you are bad forever, while if you do "good" you are only good until you do "bad." The Betas were "good" until they asked for the bite, and then they were "Bad." Derek was "bad" when Scott met him and scared him, so after that, no matter how much "good" he did, he remained "bad." But only when it suits him. Allison is good even when she does bad, because he wants her to be good. Chris is good even though he's done mountains of bad, because of the minuscule amount of good that Scott has seen him do, because Scott wants him to be good. Even DEUCALION is good, despite the crazy CRAZY amount of bad he's done and despite having seen him do NO GOOD, just because Scott wants him to be good. Lying to those closest to you is bad, unless Scott is doing it, and then it's good, because he knows HE is good. Killing people is bad, unless Scott is doing it. Letting villains go is bad, unless Scott is doing it. Biting people is bad, unless Scott is doing it. Protecting family is good even if it requires killing or lying, unless it's not Scott doing it. Revenge for past slights is good, unless it's not SCOTT doing it. And you try to understand it! You try to say, okay, then he's morally grey, got it. He plays with the rules to suit his own morality, whatever. Except that Scott, the other characters, and THE SHOW ITSELF, are all telling you otherwise! They all say that Scott is morally pure. That he is good and righteous and lawful. That he always does the "right" thing, and that when he does "bad" things, it's justified and he had to. THE HEAVENS THEMSELVES say Scott is somehow better or more righteous than the other characters by MAKING HIM AN ALPHA OUT OF NOWHERE. (I'm talking abt canon here, not going into deaton conspiracy theories) It's like....Like in the hate mail response I did, where I pointed out that Every Single Thing people get angry at Derek for doing, Scott did too. Lying, killing (or at least attempting it), attacking innocents, losing his temper, keeping secrets, refusing to work with someone who could help, etc etc etc. Everything Derek has done that is morally "wrong," Scott has also done. And that's okay! Doing a bad thing doesn't make you a bad person, and even if it did, Scott is ALLOWED to be bad! GO FOR IT.

Except that he is sinless. It isn't that he learns from the bad things he does, it's that they aren't treated like bad things in the first place. Because Scott did it, and Scott always does the right thing.

Derek's behavior is reprehensible at times, but the show ADMITS that and frames it as bad. Frames it as him doing a bad thing when he scares Isaac or throws Peter or tells Erica who to date. And that's fine, because Derek is established as not being morally pure.

But SCOTT IS. And because they were so desperate to make him continue being "Pure" they didn't frame the things he did as wrong, or if they did, they absolved him of it immediately, using the exact same reasoning that works for Derek's situations, but this time Actually Accepting it.

He scares Stiles, well it's because he's scared. He throws Isaac, it's because he's upset. He attacks Jackson well it's because Jackson was being a dick. He orders Allison to date Matt, well he had a goal to accomplish. Every reason is treated like a fucking doctor's note that erases the bad things he does.

Being scared, or angry, or retaliating to someone being an asshole, or trying to protect himself, was NEVER a good enough reason for Derek to do ANYTHING "Bad." It was never an acceptable excuse.

IF IT WERE: If the show were making a statement about how fallable people are, how they do bad things, but they do them for a REASON. How people will do wild and terrible things out of fear, and how that doesn't make it less bad, but it makes it understandable, so don't demonize them out of nowhere. If that were the case, I would HAVE BEEN FINE WITH IT.

Scott is held to COMPLETELY different standards than everyone else in the show! And I DON'T mean that people held him to higher ones. They dropped that bar so fucking low. Anything was allowed, and any excuse was good enough.

He made out with a girl who was dating someone else, who his best friend was in love with? It's just the full moon, he's angsty about losing Allison. He ducttapes Liam to a bathtub and starts throwing random phrases at him that he hated Derek for saying to him? He's freaked out! He doesn't know what to do with a bitten wolf! It was an accident! He works with a mass murderer behind people's backs without telling them the whole story? Am I talking about Gerard or Deucalion? Who fucking knows. Either way, it's okay, because he was protecting his family. He plots to murder a cancer patient slowly and painfully by replacing meds that likely included painkillers with mountain ash, and the uses someone else's body to deliver the killing blow, and it's okay because he was just being smart! He was just working ten steps ahead! He was saving his mom and the whole town! Who cares if it DIDN"T WORK?

He walks into his ex-girlfriend's hotel room and scares the SHIT out of her while she's naked and alone in the shower? It was the wolfsbane. It doesn't matter that no one else's impulses included HARASSING someone. He lies to his girlfriend's face about her own life because he doesn't think it's important enough for her to know (who am I talking about, come on, take a guess, which one is it? Allison or Kira? Trick question: it's both). He was just being kind! He didn't want to worry her! He didn't want to make her feel bad! She didn't need to know!

I'm so far off track it's not even funny. My point was that Everything the other characters in the show are demonized for or framed as evil or bad or wrong for doing, Scott is shown to do and it's treated like at minimum a comedy, if not a Perfect Brilliant Strategic Move.

God, fucking hell. I mean, the PARALLELS you see in this show, between Scott and others. The scene of Alexander Argent going to the hotel after being bit? That bit where he pulls his shirt up in the mirror? It's a near PERFECT replica of Scott looking at his bite at Deaton's. They paralleled SCOTT MCCALL with AN ARGENT. Deaton has this whole line in S2 where he's bitching at Derek about "the person you should trust the most doesn't trust you at all" And then seasons later, we have Scott look his best friend in the eye and refuse to trust him, only to get upset later because Stiles doesn't want to work with him anymore and he "lost them." Scott goes running into Derek's house in S1 to accuse him of killing the bus driver, and when he can't get a real response, he EGGS HIM ON by accusing him of Murdering his SISTER, just to get Derek to react. Which is the EXACT same thing Kate did when she showed up and wanted Derek to lose his temper. Scott is CONSTANTLY paralleled with villains and assholes, and constantly does the things that others are persecuted for. But instead of feeling regret or learning something from it, instead of growing AT ALL. Those actions are treated as good. We are told they are righteous. And clever. That they are what heroes do. AND YES: There are parallels between Derek and Stiles' behaviors and villains/morally grey characters! Of course there are!

BUT THEY AREN'T SUPPOSED TO BE THE TRUE ALPHA MAIN CHARACTER. SCOTT IS SUPPOSED TO BE THE GOOD GUY. HE'S NOT SUPPOSED TO MIMIC/EMULATE THE VILLAINS, AND HE'S NOT SUPPOSED TO BE REWARDED WHEN HE DOES IT ANYWAY.

I've said it before, and I'll say it again; I understand the urge to think that the Teen Wolf writers did all of this on purpose. That they built Scott up as an unreliable narrator, so that we're forced to come to terms with a protagonist who isn't good, and we watch them fall into a villainous role while thinking all the while they are a hero. That all these parallels are intentional and the writers just couldn't Tell us what was going on bc they didn't have enough power.

And sometimes I play into it. I will lie to myself about Scott being the 'narrator' of the entire show, and that we're seeing it all through his eyes so of course things are biased and conflicting, just so I can actually Enjoy watching it.

But I think it's absolute bullshit that this was done on purpose. It wasn't. The parallels appeared because they Wanted Scott to do the badass things that they had all the villains doing, throwing people and being sneaky and clever, and stopping the bad guy, and they didn't want to deal with the fact that they were having him do bad things. So they just pretended he wasn't and refused to acknowledge that they'd already punished other people for doing the same exact shit, but somehow Scott was getting rewarded. They wanted Scott to be the hero, so they made him the hero, and screw everybody else.

[mountain-man-cumeth]

What Went Wrong: An In-Depth Analysis of Muriel's Route

*Youtuber voice*

Below are the opinions of an uneducated individual on what could’ve left the majority of The Arcana audience dissatisfied. I will explore the plot, tropes, themes and morals of the Muriel route and try to explain what may have gone wrong. I will be treating the game as a novel since it's advertised as one.

1. Consistency. If you are unfamiliar with the chekhov's gun; it's a story writing principle that dictates each element you introduce should come into play (foreshadowing). Now let's start with a few story beats that were later abandoned or concluded in an underwhelming manner:

Muriel's blanket

Muriel's magic mark (on his back)

Forest spirit (spirits in general)

Lucio's upbringing

Circumstances of MC's death

Figurines/whittling/charms

Muriel's blanket is teased to be a tapestry, which would tie in with his later fascination with them later on, as it had been the only thing he had left from his past. MC neither sees nor comments on the blanket, we only know it exists thanks to other playthroughs and short stories.

Magic marks are an important point in the game. Every main route emphasises on how it affects the chosen LI. It's reveal is important in a way that it serves as a passage to a new act where the reader explores magic and Arcana pantheon as they are a monumental part of the overall worldbuilding. This exact point applies to the Heart of the Forest and how spirits interact with the world around them as well.

Whittling and Charm making are the only hobbies we get from Muriel's isolated life, their introduction helps the reader humanise the character by giving us a crumb of his everyday life. It's never mentioned again after the scene where MC asks him what he does. He doesn't idly whittle during their journey and charms only come to play in an offhanded reference during reversed ending.

The other two are also ignored but I will touch on Lucio later on.

Why do these matter? A few abandoned plot points don't make or break the story but on a grander level it hinders the audience investment. When we read, we like to think the details we notice will come to play eventually, we like recognizing references that were introduced earlier. I'm sure I don't need to give examples on this one, I don't think anyone will disagree.

2. Themes. Thematic influences this story utilized are all over the place, and it seems to me like it stems from the improper application of certain tropes;

The Hero's Journey

Home Sweet Home

Shell-Shocked Vet

Last of His Kind

etc.

Some of these tropes tackle themes such as;

Slavery

PTSD

Survivor's Guilt

Genocide

I'm not going to try to explain How to Write any of these topics. I'm not remotely qualified. I think it's better if I just give examples from popular media because whether you know how to write it or not, you can still understand when it's written well;

AtLA deals with genocide and survivor's guilt. It's in the name; The Last Airbender. Aang is the sole survivor of a culture he'd only had an opportunity to engage in for a handful of years. He left them with a childish tantrum and now they're gone forever. I can't think of another mainstream series that shows the gruesome reality of war and genocide better than this one.

When Muriel realizes his true heritage and loses Khamgalai is the point of the story where Luke sees his family's farm burned down, Aang goes back to the air temple, Treebeard walks in on the demolished part of the forest. (The inciting incident)

(Could also have been forest spirit’s death but it was too early in the story so I don’t consider it a missed opportunity.)

Up until this point the hero has their doubts, they're going through the motions but they are either underestimating the enemy or they're a passive protagonist. Either way, this is the point where the hero has to take the reins of the story. What purpose does this serve in Muriel's route instead? It simply validates Muriel's beliefs. He's useless, he isn't strong enough. We as the reader need a point to see where the hero takes a step to drive the story forward or whoever takes that step will steal the spotlight, it will be their story. As it is, this is the point where it ceases to be Muriel’s story.

PTSD got the worst end of the deal. Since Dragon Age fandom has a huge overlap with the Arcana I will use Fenris as an example; for those who are unfamiliar with the character, Fenris is an escaped slave. After the sex scene he vividly describes an experience that most people can easily identify as a flashback. The game never tells us that he was abused, it doesn’t show us him having a panic attack but it shows us that whatever transpired between him and the player character clearly triggered an unpleasant memory.

Arcana tries and initially succeeds to do something similar. We see that the character is untrustworthy, sensitive to touch, easily agitated, can’t sleep outside of his perceived safe environment… It introduces us the cause later on and the story has two options, each will drastically change the moral of the story:

Remember these as they will be important later on

Portray Muriel fighting as a bad thing; You can’t fight violence with violence angle or the fact that the villain’s forcing him into a situation where he’ll have to fight again makes the villain all the more intimidating.

Portray Muriel fighting as a good thing; He has the means to defeat the villain and he just needs encouragement. With great power comes great responsibility. By not fighting he willingly condemns everyone to an awful fate and that he is selfish.

I’d like to take a second to explore the 1. Option, I feel like the game may have intended to implement that idea but failed because of the implementation of Morga and choices presented for the player character: Morga is an Old-Soldier, these characters are often push the hero out of their comfort zone in an aggressive way towards complacency, they are a narrative foil to the mentor. For the first option to work the story had to show Khamgalai acting as a mentor and having the protagonists challenge Morga’s teachings(see Ozai-Iroh). As it is, Morga’s actions are never put under scrutiny (narratively) and her death feels hollow as a result. She didn’t sacrifice herself for the heroes due to her guilt, she died because she felt a moment of sympathy for her son which wasn’t explored before, she showed no intention to change nor any doubt.

It is clear the game choose 2. Option, it is a controversial choice given Muriel’s mental condition and the game is acutely aware of this, which is likely why Muriel’s PTSD will get carefully scraped from the story from here on out. (I won’t address other instances where his trauma wasn’t taken into account, I feel like this explanation should cover them as well.)

3. Morals. Every story, whether the author intends it or not, has a moral. The Villain most often acts against that moral and in turn can change the hero's perspective. Morals are not ideals; the morality of Killmonger isn’t that marginalised people should fight for their rights, it is that vengeance is just. Whether it’s right or wrong can be debated but what makes an ideal the moral of the story is in the portrayal. How the narrator depicts the events, how people around the heroes react... all are a part of portrayal.

The story choosing “Muriel fighting is a good thing” earlier puts in the foundation of a moral. The story tells us Muriel has to fight, it’s the right thing to do. He has to be brave for the people he loves.

This choice affects how his past actions will be perceived; now, him escaping the arena to save himself is cowardly, abandoning Morga is cowardly.

The story tells us it wasn’t, but shows us that it was. This is the end of the midpoint of the story, at this point we need to have a good grasp on what we should perceive as wrong or right for us to feel invested. If we zig-zag between the morals we won’t know which actions we should root for. But more than that, the conclusion will not feel cathartic as it will inevitably demonstrate the opposing ideals clashing at its climax.

Villain doesn't necessarily have to be sympathetic and Muriel's route makes no effort to make him as such, but they need to be understandable. What danger does Lucio pose to the status quo, what makes him a compelling villain? Whether he conquers Vesuvia or not doesn’t drastically affect Muriel’s way of life, he’s been in hiding for years. He doesn’t threaten to steal MC’s body, Muriel is not compelled to pick up arms to save his beloved. He wants to protect the people from going through what he’s been through, right? That is what the story wants us to think. But what has he been through? Fighting was his choice, Lucio tricked him into it. Lucio later tricked Morga, his own mother, to save his own hide. This tells us that Lucio is a manipulator, but he doesn’t manipulate his way into Vesuvia, he barges in with deus ex machina monsters. He doesn’t demonstrate his skills as a tactician by making deals with neighbouring kingdoms to get their armies. We don’t know his strengths therefore we don’t know his weaknesses. If he seems to be losing he can just conjure a giant dragon to burn everything down, we just can’t know. That is why the application of deus ex machina is highly taboo, the victories don’t feel earned and defeats feel unfair.

4. Tone. Playing with the genre is not uncommon and a game such as Arcana has many opportunities to do so. It is a romance story, everything else is the back-drop. The tone works best when its overall consistent but tonal changes act as shock for the audience to keep them engaged and keeping one tone indefinitely gets us desensitized. We can’t feel constant misery if we are not made to feel tinges of hope in between. Good examples of dramatic tonal change (that I can think of): Mulan - arriving at the decimated village, La Vita e Bella - the father’s death, M*A*S*H - death of Hawkeye’s friend. Two of these examples are mostly comedy which is why this tonal shift affects us so, it was all fun and games until we are slapped in the face with the war going on. There are no one liners in those scenes, the story takes a moment to show appropriate respect to the dead, it gives its characters time to digest and come to terms with loss. Bad examples are the majority of Marvel movies.

In Muriel’s route there’s never such a thing, Muriel has a panic attack and MC kisses him. This unintentionally tells us, the genre being romance, that the panic attack only served to further MC’s advances. It tells us that he’s never had the control of his life and it’s yet again stripped from him by the decisions of player character. This is not the only instance this happens. The story shoe-horns in multiple cuddle sessions between important plot beats. And it does the exact opposite during a moment where he is having a heart-to-heart with the person he loves by having the ghost of Morga appear to give an ominous warning/advice.

When he runs off during masquerade it’s built up to be an important plot point. Muriel will finally face his past, he’s been running away from it all along, and he will have an opportunity to be accepted back in. MC is supportive but ultimately, it’s meant to be Muriel's moment. But as I mentioned above this is not his story anymore so he’s not given any time to address his problems, instead a ghost appears to tell him what he needs to do, again. Because we need to wrap the story up, we don’t have time.

Remember how I said the 2 Options will be important later on, well here we are at the very end. Upright and reversed.

“Portray Muriel fighting as a bad thing”

This suggests that the triumph of Muriel won’t be through violence. Maybe he will outsmart Lucio in a different way, he won’t play his games anymore. This option suggests that Lucio will not be beaten by his own terms.

“Portray Muriel fighting as a good thing”

This option concludes with Muriel finally overcoming his reservations on violence and doing what's right to save the people he loves. And bringing justice to people who Lucio hurt.

If you are wondering why the upright ending feels random, this is likely why. The ending plays out as if the story was building on the 1st option while we spent chapters upon chapters playing out the 2nd one. It is unearned.

(The reversed ending, being reversed, also uses Option 1 path but in which Muriel can’t achieve his narrative conclusion)

The Coliseum is filled with people who are on their side against Lucio’s shadow goons. Because we can’t have people being on Lucio’s side without addressing the duality of human nature, even though it’s an important part of Muriel’s story. The people who watched and enjoyed Lucio’s bloodsport are no more, they are all new and enlightened offscreen. We completely skipped the part where Vesuvia comes to terms with its own complacency and Muriel simply feels at ease because the crowd is cheering on him now. This is what happens when you give the character a chance to challenge those who have been complicit in his abuse (masquerade scene) and completely skip it to move the story along.

Muriel doesn't get justice, ever. The people only love him now because he's fighting for them instead of his own survival. Morga or her clan doesn't answer for the massacre of Kokhuri, Vesuvia doesn't answer for the sick entertainment they indulged in and Lucio doesn't answer for Muriel's enslavement. It is not even acknowledged, nowhere in the story (except the very end of reversed ending, and even then it almost gets him killed so its clearly the wrong thing to do on his part) is a choice presented where Muriel has an opportunity to get any sort of compensation where he instead chooses to move on.

I don’t intend to straw man anyone but this is a sentiment I’ve seen a lot; “It’s a short story, a dating-sim, what do you expect?”

I expect nothing, I’m simply explaining why some people feel how they feel. It is a short dating-sim but it seems to me like it was aiming to be something more by borrowing elements that were clearly far above their weight range to tease something more and under deliver. It is okay to feel content with the story, and it’s okay to feel let down. If we had a unanimous decision on literature we would never be inclined to write our own stories.

[myundeadgayson]

Mystic Messenger, but it’s actually C!Quackity on the DSMP

 …C!Quackity treating the DSMP like a dating sim joke, except I take it literally and tell you all the datable characters and Good, Bad, and Neutral Ends like this Mystic Messenger. (Disclaimer Note: This is all based on C!Quackity’s lore. This is also all based around their characters, NOT the CC’s. I am also NOT encouraging you to ship any of these characters -- especially bc some DO NOT feel comfortable with that. Also, no Minors are included because NO. This has just been a running Quackity joke for a while, and the concept of C!Quackity trying to flirt with all of these characters to speedrun the server like a legit dating sim sounds just so funny to me. Please do not attack me.)

Main Character Routes:

Sapnap (Good End: “Burning Love”, Neutral End: “I Love You, But Not Like That”, Bad End: “Twice Burned”) — can be connected to Karl’s Route

Karl Jacobs (Good End: ”Forever and Always”, Neutral End: “Friendzoned”, Bad End: “When Time Runs Out”) — can be connected to Sapnap’s Route 

Schlatt (Good End: “Alone, but Better”, Neutral End: “As the World Caves In”, Bad End: “Yes, Mr. President”)

Advanced Character Routes (only accessible after all Main Routes are completed):

Wilbur Soot (Good End: ”Ashes to Ashes, Dust to Dust”, Neutral End: “Two Sides of the Same Coin”, Bad End: “Enemies to Enemies”)

Technoblade (Good End: ”Tame the Blade”, Neutral End: “Enemies to... Allies?”, Bad End: “Dental Appointment”)

Karlnapity (Advanced Version): (Good End: “It’s About Time!”, Neutral End: “Only Time Will Tell”, Bad End: “...Who?”)

Secret Character Routes (only accessible after all routes above are completed):

Eret (Good End: “Flirt with the Traitor”, Neutral End: “You Need Friends, I Need Therapy”, Bad End: “Never Meant to Be”)

BadBoyHalo (Good End: “Dance with the Demon”, Neutral End: “...Sapnap’s Your What?”, Bad End: “An Eggsellent Ending, but a New Beginning”)

Bonus Route (only accessible when reaching halfway through Advanced Routes; technically a Bad End):

Philza Minecraft (??? End: Dilf Hunter Achievement: Become a Stepdad)

These are just the routes I’ve come up with for fun, and you can kind of see how a lot of them turn out by the names asjhdgksaj. (I don’t mind explaining what happens in any of them if you wanna know.) ** For anyone that doesn’t know Mystic Messenger by the way, there are 3 Main Endings (Good, Neutral, Bad) for Every Character, a True Neutral End, a True Bad End, and some other Bad Ends along the way if you start Good, then turn Bad towards a Character you’re pursuing.

But also, since this is Quackity… Him balancing out affection towards Karl and Sapnap, gets the Karlnapity Route, which is technically also a Main Route.

I will say though… Karl would probably have secret bonus options in the Advanced Routes that become available that involve Quackity finding out Karl’s a Time Traveler (something he discovers vaguely in Karl’s Main Route), but it leads to Quackity finding out more about Karl’s Time Travelling— the way Karl dies each time, the Dopplegangers, the Inbetween, etc.

Upon discovering all these things and finishing Karl’s Route in Advanced as a Good End, Secret Endings become Available to him. (This is where we’re gonna get SERIOUS, just so you know. We’re living like the Dream Daddy Simulator and there’s more lore than you realize.) More about the Secret Endings under the cut with the actual hidden lore because this post is about to be LONG.

These Secret Endings actually include Quackity witnessing Karl’s Time Traveling firsthand… Also, potentially Quackity traveling WITH Karl through time and into the Inbetween.

Upon him finishing this Secret Ending (which ends with him calming Karl through everything and a hopeful ending of him promising to help Karl to learn more about Karl’s abilities and save Karl’s memories), another route is open.

There’s Three Secret Endings that reveal themselves in total. That was only the first. The final two are connected, but the third being revealed depends on Quackity getting all the Main Bad Ends.

The Second Secret End is directly tied to Karl’s Bad End and the Fiancés’ Bad End in Advanced where in both, Karl forgets Quackity and Quackity lives alone in Las Nevadas.

In the OG Good Ending with Karl, they get married and stay El Rapids with Sapnap (romantic or platonically). In the Good Advanced with Karl, Quackity builds Las Nevadas and Karl almost forgets him, but Quackity comes home and finds out what happened.

The Second Secret Ending is what happens after Karl’s Advanced Bad Ending where he forgets Quackity. This Quackity, who’s chosen not to find out why he wasn’t invited to Kinoko, finds Sapnap struggling enough between helping Karl, managing Kinoko, and everything with Dream. Karl is gone again. Quackity, though still angry with the two, decides to help find Karl.

What ends up happening though is Quackity and Sapnap discover The Library (something Quackity discovers only in the Good Advanced End). They search around and find The Books. Obviously, the two start freaking out until Karl appears. This Karl isn’t their Karl. He looks the same, but there’s a noticeable white streak in his hair. Another thing is that he remembers Quackity.

It’s discovered in that moment that this “Dating Sim” situation with Quackity being able to restart through every path (though he fully never remembers any of them once the paths end) is the work of Time Travel. It’s Karl sending him back in time to make things right. The Karl in their timeline will only continue to get worse and lose all his memories. He NEEDS his memories, otherwise Karl can’t fix the timeline. There’s a huge threat that is going to be showing itself. Everyone WILL be doomed if Karl can’t repair the timeline, however, this Karl can’t fix it for him. Whatever threat that is going to come after them in the near future is following this Karl’s trail too closely. If this Karl tried to do it, he’d be leading the threat back in time with him and things would be doomed even sooner. He can only send back one, which is how Quackity gets chosen. Even though Quackity protests, Sapnap insists that it be Quackity to go. Sapnap can’t leave. If he did, he would be abandoning their timeline’s Karl, along with George and Kinoko. There’s a small argument between Quackity and Sapnap over this, but Sapnap admits he just Can’t. The timeline might change, but he couldn’t live with himself imagining Karl coming home without someone there to remind him that it is Home. Or George finally waking up and Sapnap not being able to be there. Quackity might have Las Nevadas to worry about, but Sapnap has the weight of two of the most important people in their lives on his shoulders. He can’t do it. Future Karl assures Quackity that he’d be good for this, too. That past Karl NEEDS him. His Fiancé NEEDS him. And this way, Quackity can help Sapnap! In the end, Quackity agrees. He reluctantly agrees to go. Future Karl just grins at him and hands him a pocket watch that in future runs, Quackity will be more aware of having because he’s actually had it in every route that wasn’t Karl’s Advanced Route. Right as Future Karl is teaching Quackity how to use it, the portal behind Karl turns a sickly neon green and yellow. Karl looks panicked at the sight. He quickly starts ushering Quackity to leave. NOW. Right as Quackity does, he just manages to see a glimpse of a hooded being stepping through the portal. He’s gone before he can see who it is. The Final Secret Ending becomes available.

The Final Secret Ending is ENTIRELY based on Quackity getting to all the Bad Endings for the Mains and all Karl’s Endings. That’s because the Final Secret Ending is, of course, about Dream. Up until this point, Dream has been doing his typical Dream things. In the Main Routes, he’s more of an idle character for Quackity because Quackity’s not directly involved with him yet. In the Advanced, Dream has reached the point of being imprisoned, thus Quackity is incredibly aware of everything Dream’s done. Somehow, this Dream eventually finds a way to escape the prison. He becomes more powerful upon getting released and somehow finds out about Karl’s powers, leading him down the road of wanting to understand him so that he himself can “fix the server”. Karl can’t allow Dream to tamper with the timeline because it’ll ruin everything. Dream, of course, finds a way into getting into Karl’s library and trying to find the necessary information to do it himself. Insert more plot leading to Dream eventually chasing Karl through the portals to stop Karl from reaching a timeline where they can change the story, and thus enters Quackity. In this Final Secret Ending, Quackity discovers everything that happening because Dream appears before Karl in The Library and reveals everything. Karl arrives late, just as this version of Dream is about to actually kill Quackity because, you know, personal reasons, but also Dream’s figured out Karl’s plan. Right as Dream’s about to kill Quackity though, Karl manages at the last second to shove Quackity the pocket watch, but Karl ends up getting killed in the process. Quackity has no time to mourn before he wakes back up in the past. And that’s all the Karl routes (which technically along with Sapnap) make for the True Endings! So there’s all of that story! ^u^ Definitely way more than I considered plotting out... But ya know,,, I fucking love Mystic Messenger and I love C!Quackity lore, along with C!Karl... So this started as a joke, but now you get lore to it! So please enjoy this brainrot! I put WAYYYY too much thought into it ajsgalkdjghlkd

[bigskydreaming]

Okay, not to get into the TW discourse again today, because I am so done with that, but I do have to say one last thing about yesterday’s posts, because the ones I made really didn’t sit well with me in hindsight.

For years I’ve always stressed that I will never even try to defend Scott’s actions with Isaac in 3B, because they were flat out wrong and don’t need to be defended. I should have just stopped there. Every single other point I made in regards to THAT specific argument was irrelevant, because that’s the only thing that matters there. 

The scene was bad. Scott was wrong. It doesn’t need to be defended. 

HOWEVER.

(C’mon, its ME. You HAD to know there was a but coming.)

We are now willfully shifting gears to engage with another aspect of this entirely, the one we should have been focusing on all along:

The thing is I fell for one of the more obvious but effective discourse tactics, the shell game (hide the real argument behind a bunch of smaller arguments JUST tangential enough to the original topic that its easy to claim no derailment is happening - its basically the online equivalent of bigger law firms drowning their opposition in so many minor suits and filings that they eventually just can’t keep up).

Okay, because see.....here’s the problem. ‘The other side’ of this argument keeps trying to make it about that singular scene in 3A, and attacking Scott’s actions in it so obviously people are defensive....but we keep responding by trying to defend Scott’s overall CHARACTER rather than justifying a single scene. And we should be focusing on the scene, not the character. Because their fundamental argument has always been ‘well how can you defend THIS scene?’

And the actual answer to THAT has always been.....uh....we don’t?

There’s not a SINGLE Scott stan I know that likes that scene. It wasn’t something we wanted to see repeated, something we celebrated because Scott was exercising his primal Alpha power and right to rule or whatever the fuck. At no point have I EVER seen a Scott stan try and justify that scene as it being something RIGHT to do. Some people try and create a context for it to make sense of it in terms of why and how Scott could do that at all, but that is still aimed squarely at disavowing that scene as something we REJECT as an example of his characterization. We flat out DO NOT WANT IT.

Now.

Try and tell me the same can be said of Stiles and Derek stans defending THEIR abusive moments. Claim that nobody’s ever argued (extensively) how Stiles was JUSTIFIED in that hospital hallway scene in 5B. Imagine for a moment, what fandom would even look like if huge swaths of people hadn’t gone to fucking town defending Stiles for his actions in Lunatic, saying Scott deserved it and it wasn’t that bad, honestly. Same with Heart Monitor. Say people didn’t laugh and hope for more scenes like that instead of being eww why the fuck are they acting like this is normal BFF behavior. Pretend there weren’t YEARS of arguments justifying Derek’s violence with Scott and his betas by saying oh Scott did bad things too and also he said mean things so he deserved it and Derek was just teaching them how to survive and it was his right as their alpha, they knew what they were getting into, etc, etc, etc. 

No but seriously. Go on. Make those claims.

Y’know. So I can laugh at you for being dumb and saying dumb things.

See, THAT’S the difference here. THAT’S the ACTUAL issue constantly getting shoved behind endless attempts at obfuscation.

Yeah, Scott’s actions in that scene in 3B were bad. We’ve literally never disagreed on that point. Show me a single post from my blog or any of the Scott meta blogs, where one of us ever tried to argue that Isaac DESERVED what Scott did. Said ‘well Isaac did kiss his ex-girlfriend, what did he think was gonna happen?’

And the nerve of some people to habitually - for YEARS - harass Scott fans and hone in on that ONE Scott and Isaac scene like they actually give a single FUCK about abuse or abuse survivors, and like that scene has ever had anything to do with them not liking Scott.....

Because the truth under the right shell is the reason they never let the arguments focus on Derek and Stiles’ most abusive scenes at all....

IS BECAUSE THEY DON’T THINK THERE’S ANYTHING WRONG WITH THEM.

They’ve ALREADY spent years justifying that shit. We’ve seen it. Endlessly.

And like I’m gonna take deep thoughts on abuse from people who claim that taping up your friend and throwing lacrosse balls at him, getting him beaten up, treating him like an actual animal to humiliate him.....that all of that is normal, acceptable behavior between friends? People who have so little conviction on these matters that you just KNOW they would be screaming about how abusive it was if the roles had been switched and it was STILES being physically punished and it was SCOTT filling up a dog bowl and treating Stiles like a dog as payback for something? 

Nope.

This farce has gone on too long, and fuck your bullshit tactics of trying to weaponize issues you know some of us actually truly care about just for the sake of turning people against a fictional TV character. Why are we acting like you actually give a shit about what was actually wrong with that scene in 3B? You don’t! We have a literal decade of proof! Of you being willing to go to any lengths to defend not just Stiles and Derek’s actions....no, but their RIGHT to be physically abusive with the other characters. Saying that the other characters DESERVED this behavior, that they were JUSTIFIED in the HOW of their specific interactions.

You’ve never tried actually defending Stiles and Derek’s worst moments because you don’t think you have to. You're fine with them.

And then you turn around and act like you actually give a shit about what Scott did to Isaac, when you know damn well that none of us have EVER tried to argue that he was RIGHT to do that, or that Isaac somehow deserved it.

Like. LOL. Fuck off.

Anyway, I’m done with this particular discourse for good, there’s literally nothing more to say because its actually always been really simple all along....but like, free soundbite for anyone who does still run into these assholes and have them try and pull this shit per usual. They raise this argument again, just say this:

“Scott shouldn’t have done that, agreed. And we can talk about that.....after we talk about whether or not you think Stiles and Derek were justified in their worst actions in Heart Monitor, Lunatic, Ice Pick, etc. Otherwise we’re just not on the same page here and never will be, so bye.”

The End.

Anyway, I am literally done with this forever and ever, that is henceforth the only thing I have to say on this subject, everyone feel free to do whatever you will with this post, @ me and I’ll just smile and wave at those in the rear view mirror, its been a long road but at least we’ll always have Paris, etc etc etc aaaaaaand scene. 

[momoshin]

Ryujin fluffy alphebet a-z 🥺🥺

A = Activities (What do they like to do with you? How do you spend your free time together?)

PICNICS! making your own food (or buying it sometimes) and setting a blanket in the middle of a nice park where kids and dogs could be easily spotted. she’ll ask you to read poetry to her, play her guitar for you, you’ll sing together, just two fools in love. also, scrapbooking! it’s something you both discovered you liked doing together very early on in your relationship.

B = Beauty (What do they admire about you? What do they think is your most beautiful feature?)

loves your lips, eyes and waist. she loves kissing you, but just looking at your lips makes her heart race, same with your eyes, she could keep eye contact with you forever, she just loves everything about them. and your waist is her hand’s favorite place, whether you’re sitting or standing, one if not both of her hands will always be on your waist.

C = Comfort (How would they help you when you feel down/have a panic attack etc.?)

ryujin won’t bother to pull you aside, she doesn’t care if there’s anyone around, she will stop what she’s doing once she sees any signs of you struggling and asks if you need a breather or if she can help in any way, if you say no, she will stay by your side and let her hands run up and down your back to help you calm down, will hug you if you let her and tuck her chin on top of your head while humming melodies to you.

D = Dates (What are dates with them like?)

she’s so selfless, even with dates she’s always making sure you’re comfortable with wherever and whatever you’re doing, hands always entangled and she’s always willing to pay for whatever you want

E = Equal (Are they the dominant one in the relationship, or rather passive?)

dominant for sure, whether it’d be in bed or not

F = Fights (Would they forgive you easily? What are they like while fighting with you?)

she would hate fighting, the possibility of upsetting you to the point where you’d rather sleep on the couch than with her terrifies her, and as soon as you grab your pillow and a blanket, she grabs your wrist and tries to convince you to stay with her, puppy eyes full of apologies that her words couldnt quite express

G = Gratitude (How grateful are they in general? Are they aware of what you are doing for them?)

SO grateful, ryujin is generally grateful for her life, where she is and such, but she always thanks you for doing small things for her, making her breakfast, anything really.

H = Hugs (What is their favorite way to hug and cuddle you?)

she personally loves when you casually come up to her and without interrupting her conversation, press up against her and wrap her arms around your shoulders yourself.

I = Inspiration (Did you change them somehow, or the other way around? Like trying out new things or helped them overcome personal problems?)

ryujin definitely holds less grudges ever since she met you, she doesn’t feel the need to see the people who have made her suffer, suffer, she doesn’t feel the need to prove herself to anyone, doesn’t listen to mean comments or people who just want to bring her down.

J = Jealousy (Do they get jealous easily? How do they deal with it?)

mm depends ? she trusts you more than anyone, and she trusts both your friends, so when she gets jealous its more of a “why the fuck is that guy looking at my girlfriend like he wants to eat her” kind of thing, it usually involves someone she’s never seen before, and it leads to her walking over to the two of you and not so subtly placing a hand on your waist, calling you all sorts of nicknames while glaring at them

K = Kisses (Who initiated the first kiss? What kind of kisser are they? Shy? Passionate?)

she initiated the first kiss! she’ll peck your lips so many times in the day but as soon as she has the chance she will pull you to the side and get her well earned dose of kisses. her kisses usually range from short, repeated pecks, they are goofy at times, sensual even, and she finds herself biting your lip gently every once in a while

L = Love Confession (How would they confess to you?)

in bed, the two of you looking at each other silently and then she just says all these things that sounds like she’s proposing because it’s so detailed and you can tell she loves you so much it’s quite inevitable for you to cry or get teary eyed as she talks about everything she loves about how and how good you make her feel

M = Marriage (Do they want to get married? How do they propose? What would your marriage be like?)

Yes but not yet, she would probably propose at a meaningful place for your relationship, and i have this vivid image of her wearing a bodysuit like the one for the gda’s last year for her wedding, she’d let you make the important decisions but would be completely involved whenever you asked for her opinion and would try to help as much as she could so it didn’t all pile up for you.

as for marriage, i think the dynamic would fit you both perfectly, the shiny bands on your hands, loves the way ‘my wife’ slips off her tongue as she introduces you to someone, or whenever someone asks you about each other and uses the ‘your wife’ it just gives you both butterflies all over again.

N = Nicknames (What do they call you?)

baby, angel, my love, short versions of your name sometimes!

O = On Cloud Nine (What are they like when they are in love? Is it obvious for others? How do they express their feelings?)

everyone can notice, it’s like an aura she carries around and she’s instantly bubblier, in situations that maybe would’ve gotten a rise out of her she’s more patient, she’ll be nicer to her members and such,, she makes sure to text you good morning and good night, throughout the day, that she misses you, that she loves you, sends you small details when she can’t make it to deliver them personally, just always reminding you of her appreciation, besides, she never shuts up about you, her members claim are sick and tired of hearing ‘y/n this, y/n that’ but in reality, they love seeing ryujin so happy and loved.

P = Parent (What kind of parent would they be?)

idk if i can see ryujin with kids, but in the chance you do have any, she would be such a cool mom, taking them to her studio just so they could hop around to music while she choreographed something, maybe she has a room for them to play and nap if necessary too, and if you have a boy, she would be his hero literally, he’ll always want to be like her and copy her every move.

Q = Quirk (Some random ability they have that’s beneficial in a relationship or a cute quirk they have that many don’t know about)

she’s such a good cuddler/can make people fall asleep so easily, the way she expertly runs her hands through your hair or back lulls you into a deep slumber almost instantly, the kisses she presses on your nose and forehead only helping the matter

R = Romantic (How romantic are they? What would they do to make you happy? Cliché or rather creative?)

ryujin is so romantic in general, she just loves to express how much she loves you and cares for you in more ways than just saying it. and the long-lasting smile on your lips when she susprises you is so worth it too, it can range from bringing home a dish of chocolate covered strawberries to setting up a bath with rose petals and candles, to just taking a drive around the city to a pretty place she heard about, talking softly about everything and nothing

S = Secrets (Do they have secrets they hide from their s/o? Or do they share everything?)

you pretty much share anything, honesty is very important for her and your relationship. plus she enjoys telling you even about the smallest details of her day

T = Thrill (Do they need to try out new things to spice up your relationship? Or do they prefer a certain routine?)

she doesn’t need to, ryujin is perfectly happy with your dynamic and so are you, but whenever the topic comes up she’s not opposed!

U = Unbearable (What habit do they have that’s unbearable? What habit do you have that they find unbearable)

EATING IN BED. i know y’all have seen that livestream of her eating tangerines in bed, sticky, juicy tangerines. so whenever she brings a snack or anything to eat to bed she’s expecting your side eye to what she responds promising to not make a mess and to clean it if she does.

and her, she hates your incredibly weird eating combinations, the fact that you will offer some to her to try too, she finds herself gagging just at the sight or smell and threatening to break up with you for laughing.

V = Videos (Do they take lots of videos or photos during your relationship?)

of course she does, like i said, the two of you enjoy scrapbooking, that means making your own scrapbook with your own photos taken by each other or strangers you asked on the street, writing down funny highlights of your dates to remember whenever you go through it. also, she has you as her background, it’s a funny yet endearing sight to see her flaunting the front of her phone to everyone so they would catch a glimpse of you as her wallpaper.

W = Wedding (What is your wedding like?)

so much fun, lots of dancing, kissing, and teasing, specially when it’s time to take your garter off ;)). but the most endearing moment is cutting the cake, it’s funny, nerve-wracking because everyone is looking at you, yet a beautiful memory you’ll hold on to forever as long as the photos capturing the moment.

X = eXtra (What is an interesting fact about them that they’ve only told you?)

maybe that she wants to have a farm at some point in her life

Y = Yearning (How do they cope when they’re missing you?)

she’ll call you, of course, talk to you, but ever since you made her a playlist, songs that reminded you of her, of the two of you, whenever she’s missing you she will listen to it, even if she knows the song letter by letter she will listen to all of them until the pain in her chest dissolves into something lighter. even when she’s sad and with you, she’ll play the songs and lay in your arms, sometimes crying with the soft murmur of your singing in her ear.

Z = ZZZ (What is it like sleeping with them? Do they like to cuddle or do they need space?)

i don’t think she moves at all lmao, like you will find every hair and muscle just the way you last saw it before closing your eyes, most of the time she likes cuddling, i feel like she is a bigger spoon type of person, but she will hide her face in your chest every once in a while to be able to go to sleep.

[whitehotharlots]

The point is control

Whenever we think or talk about censorship, we usually conceptualize it as certain types of speech being somehow disallowed: maybe (rarely) it's made formally illegal by the government, maybe it's banned in certain venues, maybe the FCC will fine you if you broadcast it, maybe your boss will fire you if she learns of it, maybe your friends will stop talking to you if they see what you've written, etc. etc. 

This understanding engenders a lot of mostly worthless discussion precisely because it's so broad. Pedants--usually arguing in favor of banning a certain work or idea--will often argue that speech protections only apply to direct, government bans. These bans, when they exist, are fairly narrow and apply only to those rare speech acts in which other people are put in danger by speech (yelling the N-word in a crowded theater, for example). This pedantry isn't correct even within its own terms, however, because plenty of people get in trouble for making threats. The FBI has an entire entrapment program dedicated to getting mentally ill muslims and rednecks to post stuff like "Death 2 the Super bowl!!" on twitter, arresting them, and the doing a press conference about how they heroically saved the world from terrorism. 

Another, more recent pedant's trend is claiming that, actually, you do have freedom of speech; you just don't have freedom from the consequences of speech. This logic is eerily dictatorial and ignores the entire purpose of speech protections. Like, even in the history's most repressive regimes, people still technically had freedom of speech but not from consequences. Those leftist kids who the nazis beheaded for speaking out against the war were, by this logic, merely being held accountable. 

The two conceptualizations of censorship I described above are, 99% of the time, deployed by people who are arguing in favor of a certain act of censorship but trying to exempt themselves from the moral implications of doing so. Censorship is rad when they get to do it, but they realize such a solipsism seems kinda icky so they need to explain how, actually, they're not censoring anybody, what they're doing is an act of righteous silencing that's a totally different matter. Maybe they associate censorship with groups they don't like, such as nazis or religious zealots. Maybe they have a vague dedication toward Enlightenment principles and don't want to be regarded as incurious dullards. Most typically, they're just afraid of the axe slicing both ways, and they want to make sure that the precedent they're establishing for others will not be applied to themselves.

Anyone who engages with this honestly for more than a few minutes will realize that censorship is much more complicated, especially in regards to its informal and social dimensions. We can all agree that society simply would not function if everyone said whatever they wanted, whenever they wanted. You might think your boss is a moron or your wife's dress doesn't look flattering, but you realize that such tidbits are probably best kept to yourself. 

Again, this is a two-way proposition that everyone is seeking to balance. Do you really want people to verbalize every time they dislike or disagree with you? I sure as hell don't. And so, as part of a social compact, we learn to self-censor. Sometimes this is to the detriment of ourselves and our communities. Most often, however, it's just a price we have to pay in order to keep things from collapsing. 

But as systems, large and small, grow increasingly more insane and untenable, so do the comportment standards of speech. The disconnect between America's reality and the image Americans have of themselves has never been more plainly obvious, and so striving for situational equanimity is no longer good enough. We can't just pretend cops aren't racist and the economy isn't run by venal retards or that the government places any value on the life of its citizens. There's too much evidence that contradicts all that, and the evidence is too omnipresent. There's too many damn internet videos, and only so many of them can be cast as Russian disinformation. So, sadly, we must abandon our old ways of communicating and embrace instead systems that are even more unstable, repressive, and insane than the ones that were previously in place.

Until very, very recently, nuance and big-picture, balanced thinking were considered signs of seriousness, if not intelligence. Such considerations were always exploited by shitheads to obfuscate things that otherwise would have seemed much less ambiguous, yes, but this fact alone does not mitigate the potential value of such an approach to understanding the world--especially since the stuff that's been offered up to replace it is, by every worthwhile metric, even worse.

So let's not pretend I'm Malcolm Gladwell or some similarly slimy asshole seeking to "both sides" a clearcut moral issue. Let's pretend I am me. Flash back to about a year ago, when there was real, widespread, and sustained support for police reform. Remember that? Seems like forever ago, man, but it was just last year... anyhow, now, remember what happened? Direct, issues-focused attempts to reform policing were knocked down. Blotted out. Instead, we were told two things: 1) we had to repeat the slogan ABOLISH THE POLICE, and 2) we had to say it was actually very good and beautiful and nonviolent and valid when rioters burned down poor neighborhoods.

Now, in a relatively healthy discourse, it might have been possible for someone to say something like "while I agree that American policing is heavily violent and racist and requires substantial reforms, I worry that taking such an absolutist point of demanding abolition and cheering on the destruction of city blocks will be a political non-starter." This statement would have been, in retrospect, 100000000% correct. But could you have said it, in any worthwhile manner? If you had said something along those lines, what would the fallout had been? Would you have lost friends? Your job? Would you have suffered something more minor, like getting yelled at, told your opinion did not matter? Would your acquaintances still now--a year later, after their political project has failed beyond all dispute--would they still defame you in "whisper networks," never quite articulating your verbal sins but nonetheless informing others that you are a dangerous and bad person because one time you tried to tell them how utterly fucking self-destructive they were being? It is undeniably clear that last year's most-elevated voices were demanding not reform but catharsis. I hope they really had fun watching those immigrant-owned bodegas burn down, because that’s it, that will forever be remembered as the most palpable and consequential aspect of their shitty, selfish movement. We ain't reforming shit. Instead, we gave everyone who's already in power a blank check to fortify that power to a degree you and I cannot fully fathom.

But, oh, these people knew what they were doing. They were good little boys and girls. They have been rewarded with near-total control of the national discourse, and they are all either too guilt-ridden or too stupid to realize how badly they played into the hands of the structures they were supposedly trying to upend.

And so left-liberalism is now controlled by people whose worldview is equal parts superficial and incoherent. This was the only possible outcome that would have let the system continue to sustain itself in light of such immense evidence of its unsustainability without resulting in reform, so that's what has happened.

But... okay, let's take a step back. Let's focus on what I wanted to talk about when I started this.

I came across a post today from a young man who claimed that his high school English department head had been removed from his position and had his tenure revoked for refusing to remove three books from classrooms. This was, of course, fallout from the ongoing debate about Critical Race Theory. Two of those books were Marjane Satropi's Persepolis and, oh boy, The Diary of Anne Frank. Fuck. Jesus christ, fuck.

Now, here's the thing... When Persepolis was named, I assumed the bannors were anti-CRT. The graphic novel does not deal with racism all that much, at least not as its discussed contemporarily, but it centers an Iranian girl protagonist and maybe that upset Republican types. But Anne Frank? I'm sorry, but the most likely censors there are liberal identiarians who believe that teaching her diary amounts to centering the suffering of a white woman instead of talking about the One Real Racism, which must always be understood in an American context. The super woke cult group Black Hammer made waves recently with their #FuckAnneFrank campaign... you'd be hard pressed to find anyone associated with the GOP taking a firm stance against the diary since, oh, about 1975 or so.

So which side was it? That doesn't matter. What matters is, I cannot find out.

Now, pro-CRT people always accuse anti-CRT people of not knowing what CRT is, and then after making such accusations they always define CRT in a way that absolutely is not what CRT is. Pro-CRTers default to "they don't want  students to read about slavery or racism." This is absolutely not true, and absolutely not what actual CRT concerns itself with. Slavery and racism have been mainstays of American history curriucla since before I was born. Even people who barely paid attention in school would admit this, if there were any more desire for honesty in our discourse. 

My high school history teacher was a southern "lost causer" who took the south's side in the Civil War but nonetheless provided us with the most descriptive and unapologetic understandings of slavery's brutalities I had heard up until that point. He also unambiguously referred to the nuclear attacks on Hiroshmia and Nagasaki as "genocidal." Why? Because most people's politics are idiosyncratic, and because you cannot genuinely infer a person to believe one thing based on their opinion of another, tangentially related thing. The totality of human understanding used to be something open-minded people prided themselves on being aware of, believe it or not...

This is the problem with CRT. This is is the motivation behind the majority of people who wish to ban it. It’s not because they are necessarily racist themselves. It’s because they recognize, correctly, that the now-ascendant frames for understanding social issues boils everything down to a superficial patina that denies not only the realities of the systems they seek to upend but the very humanity of the people who exist within them. There is no humanity without depth and nuance and complexities and contradictions. When you argue otherwise, people will get mad and fight back. 

And this is the most bitter irony of this idiotic debate: it was never about not wanting to teach the sinful or embarrassing parts of our history. That was a different debate, one that was settled and won long ago. It is instead an immense, embarrassing overreach on behalf of people who have bullied their way to complete dominance of their spheres of influence within media and academe assuming they could do the same to everyone else. Some of its purveyors may have convinced themselves that getting students to admit complicity in privilege will prevent police shootings, sure. But I know these people. I’ve spoken to them at length. I’ve read their work. The vast, vast majority of them aren’t that stupid. The point is to exert control. The point is to make sure they stay in charge and that nothing changes. The point is failure. 

[siennahrobek]

I had so many ideas on what to write about today but I was scrolling through the Obi-Wan tag during my break and I came across a huge post that had been baffled and a bit crazed. It was labeled about forgiveness and mercy and such but it was like a huge insanely interpreted post about the Jedi Order and some of the characters. Of course I wasn't about to start any sort of argument (and wow was the post long) but I just had to write something, at least, in my own post, unconnected with theirs. I guess this is a reaction and buckle up cause it seems like this is going to be a long one. I have a lot to say and I'm not gonna stop being all anxious about it until I do but uh....

I'm sorry, did we watch the same movies?

They go through a lot of movies and completely do a opposite take on the Jedi; how they are "unattached" (I say this because there are so many misconceptions about the word) and celibate (which we know isn't actually true) and how Anakin becomes living proof why this attitude is wrong.

First of all, it's not an attitude; it is a way of life. One that has worked for thousands of people over millennia. Second; their point WAS proven. Anakin turned to the dark side and became a sith. He committed genocide after genocide (the Jedi, Mandalore, Alderaan, Lasan etc.) and in the end, he only turned back because of his son. Which, may seem good on the surface, but it only goes to show how no other children or people that he murdered actually mattered, it was only his blood child that did. But that's not where I'm going. You don't actually see him regret doing the countless things he has done (probably because he dies) and he only does this because of his blood son. It, for me, gives the impression that blood means everything.

Anyways, there is quite a bit of talk about Obi-Wan and honestly? It is all not good. I'm not blind to Obi-Wan's faults but in general? He is a really good person; he tries so hard and goes through so much and is ugh, always trying. Obi-Wan shows no understanding? What? What? Did we watch the same movie? I mean it has been a while since I have watched Attack of the Clones and Revenge of the Sith (they hurt my heart because ugh) but that is NOT what I remember. I remember Obi-Wan teasing Anakin gently to get his mind off of his anxieties when they were going to see Padme again. I remember Obi-Wan saying "dude don't be a horny teenager" (not in those words obviously, but that was essentially the message). I remember him literally parenting and teaching him - like he's supposed to do. I remember him trusting Anakin to do the right thing and to protect the Senator alone, by himself. I remember Anakin saying he's been having dreams - not visions or anything and nothing specific, just about his mom - and Obi-Wan going "it's alright dude, those pass in time". I mean everyone has DREAMS, that's not beholden to force-sensitives. My dreams sure as heck don't mean anything. Just cause he is a Jedi and COULD have visions, does not mean they are. And he didn't tell Obi-Wan they were visions, he literally says dreams.

(this is about the time that I wish I could work with gifs and understand them)

Anakin is not stronger than Obi-Wan; I mean, really? Sure, more powerful? I guess? But let's go back. Who beats who on Mustafar? Obi-Wan. Who does NOT murder a bunch of children and turn to the dark side? Obi-Wan. Literally, sure, he's more "powerful" with the Force, because I guess that is the whole point but he's not stronger or wiser than Obi-Wan because as Captain Rex said "experience outranks everything" and man, does Obi-Wan have a lot of that.

Let's take a break and go to Shmi. They claim that her death is a dark page in the Jedi's book. I mean, w-what? How can you possibly blame the Jedi for Shmi's death? For not freeing her? Did Qui-Gon even tell the Council that Anakin was a slave? I don't remember, honestly. But still, she ended up freed and married to a man she fell in love with. And if I remember correctly, someone was sent (by Padme maybe? to free her but she was already gone to the Lars' by that point).

Okay, I know it sounds like I am reacting to a post and well I am I suppose. But like, this post is literally blaming the Jedi for Shmi's death and how they did not offer Anakin compassion. And then just to say that it is bothersome how Anakin was solely blamed. Uh, because he was a the perpetrator! How can you possibly justify the MURDER of children. Even though it not the Jedi way, I could understand, sort of, if he went after the people that hurt his mother specifically; probably some of the men/warriors/adults. But the babies? The children? You can literally not justify that. And to blame the Jedi Order and Obi-Wan for not "taking his nightmares seriously?" Are you serious? Anakin mentioned the dream (DREAM) once in passing, there is no indication that he said that she was in danger or that this was a vision. And visions are known to be notoriously unreliable! Not to mention, the Council is responsible for the Jedi as a whole - that is thousands of people.

Alright, now to the war.

There was a claim that throughout the war, the Jedi became more and more aloof, intolerant and unforgiving and determined to win despite the suffering of the people.

What. The. Krutack.

I will include the Clone Wars series, since it was directly referenced in response. Once again, did we watch the same show? Because I'm pretty sure that virtually the whole point of the show, aside from showing us horrible things the CIS did and the individuality of the clones, was the compassion and kindness of the Jedi. How they fought to protect as many people as they could. They were dying alongside the clones. Does anyone remember how kind and caring the Jedi were when they came across civilians. Do you remember how Obi-Wan literally carried and protected with his own body the little Twielek girl, Numa, on Ryloth? Does anyone remember how many NON-Republic planets they helped? I remember them helping even CIS senators and planets that had no ties to the Republic. They helped Mandalore even when they were not part of the Republic. The vast majority of Jedi are shown protecting not only citizens but the clones as well. They are on the front lines - not hidden behind a desk (although some are and that is necessary - tactics and strategy people) and trying to save as many lives as they can, even if it costs them. They inspire creativity and individuality in the clones - this is literally a thing. I could go on and on and on.

Okay, on to Revenge of the Sith - the sadness that will probably haunt my heart forever. We will start with Dooku; specifically when Palpatine tells Anakin to kill him and that he deserves it; it is revenge for cutting off his and whatever. And this, this, post asks if this is an act of mercy for the guy kneeling in front of him (and tells him Obi-Wan later denies him) and like, what? How in the world is that mercy? He murders a defenseless man. Sure, he is the enemy and he is a criminal but he is supposed to stand trial (not to mention all the intelligence Dooku could possible give to help win the war) which is incredibly ironic, considering later, Anakin screams at Mace Windu telling him Palpatine should stand trial (even though he is much more dangerous and more of a threat than Dooku). This is not mercy. This is a handless, defenseless (although evil) man who Anakin does actually kill. It is not mercy.

Anakin has dreams about Padme; similar to his mother. You would think he would have learned his lesson and confided in someone by telling them what was actually happening. Anakin once again, DOES NOT give Yoda any specifics, just that he fears someone he is close to will die. It is claimed that he is lacking empathy and compassion to Anakin's dilemma. WHAT DILEMMA? Anakin won't tell anyone anything that could actually help. What Yoda says is true; like "dude, people die and you have to move on from that. You cannot stop death and you cannot let this fear control you. You have to let go" which is a completely reasonable thing; I mean, hello - grief counseling anyone? Yoda probably thought he was talking about Obi-Wan - who was off on a very dangerous mission against a cyborg that had killed many Jedi and padawans; this seems like a very normal fear. Whether or not Yoda says this in the right way is not really relevant; Anakin knows that he has to let go of what he fears to lose because eventually, no matter what, he will lose it. NOTHING is permanent. Now if Anakin had specified he was having what he thought were visions and the actual person in them, I'm sure Yoda would have said things differently and probably helped him.

(Also, did Padme get any real health care or like??? Was it too much of a secret???)

(The genocide of the people in the Temple is conveniently glossed through with bare mention)

and then Mustafar. Contrary to Padme (apparently) Obi-Wan shows no clemency. ANAKIN MURDERED THE ELDERLY, THE SICK/INJURED AND BABIES in the temple. Not warriors, not even full grown men and women (some would be full grown but all the able bodied were probably out in the war trying to defend the universe). He should NOT be granted clemency. Anyone else would probably have been executed for this direct horrifying act. But they seem to gloss over how Obi-Wan is always on the defensive, not really because Anakin is more overpowering (And Obi-Wan does use a defensive style, Soresu) but because he is trying to give Anakin time to chill out and come to his senses. That is literally how the choreography was designed.

And Obi-Wan's last words were? Harsh? What? If I remember correctly, Obi-Wan says something like "You were supposed to destroy the Sith not join them" and when Anakin screams he hates Obi-Wan, the return is "you were my brother, Anakin, I loved you."

That is heart-breaking and sad, not harsh. How can you look at Obi-Wan's face in this scene and call that harsh? How can your heart not break for him?!

Say what you will about Obi-Wan leaving Anakin without "finishing him off". Whether or not this is a mercy, whatever. First, we needed a reason for Vader to be in the suit. Second, Anakin was unarmed; Obi-Wan doesn't go around killing unarmed enemies, much less loved ones. (Hello, the slaver from the series, anyone? He didn't kill him; it is against his beliefs. Rex killed him). Can you even imagine how Obi-Wan was feeling? How could he possibly kill his brother? Like, I have so many feelings and not enough words ahdkjgkjgjkf. Anakin does suffer and Obi-Wan has no reason to believe that Anakin would survive his injuries. Furthermore, if I remember correctly, Palpatine ship was coming? Also, Obi-Wan had to get to Padme - she was injured and more of a priority. Because she is someone he can try to save - Anakin is long gone - in more ways than one.

Although it claimed that they are not denying the terrible things Anakin has done; that is almost kind of what they are doing. They are literally putting Anakin's choices and agency to the fault of the Jedi - not just individuals but the culture and people. It is literally gone on to say that if he had left with his wife, the worst could have been avoided. What was the worst?

Oh, a mass murderer got his legs cut off and accidently burned alive. Uhm, okay, that sucks but you do realize he committed genocide of his entire family right? And he choked his wife into unconsciousness.

I can't even with humans.

There is not even a note to Palpatine and how he manipulated Anakin for years. No blame at all on the man we need to blame the most - they put all the blame on the Jedi which just. Blows my mind.

The Clone Wars proved there was no right choice for the Jedi - they were doomed to fall. Not because of anything they did - they did everything they could - but because of Palpatine's plans and schemes. I will never, ever agree that the Jedi failed because of themselves. I do not think that the "institution" was destined to fall ( that "institution" lasted for longer than the Republic). The Jedi were trying so hard - they were kind and good and compassionate and trying so hard for peace and saving as many lives as they could. The Sith were evil. The CIS was evil. The Senate was corrupt. And the Jedi were trying.

There is so much Jedi-blaming for Anakin's attitude, disposition and choices it is literally driving me insane. Why did I do this to myself?

Things delve into a New Hope and immediately there is bashing of the jedi; where Obi-Wan cuts some guy's arm off at a Cantina and Obi- Wan "lying" that Vader killed Anakin. Which, honestly, I could see that being true. Him being Anakin's murderer, at least. Vader may have Anakin's body but even he claims that he killed Anakin Skywalker. Anakin, at least, how he thought he was, was loyal and passionate and loving - or at least he tried to be. Vader is literally none of these things; there is very little of "Anakin" in Vader. And at first glance, it may seem that Obi-Wan and Yoda are setting Luke up to kill "his father" but honestly, I see it more as preparing him to fight Vader and kill him, if necessary. It's a horrible thing, but they do not outright say anything. And honestly, they were right. Vader is willing to kill Luke - he cuts off his hand and fights him. Okay, I have so much to say about this but that is for another time; i will digress about this particular point (of lying and such)

Luke, apparently, decides to forgive Vader and show him mercy (which is claimed the Jedi and Obi-Wan NEVER did for Anakin, no matter what he did for them which is such BS I'm virtually crying rn)

There is a lengthy talk about Luke trying to rebuild the Jedi culture and how it crushed him, his contrast with Obi-Wan's attitude and shame(?) and how trying to be a Jedi has caused him to fail. Because apparently Luke is the only one who apologized and that makes him different I guess? (How many times has Obi-Wan apologized and thought things were his fault even though they weren't?)

I won't get into the Sequel Trilogy because honestly, it does very little to interest me. I am mostly a Prequel- era person mostly because I love Obi-Wan and the strength and compassion of his character. Finn seemed really interesting to me and man I thought having a female Jedi character would be really great - we had some fantastic female Jedi such as Ahsoka, Shaak Tii, Depa Billaba and so many more - but they were rarely the focus and I thought it would be fun. But, I was a bit disappointed because killing off Han Solo the way they did? Eh. Didn't care for it. I was also in the era of Mara Jade, Jacen and Jaina Solo, Anakin Solo and Ben Skywalker (Luke's son) so perhaps I was a little bias. I didn't really understand why Leia and Han would name their child after someone that they didn't really know (although I do have a headcanon concerning Leia and Obi-Wan which I find hilarious that I love).

I didn't particularly care for the Sequel Trilogy. They made it a Skywalker show and they did an emphasis on romantic love and from what I recall from what I have watched, the majority of the characters weren't nearly as interesting or compelling to me. And then bringing Palpatine back, sighs. Why does it always come back to him? That is just exhausting.

I'm not hating on the Sequels; everyone is allowed to like things or whatever. I just didn't; they focused so much on Rey and Kylo Ren (who I actually have a bit of an opinion on but I won't right now) instead of the more intriguing characters. I would have been much more interested in Finn as a Jedi. To overcome what he has been through as a stormtrooper and becoming a Jedi would be a really interesting story. I didn't care for how they handled Luke. And I didn't like how Rey apparently became a master so fast without any real training? Even Anakin, the Chosen One, the most powerful force-wielder, had ten years of training under Obi-Wan and the Jedi. That stuff doesn't just...come; you learn it.

I wrote more about the Sequel Trilogy than I care too. I suppose this is a rather reaction post but wow; I felt like me and this person had watched two separate movie trilogy/shows. It boggles my mind on how people can get the opposite of something that was so clearly shown. I hope I didn't upset anyone too bad. I'm not hear to start a fight, just to get out some feelings.

I wrote this all instead of homework that I desperately need to do. Sighs.

I need to go through my likes and read some good Jedi content cause man, that, that was hard.

[maxwell-grant]

Charlie Chan. Who is fascinating, because he was created explictly to be an anti-Yellow Peril character. Unlike most Chinese characters of the time, he's both intelligent, physically capable, and unambiguously heroic. In the novels, he's simultaneously proud of being Chinese AND proud of being an American citizen. He gives orders and instructions to white people, and the narrative treats this as perfectly normal and acceptable. There's a bit in the first book, when an attempt to trap the..(1/2)

(cont'd)There's a bit in the first book where an attempt to trap the protagonist fails, because a message supposedly from Charlie clearly isn't because Charlie's English isn't broken, it's like poetry. Etc. The movies made him more stereotypical, & played by white actors in yellowface, but still, he's a heroic Chinese man, who is as capable and patriotic as any white man. Nowadays, he's thought of as racist caricature. Which he is, but still, it makes one think.

I'm not nearly as acquainted with Charlie Chan as you are (and I definitely suspected he was less racist in the original books because that's nearly always the norm when it comes to pulp characters) but yeah, that "Which he is" is forever going to be the most unfortunate and saddest part of it all when it comes to Charlie Chan. For all the virtues that can be bestowed on Charlie Chan, for everything great that the character had going for him and inspired, the fact that the least offensive image of the character I could find to put here for illustration's sake is from the Hanna-Barbera cartoon kinda exemplifies the big elephant in the room when it comes to Charlie.

Charlie Chan is a great example of two things: One is the way progress is never a fixed quantity and often what was progressive and forward-thinking in it's time can become something outdated and backwards and downright offensive given enough time, and the 2nd is my constant stressing that this is all the more incentive to reclaim the pulps and either highlight or fix aspects of them, instead of dismissing every aspect of them based on the preconception that everything about it's history is unforgivably bigoted and must be handled with the nuance of a sledgehammer.

I stress time and time again the need to highlight and understand the prejudices that went into pulps, because either ignoring them or wielding them as a weapon to attack them does no favors to anyone. The pulps weren't exceptionally bigoted - look at literally any medium in it's time period and you'll find bigotry and prejudice and hatred - and they were exceptional in the number of POC heroes and heroines. Pulps were a medium of experimentation and cheap entertainment that gave way to much, much more varied kinds of protagonists than were permitted in films, serials, novels, comics and radio serials of the day. Imagine if no one was allowed to bring up and discuss superheroes without mentioning the Superman Slap-a-Jap posters or the Captain Marvel story so horrifingly racist it was recounted by an American ambassador after it deeply offended a friend's son and a major influence on the 1950s anti-comic trials. "Pulp fiction had deeply, unforgivingly racist depictions that deserve intense scrutiny and cannot be ignored" and "Pulp fiction was significantly ahead of every other medium at the time in regards to authors and editors striving to publish stories about heroic POCs, this cannot be dismissed and is something that needs to be perpetuated" are not exclusive facts. "A product of it's time" is not an excuse and never was, but it's a fact nevertheless.

Every time someone speaks favorably of Charlie Chan in any capacity, they have to start with a long preface of everything positive that the character had going for him. Yes, he's a deliberate subversion of the Yellow Peril, he's a heroic protagonist, he's plump and good-natured and humorous but far from a joke, he's friendly and pleasant and well-educated and wise, he's a good dad and family man and a terrifically sharp detective who's so good at his job he gets called to solve crimes all over the world, and none of these traits are apparent to people who have to google the character and repeteadly see a white man in awful make-up into every single image of the character, who watch the movies and cringe at the broken English. It's hardly relevant in the face of all the Asian-American critics who acknowledge the character's virtues but rightfully point out that this fortune-cookie spouting caricature, acting subservient to whites and whose virtues are based around his proximity to a white American ideal, doesn't represent them and they shouldn't pretend it does.

Which isn't to say that to like Charlie Chan is "wrong", a lot of East Asians love Charlie and the character's obviously got fans in Asian Americans. It's a complicated subject and I obviously cannot begin to vouch in a subject so heavily based around perceptions I cannot experience. And I deeply detest the idea of speaking for others on their particular experiences on this kind of matter, which is something Americans do a lot everytime they talk about representation in media.

So instead, I'm going to tackle this on a roundabout manner by going on an unrelated tangent to bring up an example of representation that isn't quite representative of what it's supposed to be, has a lot of issues that have been dissected by critics among the people it was supposed to represent, and none of that stopped the character from being popular and beloved and from being claimed anyway. And it's a Brazilian fighting game character, which means it's completely within my ballpark.

Yeah, obviously Blanka doesn't look like anyone who lives in Brazil (whatever resemblance he bears to redheaded jungle protectors of Brazilian folklore is purely accidental). Obviously neither Jimmy nor Blanka are Brazilian names or even exist in the Portuguese lexicon. Obviously there are issues in Street Fighter's approach to representation across the board, sure, and I'd actually say Laura is much worse than Blanka in that regard (again, my opinion, obviously not universal), but the fact remains that Blanka is and has always been pretty controversial. Obviously there's Brazilians who took offense to Blanka and they weren't wrong to do so, and I obviously do not speak for everyone here, that goes without saying.

Obviously the idea that Brazil's major representative in a global cast of characters, the first big name Brazilian character in videogames, is going to be a freakish jungle monster who roars and bites faces has problems, as is the fact that all the others get to be regular people representing fighting styles from their countries while Blanka doesn't. None of the Brazilian SF characters represent Capoeira, which is kinda shitty to be honest. And there's a whole stereotype of Brazil as a backwards land of beasts and savages that Blanka's creation played into. There's no shortage of ground to criticize Blanka's representation and Ono actually apologized in an interview once, but then he learned one teensy little thing:

Street Fighter is very popular on Brazil. Would you like to leave a message to the fans from there?

"Ono: Yes, I'm aware. At the time of Street Fighter II a lot of the arcade machines produced went there, so I knew we had lots of fans there. A message to Brazilians, well, I'd like to apologize. I know Blanka's a weird character and I don't want any Brazilian to feel uncomfortable with that.

When Blanka was conceived, we knew there were forests in Brazil, and so we thought he could look like that. I was actually kinda nervous knowing I'd meet Brazilian journalists. Still, this is the first Street Fighter in ten years, so we'd like all fans to play, including Brazilians, which are many.

Thanks. Well, but you should know that Brazilians love Blanka

"Ono: Ah, good! I was scared of getting beat up if I ever went to São Paulo! (laughs)"

(That's from a 2012 tv special called The Greatest Brazilian of All Time where over a million viewers voted to elect whoever they wanted, and Blanka was going to win. He was polling ahead of Aryton Senna and PELÉ, fucking Pelé, yes this happened. He wasn't even disqualified for being a cartoon character, it was an open poll, he was disqualified due to canon stating he had been born in Thailand, which I think may have been retconned since then. Again, A MILLION BRAZILLIANS voted for this contest, and Blanka was going to win.)

Blanka is great and sweet and lovable, he made the best out of the incredible shitty hands fate dealt him and became a cool and strong green man who shoots lightning and flies, a self-taught warrior who rides whales and planes to fighting tournaments, and he loves his mom and friends and kicks ass and after he's done he dances in joy and gives the kids of his village piggyback rides, and Brazil loves him. He doesn't represent any existing person or fighting style, he's rooted in a negative stereotype and incorrect assumptions, he's not even really Brazilian, and he's our boy and nobody can take him away from us.

No criticism of Blanka, no matter how in-depth or even right it is, is ever going to affect that, because regardless of what was wrong or misguided and offensive about him, we claimed him and loved him so throughly that Capcom kept playing up Brazilian representation in every subsequent game post Alpha, and because of Blanka's impact and reception in such a big game, Brazilian characters have become a staple of fighting games, and that's how we got much more diverse representatives in those games. Fighting games have more Brazilian representation than LITERALLY ANYTHING ELSE on media not produced here. It started as BAD representation, with way less thought put into it than Charlie Chan, and it still mattered to a lot of Brazilians who reclaimed it and made it better than it was ever intended to be, and as a response to it, it gradually became better. 

Progress is not a fixed quantity, it's an uphill battle, and it's not unwinnable. Everything's gotta start somewhere.

The Good Asian is a ongoing comic that I think does the best job I've seen yet of handling an Asian American detective protagonist, which is not really a high bar in the first place, and more to the point, The Good Asian illustrates the 2nd part: the reclaiming. The Good Asian deals a lot with the realities that a 1930s Asian-American detective would run into, the strained circumstances and relationships between said character and the world around him, because it's born from an author who took a look at Charlie Chan and Mr Moto and the like and recognized the potential in those stories that could not be fulfilled in it's time period by the people writing said stories. 

The Good Asian pays little reverence to Charlie Chan, but it acknowledges that it cannot exist without Charlie Chan, and it reclaims the Charlie Chan premise at the hands of someone more adequately equipped to tell a gripping story that goes places none of Charlie's contemporaries would ever go. Regardless of how good or bad of representation Charlie Chan was, Charlie Chan mattered and was beloved and inspired a better example for others to improve on or rebel against.

I desperately wish that I could google Charlie Chan without having to look at a guy in yellowface, and the ONLY way that's going to happen is if the character ever gets meaningfully brought back and reclaimed for good by people who can meaningfully tackle the character and present him as he should have always been presented.

And then, I imagine it would be a lot easier to show people on how swell Charlie really is. A true, positive role model and hero, who no longer has to look like a gross cartoon to be able to exist at all. Who can finally be what he was always meant to be, and always was deep down.

[kyliafanfiction]

It’s not that I mind fantasy stories with war. Indeed, I quite like them.

But one trope that I’m quite done with thank you very much is the “we had centuries of peace and then SUDDENLY war broke out”.

Leaving aside that human history suggests how unlikely that is, wars don’t come out of nowhere. Armies don’t come from nowhere. If nobody ever fought wars, why did people have armies? If the armies were fighting bandits or monsters, they wouldn’t be equipped or trained for large scale warfare. 

And raising an army takes time, resources. How did Generic Evil Tyrant #4714 manage to raise that army without anyone noticing? Did no one at home go ‘hey, boss, why are we making all these spears and training all these people to stab human shaped targets with ‘em?’

It’s just... look, wars don’t come out of nowhere. People don’t just live in peace perfectly and then suddenly a war breaks out. The signs are there. Tensions build. Cross-purposes emerge. Short of an actual horde of alien locusts or the like breaking out of nowhere, war does not come from nowhere.

I don’t care how much the war is nominally the fault of one greedy dictator. 

And really - it’s just overused.

Again, I like fantasy stories with war.

I just don’t want ‘we were at peace forever, and then war happened’. I want stories with more than that.

I want fantasy stories about kingdoms that have been at war and peace on and off for centuries, cycles of trading and raiding creating complex border areas, with cities and marches and such used to changing hands.

I want fantasy stories about regions that have been torn by war for decades, and how the people living in the area have been forced to cope with it, about the soldiers signing up to fight in the same war that killed their dad or their uncle or older brother (or mother, aunt, or sister, etc).

I want fantasy stories about kingdoms that have been engaged in some godforsakenly stupid Forever War for the last century, the original slight long since irrelevant, neither kingdom able to bend after all they’ve lost, both realms bankrupt and the people starving, conscription riots in the cities that are emptier than they’ve ever been, whole generations destroyed in this insane nonsense. Where the only castles and walls that are intact are the ones in the warzone, because no one can spare the money to repair a castle a thousand miles away from the front lines.

I want fantasy stories about border skirmishes and illicit trades across hostile lines, where someone from one country meets someone from another to trade secretly, pretending they just ‘found’ these foreign goods when they come back, even though everyone knows they bought them the enemy but no one will say it.

And more than that, I want fantasy stories that understand that peace is hard.

I want fantasy stories where two (or more) countries, led by people of good faith and good intentions, still find themselves pushed towards war due to the inexorable needs of government policy - the needs of their people, the demands of the populace, the horrifying game of brinksmanship that international affairs sometimes becomes, accidents spilling out of control and the fear of the other side attacking. I don’t even care if war actually happens - maybe at the last minute, some desperate play to prevent the impending war works, but I want the sheer difficulty of stopping a war once the wheels start moving to be explored.

I want fantasy stories where the ‘Free Peoples’ have successfully defeated the Evil Empire, but now they have to figure out what to do with his territory, the lands of all the Kingdoms (or whatever) he’s overthrown. Can you throw this land that has been throughly ravaged and plundered back to the wolves to govern themselves in the ashes left behind? And with the mutual threat gone, and everyone with these well-trained armies with soldiers that may have been fighting for years, war all they know, does more war break out? 

I want fantasy stories where the Forever War is finally over but no one is happy with the peace. People who lost loved ones to the war still want revenge on the other country, the veterans who can’t stop fighting, the veterans who lost so much and wonder what it all meant. The government officials trying to grapple with the monumental costs and the damages and the grievances, where not everyone really wanted the peace, but now they’re stuck with it.

I want fantasy stories where the war is won, the enemy is occupied, and now you need to find ways to integrate all these new people into your society - where you’re terrified that if you just leave, in a few decades they’ll come back for revenge, but you can’t just kill or displace them all, can’t easily just force them to speak your language and worship your gods.

I want fantasy stories that grasp that peace isn’t the end of the story.

Don’t get me wrong, I love a good story where we have a nice ‘and they all lived happily ever after’. I like a good ‘all was well’. But I don’t want that to be every story.

And yes, stories that explore some of these issues exist. I’ve read some, I’ve got more on my to-read list (and if anyone who has actually read this far has any recommendations, I’ll be happy to take them), but there’s not enough.

And more than that, every top-selling fantasy series or movie or game or whatever, if war features in the narrative at all, always seems to revolve about that same tired narrative.

“We had peace. It was a longstanding peace where everyone was in harmony, holding hands and singing kumbaya and then war broke out.”

“The four elements lived in peace... and then everything changed when the fire nation attacked”

There’s a place for those narratives.

But I think we’re ready for different ones to hit the mainstream.

And I’m really tired of the idea that war just comes out of nowhere.

[violet-t-9]

Check in on my (not very realistic) wish list for episode 140

1. Nobody in the party perma-dies in the potential battle against Lucien/the Somnovem (temporary unconsciousness is to be expected).

Jester did not perma-die! Nooo Caleb no don’t die please wow this is one of my nightmares- ok Lucien died nvm Caleb you are fine WHEW. No perma-deaths. NOT EVEN MOLLY

2. The group discovers/uses more new eye functions that we have not seen before during the combat (unlikely, but still may be brought up).

Nope, but telepathy did get used for communication a lot, so that was fun.

3. They successfully defeat Lucien, stop/destroy the city and prevent the end of the world by the end of the episode.

Well, Lucien is stopped before the break at least!

4. A glimpse of Molly is shown before Lucien is defeated (e.g. he starts to remember them, etc) due to their effort to try to reach him/trigger his memories.

They got him to lose so many legendary reactions! Lucien also clawed his own face and torn himself apart in the end, so I’m going to count this as Molly, fighting back to protect his friends.

5. Beau and Yasha battle couple moments and possibly a passionate kiss after.

They didn’t get many power couple moments in this fight. However, Beau and Yasha’s consistent damage output brought them so much closer to success! ALSO YES A POST-BATTLE KISS I KNEW IT I CALLED IT the healing hands hug too nice.

6. More mind control attempts occur in combat (emphasis on the “attempt”).

Well yes, against Essek again (thankfully failed) and Yasha with the nightmare cage. Caleb mind blank was so clutch, at least SOMEBODY cannot be mind-controlled here. No Veth got charmed oh no.

7.  Fjord and Jester healing/saving each other and some sweet moments after.

Jester healed Fjord among the mass cure wounds as well! Also the fire resistance ring still played a role! Aww the hug in the marine layer fog was so cute! Also ayy they recovered the Cloven Crystal hahaha. Nice moment!

8. Artagan/sprinkle is mentioned/makes an appearance.

The divine intervention attempt by Jester almost succeeded Nooo. Thanks for showing up at Caleb’s revival at least.

9. Obligatory wish for Essek’s fancy dunamancy or magical items (can we please stay away from Lucien for like one round and let him use dark star).

TETHER ESSENCE YAY!! Loved the description. No dark star sad (Matt WAS saving for it), but 8th level gravity fissure is still cool though! It was unfortunate because Essek had such a high initiative as well, but all is well.

10. Obligatory wish for the polymorph spell.

Look this is just a permanent feature ono this list.

11. Obligatory wish for Essek’s room in the tower.

Look this is just a permanent feature on this list.

12. Obligatory wish for Cad being a MVP in and out of combat.

Cad’s revivify on Jester THANK YOU CAD (also thanks Caleb for getting her to him so he can bring her back quickly). JESTER HDYWTDT YES thanks to path of the grave from Cad. I knew it, Cad is always a MVP. 13. Veth being attracted to Lucien’s Astral Washboard (still reeling from the “you are not my type... but maybe you are?”)

“Kind of like a minotaur” LMAO Veth I knew it. Even in the final boss battle... That aside, Veth is such a MVP in terms of damage. Rogues, man! She did so much on Lucien and had evasion which was clutch.

14. creepy but awesome lair actions from Cognouza the flesh horror city under Lucien’s control + other new moves from Lucien’s secondary form.

Summon Cataclysm?? Will Aether?? Oh no Caduceus :( Nightmare Cage?? Yasha :( LAIR ACTION WITH PATTERNS oh NO- whew everyone rolled high thank you Jester for the Heroes’ Feast. The EYES get to go?? FOLD SPACE?? The 6 bladed attacks on Veth OH NO. NO Caleb got thrown with a tower at Essek wow those legendary actions sure are pretty strong.

15. They get to the end of the combat without anyone reaching 9 eyes.

YES! This happened! I’m so glad that the timer, whatever it was, did not activate in the Lucien fight.

16. Their eyes vanish after they defeat Lucien/destroy the city.

YES! YES! I knew it! Ayyyyyyy 

17. Caleb uses more fire/customized/dunamantic spells creatively or with nice flair (what’s sexier than wizards NOTHING).

He WILLED a glaive to hit Lucien I love you sexy wizard I literally love your imagination and creativity Widogast this is why you are my favourite. CALEB WITH YOUR MIRROR IMAGE YOU ABSOLUTE TANK I LOVE YOU SO MUCH.

18. Fjord uses his vestige in battle (come on that’s a star razor you’ve got there).

I... Marine layer also works, sure. Also you know what, Eldritch blast rules anyways. Fjord has always been a perfect warlock (and paladin probably).

19. Veth successfully using the Aeorian security cannon’s feature to hit again OR Veth using a fluffernutter.

Wow did not expect ASC to succeed in the first round, but it did! I’m so proud of you ASC.

20. The city’s inhabitants get freed from their fates of perpetual screaming.

“You hear whispers in your mind” YES! They are grateful and they are freed!

21. The party’s reaction when any member goes down (give me the angst).

No Veth is down... OOF. Nooo Jester NOO! Cad was almost down (death ward clutch). I regret wanting angst I’m sorry! I mean I knew it was going to happen. No Caleb is down Nooo I regret everything why did I want angst?! CALEB NO I didn’t want angst I didn’t-

22. Yasha uses her undead barbarian superpowers to fight on 0 hitpoints forever because she is awesome.

You know what, I’m glad she never got to 0 HP. So many party members went down already. 

23. Obligatory wish for everyone to remain relatively happy and alive by the end of the episode except Lucien, and the episode hopefully does NOT end on a terrifying cliffhanger because they win.

WOW, I was right. We got it, guys. We really got it, a happy ending.

Bonus moments:

Jester’s banishment on Vigilan was nice and quite crucial. Jester and Caduceus remind us every day why having two clerics is necessary for M9. Jester willed the bag of holding back to them lol.

Fjord THANK YOU for the Fastidan kill, that eye was such a menance. 

The wizards helping each other in battle were such nice moments.

Molly fighting back and helping them until the end :( WAIT is Caleb going to raise dead with his transmuter stone YES THE RITUAL I’m about to cry from Yasha, Jester and Beau... No NATURAL 1... WAIT DIVINE INTERVENTION?? 2% WHAT THAT WAS A WHIPLASH. EXCUSE ME WHILE I GO CRY. DUDE THE IRONY OF CAD BRINGING MOLLY BACK THOUGH.

Score: 17/23 

Wow what an emotional rollercoaster oh man oh man

What a story

I love them so much

See you next Thursday!

[valkyrieofsmut]

I should be asleep but this haunts me. What head over heel romantic nervous like tropes so the skeletons usually do? I mean the whole "i can't stop staring at your lips when you talk ." Or "You smile and my brain short circuits." Or "I am usually really smooth but when you come around I get tongue tied." Or "I cant stop blushing when you're around" or "I talk a mile a minute" and etc etc I hope I worded this right

I JUST REALIZED THAT THE WAY I WANTED TO ASK THE LAST QUESTION WAS HOW ARE THE BOYS LIKE WHEN THEY'RE YEARNING FOR THE READER. I'm sorry im sleepy

I think what it boils down to is "what are the skeletons like when they have a crush?" If I'm reading it right. Yes?

Classic- When he has a crush on someone, he plays it cool. He’ll be all buddy buddy with them, and very cheeky/ punny, throwing out humor, but none of this is really different than being really close friends with him- except the staring. In a situation of watching tv and hanging out; friends- joke, watching the show... joke about the show... laughing and watching the show with stupid commentary. Crush- joke, pretending to watch the show, steeling glances at them from the side of his socket. Joke about the show, laughing... watching them out of the corner of his sockets. Joke about the show, maybe a friendly bat with a pillow or soft food item like popcorn... It turns into an all out rough house, tickling, flailing, trying to escape, knocking each other over... whatever he can do to get close to them without it being obvious.

Creampuff- It is really hard to tell when this boy has a crush! And also not at all. He will be more excitable than usual, though he’s pretty excitable already, and he gushes about them, more than he does his friends, which is still quite a bit. It would look a little something like; friend- THAT PERSON IS AMAZING! THEY’RE MY FRIEND! THEY’RE ALWAYS DOING AMAZING THINGS, AND WE DO THEM TOGETHER, TOO! or crush- CAN YOU BELIEVE HOW WONDERFUL THEY ARE? THEY’RE AS GREAT AS ME! I HOPE WE GET TO SPEND MORE TIME TOGETHER, SOON! NYEH HEH HEH HEH!!

Red- Strangely, it’s hard to tell when he has a crush, unless you start looking for patterns. He flirts with everyone, and tries to get into anyone’s pants, casually. Friend- heh, nice shirt. it’d look better on my floor. Enemy- heh, if ya wanted me ta fuck ya up, ya coulda jus’ took off yer pants and bent over! Crush- hey, doll, nice haircut, it’ll look better after ya roll around in bed wit me. The patterns are what gives it away. He’ll fluster someone he’s good friends with, or even strangers if he’s feeling it, he’ll also just hit on them and proposition a one off with them. If they say yes, he’ll either tell them he was joking (if he’s just messing around) or they’ll go to it. If he likes what they’ve got, he’ll come back around, play a bit of game, and get another round if they’re agreeable. The next time, less game, and so on until it’s just, “hey, feelin’ horny. wanna fuck?” With a crush, when he jokingly offers a night together, if they say yes, he’ll get flustered, instead. “i- i mean- i was kiddin’, but if ya wanna-!” The second time he comes around, more game, more flirting, like he’s working them up to ask them for the first time again. The third time is like that, too, and so on, and so on, until their relationship changes. And then it’s just a cute little lean over and nuzzle to their neck and a soft, “hey, sweetheart, i got an idea... wanna go do somethin’ fun?” They’re also the only one he doesn’t talk about at all. He doesn’t generally boast about his conquests, but he’ll mention something if some asks about things he’s done, or needs advice. But his crush? He may admit that they’ve been together... but not much more than that.

Edge- One word- tsundere. He for some reason always ends up having to be in the same place that his crush is. “IT’S NOT LIKE I’M HERE BECAUSE YOU ARE! I JUST ALSO HAPPEN TO NEED TO DO LAUNDRY TODAY!” He also has a tendency to do things for them because of their “incompetence”; “JUST LET ME DO IT- IT’LL BE DONE FASTER!” Somehow, this mess of a boy can manage to be super abrasive, but also super sweet at the same time. And the glare when he’s trying to hide a blush... pretty cute...

Blue- The most noticeable thing? He’s quiet. And very talkative. In shifts. It’ll make your head spin! “I REALLY LIKE THIS ONE SHOW THAT’S ABOUT THIS HERO WHO CAME TO EARTH AND WAS CONFUSED ABOUT THE CUSTOMS HERE- I RELATE TO THAT A LOT SINCE IT’S SO DIFFERENT FROM MY HOME- AND THEN HE HAS TO DEFEAT THE BAD GUY AND HE HAS THIS PERSON HELPING HIM THAT IS REALLY COOL AND HAS NO POWERS BUT A LOT OF SKILLS, AND WE SHOULD WATCH IT TOGETHER SOME TIME! WHAT’S YOUR FAVORITE SHOW?” *silence as he listens intently* He also stares a bit (a lot), and is silent while they just relax together. He’s also somehow made them believe that he’s just a super cuddly skeleton! He wants all those cuddles! ... so he can practice what makes them comfortable, and when they’re all comfy laying there one day, he plans to smoothly nuzzle them, and say, “You Know, We Do A Lot Of Cuddling For Just Friends... Do You Like Cuddling Me? ... I Like Cuddling You, Too... Maybe We Should Do More Than Just Friendship Cuddling... Maybe... I Could Kiss You, And We Could Work From There?”

Stretch- He might be the hardest to know. He has that thing where he doesn’t really like someone, but somehow, he still ends up being nice to them...? what the fuck... god damn it... i meant to tell you to go eat dick, not that your shoes are nice... hell... And the emotions that show on him the easiest are amusement and irritation. So he could hate someone and be laughing at their misfortune, but they think he’s just sharing friendly comradery. The easiest way to tell if he likes someone is if he actually spends time with them, not just, he happens to be in the same room and they’re both watching tv, but, he actually meant to find them and sit down to watch the show with them. Maybe share some snacks.

Black- For some reason, it seems like he’s always just trying to control some people, but... he’s really just trying to be friendly and spend time with them... It’s just a bit awkward when you don’t know how to people in a society where you don’t have to pretend to hate everyone, or be sucking up to them or that you're more forceful/ powerful than them. Back home a conversation between him and Alphys might go, “ARE YOU GOING TO COME EAT LUNCH WITH ME, OR GET WEAK AND DIE?” (want to eat lunch together?) “Fuck off, I’m doin’ other shit.” (can’t, have to finish this work/ bullshit) “OH, GOOD, GO EAT YOUR GIRLFRIEND’S TWAT, THEN!” (fine, be like that (friendly)) Nice, friendly conversation! But he’s lost here, and when trying to show affection, he’s just so caught up on how much danger it will put on those he loves/ wants to love, so he tries to protect them by making it seem like he’s big and tough, and forcing them to hang out with him- so that his enemies don’t hurt them.

Mutt- He cuddles them. He becomes super cuddly. But he's from the same world as Black where any affection puts a target on their back, so, by being super cuddly, he's basically taunting everyone else, telling them that he's not afraid of them, and he can take out anyone who tries anything, he won't even have to let go of his crush. Come on, bitch, I dare you to try, with a dash of, the second you get too close, you're dead, and a whole lot of, this person is mine. They're mine. Mine! Mine mine mine! Touch them and die. He actually loves that due to the cultural differences, his crush thinks he just wants to cuddle all the time, but he's actually being super territorial and getting his scent all over them so there's no mistaking it. They are his, and anyone who challenges that will be at the wrong end of a burst of overkill attacks.

Axe- Protecting. When he has a crush, he wants to make sure they don't get hurt, and will do whatever it takes to do so, including stalking like behavior, threatening those he thinks has put them in danger or maybe just done things he doesn't like, like make them uncomfortable.

Crooks/ Bun- He wants to be around them. He wants to spend lots of time with them, and take their wants and preferences into consideration. He'll stand up for them, do his best to find and give them things they like, and always try to defer to them. He's ace, so there's not a lot of making out, tension, that kind of thing, but there is lots of fond, friendly, loving cuddles.

Dusty- You won’t know. Hell, he won’t know. He’ll have no idea, just start the yandere insanity of, “i’m really obsessed with this person... i must be really wanting to kill them... i wonder why...” So... until about forever later, when he figures out that he doesn’t want to kill them, they should probably stay far away.

Ask Masterlist?

[mc-critical]

(Okay head’s up, I’m going to be on your blog a lot since I absolutely LOVE your takes and analysis’.) Do you think (strictly theatrically speaking, not in the non-fictional and historical sense) Suleyman really loved Hürrem? As I watched the show I found it very silly how other characters of the show would remark how Suleyman “loved Hurrem so much he refused to ever take another concubine again” because..he did? And multiple times from what the viewers have seen too. Majority of the times the concubines/other women in Suleyman’s life (Isabella, Firüze etc) were only removed from his life via Hurrem’s intrigues, not by Suleyman’s decision. What do you think?

Aww, thank you so much for the nice words! 💕 Be here as much as you wish, absolutely no problem! (there are some takes I've had in the past that are quite passive-agressive in retrospect 😅, so I might as well also give you a heads up.)

As for your question, I think yes, SS loves Hürrem, but in his own, sometimes honestly incomprehensible (even outright toxic), way.

The writers perhaps wanted to hint at love at first sight in the beggining, due to the way she fainted in his arms in the first episode and how he kept thinking about her (that Ibrahim had to tell him that where he was supposed to go was the other direction) and the wave of excitement and anticipation he felt while waiting for her. But when they spent two nights together and he truly got to know her, was where it was at. Her uncanny ability to make him laugh, entertain him in a way no one else had before, was what impressed him first. He felt calm, safe in her presence, and wanted to keep this probably forever, along with him doing whatever else he wanted in the meantime regardless.

I feel the point of contention of whether he truly loved her or not comes from the fact that, the show wanted to make their love story integral to their both historically thematic and narratively soapy story - what I mean is, they wanted to make it the central plotline. And as a central plotline, it creates and/or extends on the other plotlines, having to show the other characters' reactions in excessive detail and even center parts of their motivations around it. You see how S01 and S02 of the series played this aspect of Hürrem and Süleiman's story completely straight - it presented it as The Love, this big, (thematically and narratively) unprecedented thing, this vital aspect of the series' DNA, the very tool that moves the story forward, that is only bound to have consistent narrative opposition: and I'm not referring only to Isabella and Firuze and all the other concubine arcs that force love triangles suited for the genre, it all is also about the continuous, frequent attacks on their love, that only stopped when the show made a complete genre shift by the second half of S04 and didn't have much time left. They worked with the idea that the more this love is attacked and antagonized, the stronger it becomes and the more shall people root for it. That's where the problem comes, because in retrospect, you can honestly see that these attacks played a major part in provoking a bunch of stuff SS did for Hürrem. Mahidevran beating her to death and poisoning her? SS gives Hürrem a chamber only for herself. (the other one she shared with Ayşe.) Them accusing her incessantly? Valide complaining about her? The various attacks? He continues to care even more for her. Valide and Ibrahim arranging that attack with the bandits? He married her. And one would wonder: is this even genuine or does the writing simply use her enemies' failings to lead Hürrem to SS? Is that the only reason he actually cares? What does MC want to achieve?

There are people who say that the entire point of SS loving her was that she was so different from everyone else (and that the concubine arcs ruined it), and yes, it was like that, in the very beginning. First impression is important and he truly began to enjoy her a lot since their first two nights, for her bringing him something new. However, both of Hürrem and Süleiman's characters and their relationship overall, drastically evolved throughout the show. When the first impression had passed and Hürrem gained SS's utmost attention and she became pregnant, she very quickly started taking stuff for granted, considering him only hers (the demonstration of the ring in front of Mahi; the twinge of jealousy towards Ibrahim.) and as a parallel, him still being a Sultan, having to follow the customs anyway, and calling Gülnihal in his chambers twice. Both of their ways of living clash, because Hürrem wants a monogamous relationship and takes every sign of care for him at face value, while SS lives in an environment that wants him to do what is expected of him.

SS both loves and hates when Hürrem stands up to his will. There have been times where she acted rashly, making borderline silly accusations (like blaming little Mustafa for the fire in E10), where she made moves out of jealousy (like stealing Isabella's pendant) and where she was complaining to him for something she didn't succeed to get (like Valide's chambers in S03). Süleiman sees her rebellious nature and goes out of his way to do moves to spite her. (this guy invited Isabella on a halvet out. of. sheer. spite and nothing else! smh honestly..) But there are as many times where he simply covers what she did (like killing Isabella) and caves to her demands anyway! Why would he cave to her demands and close his eyes on so much stuff she did, if he doesn't feel at least something for her?

The different treatment she gets also comes into play, because no matter how many times she's attacked and he seemingly stood by and watched aside from more serious cases, all it honestly does, is trigger his protective instincts. Despite of all the bumps on the road, Hürrem always was his darling, his special snowflake, whom he clearly felt something for. If anything, he wouldn't have freed her and this isn't something he would do to just anyone. (as we see how he refused to free Mahidevran when she desperately begged him to in E45.; and what's important, him freeing Hürrem wasn't provoked by someone else attacking her.) And when she makes all these jealousy fits, he listens, because Hürrem's character development represents full adaption to the circumstances of the harem, and by that, getting just like the others and learning their tricks. This has turned him off numerous times and when she shows that rebellious side of hers yet again, he couldn't help, but listen. What he said to Ibrahim after he sent off the Russian concubines, is especially telling: "No. (I don't love Hürrem as much as she loves me.) But now I fell in love with her even more." This summarizes extremely well what he thinks of her at this point, because while he's ready to cut her some slack, he's still helpless to her.

Though, later down the line, it gets very abundantly clear that if he loves her, he doesn't love her because she's different and she's rebellious, but because she's loyal to him. Infinitely loyal. She loves him this much, that she's not only ready to willingly drink poison and kill herself for him anytime, but she doesn't even want to give up his throne. It is all very well highlighted by his infamous line to Fatma: "Hürrem is not an angel, but she has something that none of you have. Loyalty! Absolute loyalty... / "She never saw anyone else on the throne but me." Over the years, SS began to live with the dramatically increased paranoia of betrayal, turning his natural ego from a strength, to an everlooming weakness. It destroyed every single relation of his, except for Hürrem. She's the only person that wasn't targeted by this crippling paranoid fear, he perhaps found piece and tranquil in her presence, because he knew that she wouldn't ever turn her back on him. And all these times he got mad at her, he had halvets to spite her, he caused her to prove to him how much he loved her, it turned out to be not only because his ego was tempered with, he wanted to test her loyalty the entire time. And all the times he prevented her from digging deeper into him and told her to stay out of political matters, now in S04 he no longer does that, since she actively joins every single conversation. Hürrem and Süleiman's relationship was put in a thorough deconstruction in S03 and S04, because after the slow Cerebus Syndrome transition began occurring and Yılmaz Şahin fully took over the script, the narrative stopped playing the love story completely straight and it put in the impression that it isn't focused on as much as it was before. So its more problematic aspects began showing even more down the line and it all lead into this very realization. The last episodes of Hürrem's life, while seeming like a cop-out, are genuine love letters for the fans and for Hürrem, with having Süleiman realize who he will lose and what will happen next, giving her the attention he never did. (I think the best Hürrem and Süleiman scenes we got, were in these episodes, along with the ones in the beginning episodes and right after the wedding, in E43-44.)

[And the episodes after Hürrem's death also make us question whatever he cares for her, because all he did there was straightforwardly betray her dying wish. Still, we should keep in mind that SS was at the peak of his downward spiral and it was Hürrem's death that sealed everything for him - losing the person who loved you dearly and was the most loyal one to you in your book, only caused catastrophic and devastating results, with SS going in her chambers in E136 and begging her to forgive him, right before the big fight between Selim and Beyezid began. There is everything else he did, yes, but losing HER is what caused him the truly neverending misery and what pushed him to such extremes, the loss of her loyalty broke him and finished him.]

Isabella and Firuze and Nazenin also add to these tests of loyalty, as well as being love triangles, added in for the drama. I feel SS did this not only to spite Hürrem, but also because he liked her unpredictability and he truly never expected for her to be this loyal in his eyes. It is possible he thought at some point due to his paranoia that she would give up on him, betray him, knowing that she also has her own ambitions. But seeing that none of that happened... perhaps all these continuous rifts in their relationship strived to show how strongly she loved him after all and maybe he came to appreciate that, even if it were too late. {note: the others said that SS loved Hü not exactly because of him refusing to take in concubines, but rather not taking concubines in for a long time. It illustrates more their hopes and beliefs (Mahidevran in E61: "Did you really think that his majesty couldn't be with other women?") and arguments presented when they need to win someone over for their cause to get rid of her. (like Hatice with Afife in S03) I always considered the Firuze arc more of a thematic tool than a dramatic one: aside from showing an actual continuous rift between Hürrem and SS, it breaks Hürrem's season two finale victory in half, enforcing even further that there isn't just any true long lasting victory that the themes won't condemn in this franchise. Nazenin was more for the parallels (Nurbanu - Nazenin; Hürrem - Gülnihal), while I never fully figured out what Isabella Fortuna was for, tbh.}

{He regarded Isabella as more of a toy, unfortunately, even with him saying that it was all somehow "a political game" with her and we had only him succumbing to his "manliness", protecting her from the snake and inviting her to a halvet only to spite Hürrem. With Firuze it was, admittedly, a bit more complicated, because he sure was infatuated with her to some extent, recited the exact same poetry to her, as well, but then again, we have the poisoning as a factor, and we have no idea to what extent it began to affect his psyche, besides him having to lay in bed in E78. I don't think Hürrem's intrigues had anything to do with the feelings he had for both of them, and I believe he would at some point have let them all go, exactly due to his ego and loyalty complex.}

I don't say that Süleiman's love for Hürrem is a healthy one, because oh noo, IT IS NOT, very far from it, in fact. Especially with the writers still keeping the status-quo with them the exact same even after he freed and married her, and for a while, it never made an actual difference. However, it is something that he didn't feel for anyone else in this harem and I would say that he indeed cherished it a lot.