#also i think there's something to be said about creating a narrative about one of taylor's partners or besties or family members

[juniemunie]

[Abandoned by the Lightners, his heart became cracked with hatred.]

Hitting a lil' too close to home?

[taylortruther]

Controversial opinion maybe but I think travis and taylor are cute together but my care for travis stops with taylor ( sorry if that sounds rude) so it's interesting to me when i see people saying stuff like 'a few months ago i couldn't give a shit about football and now i'm watching travis highlight reels and researching football' like I think it's cool that taylor got a whole bunch of people interested in a sport but i still can't quite wrap my head around people caring about something they didn't have a single interest in just cause of one person. Like, it's not like im wanting to judge the people but it's just like, i just can't relate to it and i dont think i ever will. Like, imagine if taylor was dating an architect and you all of the sudden had a bunch of people who weren't before now interested in building designs. Like i dont know, i think that it's just kind of funny.

nah i feel the same. i'm happy taylor's happy but i have negative interest in football so travis and the games are whatever for me. although swifties becoming architecture stans sounds dope as hell honestly lmao

[fuckyeahisawthat]

There are so many places in the Villeneuve Dune adaptations where he just...takes all the narrative pieces that Frank Herbert laid out and subtly rearranges them into something that tells the story better--that creates dramatic tension where you need it, communicates the themes and message of the book more clearly, or corrects something in the text that contradicts or undermines what Herbert said he was trying to say.

The fedaykin are probably my favorite example of this. I just re-read a little part of the book and got smacked in the face with how different they are.

(under the cut for book spoilers and length)

The fedaykin in the book are Paul's personal followers, sort of his personal guard. They show up after his legend has already started growing (the word doesn't appear in the book until chapter 40) and they are people who have specifically dedicated themselves to fighting for him, and right from the moment they're introduced there is a kind of implied fanaticism to their militancy that's a bit uncomfortable to read. They're the most ardent believers in Paul's messianic status and willing to die for him. (They are also, as far as you can tell from the text, all men.)

In the book, as far as I can remember (I could be forgetting some small detail but I don't think so) there is no mention of armed resistance to colonialism on Arrakis before Paul shows up. As far as we know, he created it. ETA: Okay I actually went back and checked on this and while we hear about the Fremen being "a thorn in the side" of the Harkonnens and we know that they are good fighters, we don't see anything other than possibly one bit of industrial sabotage. The book is very clear that the organized military force we see in the second half was armed and trained by Paul. This is exacerbated by the two-year time jump in the book, which means we never see how Paul goes from being a newly deposed ex-colonial overlord running for his life to someone who has his own private militia of people ready to give their lives for him.

The movie completely flips all these dynamics on their head in ways that add up to a radical change in meaning.

The fedaykin in the movie are an already-existing guerrilla resistance movement on Arrakis that formed long before Paul showed up. Literally the first thing we learn about the Fremen, less that two minutes into the first movie, is that they are fighting back against the colonization and exploitation of their home and have been for decades.

The movie fedaykin also start out being the most skeptical of the prophecy about Paul, which is a great choice from both a political and a character standpoint. Of course they're skeptical. If you're part of a small guerrilla force repeatedly going up against a much bigger and stronger imperial army...you have to believe in your own agency. You have to believe that it is possible to win, and that this tiny little chip in the armor of a giant terrifying military machine that you are making right now will make a difference in the end. These are the people who are directly on the front lines of resisting oppression. They are doing it with their own sweat, blood and ingenuity, and they are not about to wait around for some messiah who may never come.

From a character standpoint, this is really the best possible environment you could put Paul Atreides in if you want to keep him humble. He doesn't get any automatic respect handed to him due to title or birthright or religious belief. He has to prove himself--not as any kind of savior but as a good fighter and a reliable member of a collective political project. And he does. This is an environment that really draws out his best qualities. He's a skilled fighter; he's brave (sometimes recklessly so); he's intensely loyal to and protective of people he cares about. He is not too proud to learn from others and work hard in an egalitarian environment where he gets no special treatment or extra glory. The longer he spends with the fedaykin the more his allegiance shifts from Atreides to Fremen, and the more skeptical he himself becomes about the prophecy. This sets up the conflict with Jessica, which comes to a head before she leaves for the south. And his political sincerity--that he genuinely comes to believe that these people deserve liberation from all colonial forces and his only role should be to help where he can--is what makes the tragedy work. Because in the end we know he will betray all these values and become the exact thing he said he didn't want to be.

There's another layer of meaning to all this that I don't know if the filmmakers were even aware of. ETA: rescinding my doubt cause based on some of Villeneuve's other projects I'm pretty sure he could work it out. Given the time period (1960s) and Herbert's propensity for using Arabic or Arabic-inspired words for aspects of Fremen culture, it seems very likely that the made-up word fedaykin was taken from fedayeen, a real Arabic word that was frequently used untranslated in American news media at the time, usually to refer to Palestinian armed resistance groups.

Fedayeen is usually translated into English as fighter, guerrilla, militant or something similar. The translation of fedaykin that Herbert provides in Dune is "death commando"...which is a whole bucket of yikes in my opinion, but it's not entirely absurd if we're assuming that this fake word and the real word fedayeen function in the same way. A more literal translation of fedayeen is "self-sacrificer," as in willing, intentional self-sacrifice for a political cause, up to and including sacrificing your life.

If you apply this logic to Dune, it means that Villeneuve has actually shifted the meaning of this word in-universe, from fighters who are willing to sacrifice themselves for Paul to fighters who are willing to sacrifice themselves for their people. And the fedaykin are no longer a group created for Paul but a group that Paul counts himself as part of, one member among equals. Which is just WILDLY different from what's in the book. And so much better in my opinion.

[headspace-hotel]

re: ohio chemical disaster

OP of the post I reblogged earlier regarding this turned off reblogs (understandable have a nice day) but I got a request to put the information in its own post, so here.

First thing: PLEASE be careful about claims that "The Media" is suppressing something as part of a malicious agenda, or that an event has been purposefully manufactured by "The Media" to distract from something else.

Not only is this a really common disinformation tactic (not only urging you to share/reblog quickly, but discouraging you from fact checking), treating "The Media" as a monolithic entity with purposeful agency and a specific, malicious agenda—particularly one that manufactures events to "distract" from other events—is a red flag for conspiracy theories.

There's already a post in the tag attributing the supposed lack of media coverage to "reptilians." Please connect the dots here.

Second—"the news isn't focusing on this as much as I think they should" is not a media blackout. Every major USA news source is reporting on the Ohio train derailment. Googling returns at least 4 pages of results from major news media sources. Even just googling "Ohio" gets you plenty of results about it.

This is an unusual amount of media attention for a U.S. environmental disaster.

Because this kind of thing happens all the damn time.

The "media blackout" narrative gives the impression that this is an unusual event that isn't receiving wall to wall coverage only because it's being suppressed—when the reality is that similar disasters happen a lot, and hardly ever get the attention the Ohio disaster is getting.

Consider this example, not too far from my local area: A few years ago, almost 2,000 tons of radioactive fracking waste were illegally dumped in an Eastern Kentucky municipal landfill, directly across from a middle school. Leachate from that landfill goes into the Kentucky River, which is where most of the central part of the state gets its drinking water. As far as we know, the radioactive waste isn't leaking yet, but it could start leaking at any time.

Zero national news sources covered this. Why? If I was to hazard a guess, I would say "because it's business as usual for the fossil fuel industry."

Consider also the case of Martin County, KY, which has had foul-smelling, contaminated drinking water for decades. Former coal country in Appalachia is poisoned and toxic, and laws have little power to punish the companies that created the destruction.

What happened in Ohio is just a little window into a whole world of horrors.

The Martin County coal slurry spill that is still poisoning the water 20 years later killed literally everything in the water for miles downstream (a book Mom read said 70 miles of the Ohio river were made completely lifeless). It was 30 times larger than the Exxon-Valdez oil spill, and it was in some sense "covered up"—in the sense that the Bush administration shut down the investigation because the Republicans are buddies with the fossil fuel industry, and proceeded to relax regulations even further.

Seriously, read that wiki article to get pissed enough to eat glass.

Hopefully the Ohio chemical spill will inspire real action to institute regulations to prevent shit like this from ever happening again. It's not the end of the world. It's not radically different from what industries have been causing the whole damn time. It is pretty bad.

I would urge everyone to actually search up information about it instead of getting news from Tiktok or Twitter, because the more false information gets distributed, the less momentum any effort to respond with improved regulations and changes to prevent future disasters will have. Plenty of facts here *are* public and being publicly discussed and pretending that they're not is actively detrimental.

[stardustizuku]

Unfortunately I came across a very strange and misinformed video about Black Butler.

It’s not good. Don’t watch it. Unless you wanna ruin your day, in which case have fun.

Despite it all, I watched it. What left me wondering, however, was how off the mark the person who made the video was on, well, everything.

From their insistence that the Book of Circus Arc theme or point is non existent, to reading Ciel’s character so badly they genuinely thought the Green Witch Arc did nothing for his character development.

While baffled, it also made me think on how someone could read Black Butler so badly.

Sure, you can say that there’s no real way to read or interpret something “in the wrong way” but interpreting The Hunger Games as a pure battle-royale action story would make you believe it’s bad.

“Why are we focusing so much on how the capitol preps them?” Or “Why isn’t Katniss winning everything?” Or “I wanna know more about the rebellion” All questions that miss the actual point of the story - which is criticizing (not solving or ignoring) the way that media distracts us from violence via spectacle.

The same thing applies here. While there is no “right” way to consume media, there’s things that the author makes clear they wanna focus when creating a story. Things that, if you understand, make the story you’re reading actually make sense.

And in Black Butler there’s three things that you have to understand to properly get what Yana is saying.

Sebastian is the protagonist

Ciel and Sebastian’s relationship IS the story.

And that relationship is, fundamentally, a positive one.

A quicker version of it would be:

Black Butler is a love story from the POV of Sebastian, and you have to ship it to get it

- but that’s not entirely true.

You can still look at it as a complex but ultimately positive rship and get in broad strokes of what it’s conveying. It doesn’t have to be romantic. Although, it helps much more than a platonic framing.

(That said, interpreting their rship as father and son, still isn’t the best way to go about it. Mostly because by its very nature of “soul consuming” their relationship is extremely sexually charged. And hey, if you’re into that I don’t judge. However, if you’re desperately trying to interpret their rship as NOT romantic to the point you fall back on heteronormative patriarchal ideals of nuclear familiar as framing device, I don’t think this interpretation bodes with you)

Now, having all that ground work:

Why do I say these are the key components to understand BB?

Okay so, first,

1. Sebastian is the Main Character. The protagonist.

There’s a lot of people who wanna argue against it, claiming he’s either the villain or the antagonist. Both wrong.

He does not function as an antagonist. Even if, and an emphasis on if, you consider Ciel to the protagonist, Sebastian isn’t a narrative antagonist.

If you wanna go back to Creative Writing 101, be my guest. An antagonist is directly defined by the protagonist. It’s the opposing force. If the protagonist wants A, the antagonist wants to stop them from getting A.

Sebastian’s catchphrase is “Yes, my Lord”. He never opposes Ciel, in fact quite the contrary. By the mere fact they’ve created contract, it means that they’ve both agreed in the inevitable outcome.

People want to frame Sebastian as the villain, because Ciel having his soul taken by a demon, would be a BAD END in the context of their moral compass. They see Ciel as a frail victim of abuse, who’s being tricked by Sebastian, who wants Ciel’s soul.

Which is an. Interpretation. A bad one. But still one.

The narrative (and whether the narrative fits your personal moral compass and lack of critical thinking is irrelevant) treats Ciel as an agent in his own destiny. The abuse he suffered was the moment in which he had no control. It’s only after he meets Sebastian that he can rid of both his guilt and his despair, and do what he wants.

In this case though, it’s revenge.

The famous “Asthma” scene shows this. If Ciel is taken back to his past, he becomes helpless. Swarmed with pain and memories that make it so that he can’t even react. Sebastian is his saving grace. If Ciel didn’t have him, and the power he wields to rebuilt what’s broken, he would crumble once more.

If Ciel has a panic attack, because of all the pain he has, Sebastian picks him up and says “you are not a helpless child anymore, you are not a victim anymore, you have the power to do anything. So, what do you wanna do?”

Ciel’s answer is to kill them.

A proper analogy would be to say that, if Sebastian offers a gun, Ciel pulls the trigger. They are both at fault. Sebastian, strictly speaking, is not here to directly cause Ciel’s downfall, but as a tool Ciel uses to plunge into the abyss.

If, again if, you were to frame Ciel as a protagonist, Sebastian falls closer to the “Voice of reason” character. Not a literal voice of reason, but a literary one. If you have a protagonist and an antagonist exchanging ideals, the Voice of Reason serves to engage with the protagonist on their own ideals.

That said, Ciel isn’t the protagonist. The story quickly falls apart if you interpret it as such.

Things such as Ciel’s character arc being…shall I say odd?

It’s not that his character arc isn’t there, but it’s never lineal. His goals stay the same, the only thing that happens is that we start to peel back the “why”s of his goals. Throughout the series it’s never about Ciel understanding himself better, he knows who he is, he knows what he wants, he knows why he wants it. He doesn’t ever need to uncover these, but simply remember them. Because it’s always about the audience understanding Ciel.

He knows he wants revenge.

In the Circus Arc: He knows that he needs Sebastian because without him, the pain of the abuse he suffered would be too much to bear. But WE are introduced to it.

In the Book of Atlantis: He knows that with this new lease he does not want happiness and peace, he wants revenge. The one being told this is the audience.

In Green Witch Arc: He knows that their revenge isn’t for his family, the real Ciel or guilt. It’s because he wants it. He’s angry, he’s upset, and this is entirely for him. The one being told this is the audience.

Except. Not really. The one either discovering or remembering these key moments - is always Sebastian.

Sebastian is the one who reassures him that he now holds the power of a demon to override the pain. Sebastian is the one who remembers that to override that pain, Ciel wants revenge. And Sebastian is the one who discovers that that revenge isn’t built out of grief or guilt, but for himself.

We are witnessing it all, through the eyes of Sebastian.

This is why we have an extremely vague idea of who Ciel is, Sebastian does not have the whole picture.

If you haven’t been reading this manga with your eyes closed, you’ll realize we have a better grasp at Sebastian’s character than that of Ciel. We get a lot of insight on how he thinks and what he values through light hearted dialogue he has with the servants. You even see the character development in these little interactions.

Think about how when he first arrived to the mansion he magically created food with no regards to taste, but when he meets Bard he states that food is created to see whoever will eat it, smile.

That is character development, more than you will be able to see from Ciel.

Because Ciel’s character, while not static, doesn’t go from point A to point B. Mostly, cause it doesn’t need to. He went through that when he lost the real Ciel and got Sebastian. Everything we are watching is the falling out.

Now, given the fact that I’ve told you that it makes more sense for Sebastian to be the protagonist/main character, and that he 100% isn’t either a villain or antagonist in ANY of the interpretations you can get:

Do you believe me?

If you don’t, you’ll probably believe Yana herself.

This is from the first Volume, where Yana herself describes the process of making Black Butler. The primary idea behind the creation of BB was a butler as a “hero”.

If you go back to the introductory chapter, you notice that Ciel is barely mentioned. He’s simply the one to give Sebastian impossible tasks and standards that Sebastian must find how to overcome.

Ciel is properly introduced until the NEXT chapter. The second chapter has this formula too, introducing Lizzie as a problem to overcome. Although, to Sebastian the best way to “get rid of the problem” is simply to indulge her.

The issue here being that the problem isn’t as simple as a business meeting but something directly tied to Ciel and Ciel’s past. Each time that Sebastian has to solve a problem, it chips away at Ciel. While with Lizzie he shows a persona, once he’s alone with Sebastian he acknowledges the toll it took on him. It serves to build Ciel as Sebastian’s master, and how some problems aren’t as simple as discarding a tablecloth.

The third and the fourth, are a unified narrative, with a similar premise to the first chapter. Ciel gets kidnapped and Sebastian must find a way to retrieve him without raising suspicions.

If the first chapter is to set up what Sebastian must do as a butler, the third and the fourth serve to set up what he must do as a demon.

The entirety of the volume, and up to Book of Circus Arc, is about how Sebastian tries to follow the increasingly absurd orders that Ciel has - it is not about Ciel trying to solve them.

That’s how they work, we follow Sebastian for the most part, because he’s the one having to come up with the solutions.

If anything, in early Kuro, where the emphasis was more on a slice of life conflict, Ciel is the antagonist. He’s the one creating problems for Sebastian to solve.

What’s more, in the second volume, the very first chapter is one from Sebastian’s POV. So far, we hadn’t gotten an entire chapter from Ciel’s POV. In fact, I would find it hard to point to a single chapter where Ciel is the POV throughout. The reveal of real Ciel and the flashback is the closest contender.

But once we move past early Kuro, and into Book of Circus, this set up changes.

It’s fairly easy to assume that Ciel is the main character, because from this point on the conflict of the plot sorta surrounded him. We spend a lot of time with him and with his story. The enemies start being people directly tied to Ciel and Ciel’s trauma. Rarely, if at all, we get to see Sebastian before he met Ciel.The framing device for the story, is Ciel.

This is where point 2 gets intertwined.

2.- Sebastian and Ciel’s relationship IS the story.

The story begins at the point where Sebastian and Ciel met. Who Ciel was before he met Sebastian, informs why he’s the way he is when he does. You have to know all he went through to understand why he’s a brat, why he lashes out. However Sebastian’s past doesn’t matter…because Sebastian himself doesn’t care much for who he was, before he was “Sebastian”. That’s also part of the narrative.

Unlike Ciel, he doesn’t seem opposed to revealing information from before the contract. He talks about how pets from where he is from are gross, he talks about how he knows how to dance because of other places he’s been to, and alludes to the life he's lived before.

Just that, to him, they're footnotes.

He makes allusions to a very bland, uninteresting life, up to the point he meets Ciel.

That’s why we don’t know more about his past.

As for why we focus on Ciel’s story…okay maybe we need Creative Writing lessons 102

I studied Dramaturgy for about 3 to 4 years. And something you notice is how play-writing is the quintessential story telling. It’s making it work with the bare bones of a story.

Some other mediums have more finesse, more depth, or more spectacle - all amazing things that work for whatever they’re created for. But understanding a play, how and why it works, helps understand the fundamentals of any derivative story telling medium.

Particularly, conflict.

Conflict is dialogue and dialogue can take many forms. A story, in its essence, is a dialogue between two opposing ideas.

Take Batman, for example, who embodies the ideas of justice and order. On his own, he’s not a well rounded character.

If you ONLY present him, in a vaccum with nothing else, you don’t have a character. You have a list of characteristics that you’re supposed to know.

You only know who he is when you have dialogue with another character.

I say Dialogue, but it doesn’t necessarily mean spoken language at one another. Dialogue can mean fist fighting, playing tabletop games, talking to other people about the other, or even just a competition. The idea is to simply to compare and contrast both ideas.

If you want an example on how tabletop games serve as dialogue, watch the video “Well, Someone Had to Explain the Liar’s Dice Scene” by Lord Ravecraft

Another example, were we to retake Batman, you have him fight Joker. Who’s the embodiment of chaos and randomness.

In the following picture, you get far more information than the one previously shown. While the Joke fights with daggers and fake guns, Batman only uses his fists. He doesn’t use the tricks that Joker does. His serious demeanor, contrasted with Joker’s glee at the dangerous situation. The fact that Batman has a deathly grip on Joker’s shirt, while the Joker doesn’t, which shows a desperation to catch him.

You are being shown, through a dialogue, who Batman is.

It’s so much easier and much more effective to explore a character through another character.

This is the reason why Shonen has a tendency to make incredibly good gay ships. If you want to explore Naruto’s personality, and his feelings of inferiority, you HAVE to have him interact with Sasuke.

If you wanna understand Hinata’s passion for volleyball, you have him enjoy himself the most with the only other crazy motherfucker who’s as obsessed with volleyball - Kageyama.

And I think that originally, Yana had this problem.

Sebastian was the protagonist, but she had little room to develop him as a character in the confines of the manor, dealing with random enemies.

She likely tried to create Grell as someone of the same stature as Sebastian. Someone who could be this other person to engage dialogue with and show or allude to his past a bit more.

The problem being that Sebastian didn’t care for his past. Or really, engaging with anyone. He sees everyone as below him, but when confronted with Grell who isn’t below him, he doesn’t wanna talk to her.

So you’re stuck in conundrum.

How do you have dialogue with a character, that as a character trait, doesn’t really wanna have dialogue?

Well, Grell also solves the problem. Because only the moment she gets him to start any semblance of a dialogue - is questioning why he’s serving Ciel.

And this is the moment when it’s perfectly cemented that the focus of the story is their relationship.

Why is Sebastian here? Why does he stay? What did he see in Ciel that made him want this extremely convoluted contract?

THATS the dialogue.

THATS the conversation we’re having in Black Butler.

We need to know Ciel because understanding who he is, let’s us know WHY /Sebastian/ is here.

Then slowly, with the introduction with the Undertaker, we find out Sebastian’s conflict.

Which is…

He’s scared of losing Ciel. It becomes apparent with the constant imagery of the Undertaker taking away Ciel and at some point even obtaining r!Ciel’s body, that he’s worried it might happen.

But he can only be worried that Ciel might be taken away if he wants to stay near Ciel.

And that’s his character arc.

Realizing that he actually likes Ciel, cares for him and the role he plays a butler that he doesn’t want this to end.

In the first chapters, he doesn’t feel a need to protect Ciel anymore than what’s strictly necessary. Just don’t die, that’s about as deep as his involvement in chapter 4 gets.

But by the Green Witch Arc, he feels a need to protect Ciel from ANY harm.

This is why I also said

3.- Their relationship is fundamentally a positive one.

In broad strokes, Sebastian to Ciel is the person who allows him to survive. He’s not worried about giving up his soul since he’s already dead. While Ciel to Sebastian, is someone who’s making him have fun. He’s slowly becoming more and more attached to Ciel and the life he has with Ciel.

Their relationship is not that of just a predator and prey, but also of master and pet.

In the terms that Black Butler itself would call: Sebastian is a wild wolf acting like a collared dog.

Ciel is aware that the wild beast will eat him at the end of the day, but if he clings hard to leash for now, he might just be able to have Sebastian maul his abusers.

Sebastian as a dog, currently finds that he enjoys being a chained dog.

(This is demonstrated in the Green Witch arc where he quite literally says, he doesn’t wanna be a wild beast and prefers to be a butler)

And much like the actual DOG Sebastian, Ciel constantly interprets his attempts to get close and protect him, as an act of aggression.

This push and pull of Ciel’s perception of Sebastian and Sebastian’s true motives is what feeds the story.

And the briefs interludes were that isn’t the case (what other people call the “plot”, but I would refer to as the connective tissue) such as Sullivan and Wolfram, the other servant’s past, the grim reapers and the like, serve as a parallel to Ciel and Sebastian relationship. Either to signify how they care for each other, highlight their weaknesses or fears, or explore how they feel.

It’s no surprise that Sullivan and Wolfram are parallels to Ciel and Sebastian. A sheltered sickly child who seeks the protection of a cold hearted machine that only knew how to kill, but who eventually found he cared for her genuinely.

Undertaker and Claudia’s relationship being heavily paralleled with them, even though we aren’t 109% sure what they had but heavily implied it was a romantic attraction from the undead supernatural creature and a Phantomhive.

Everything is a parallel.

That’s why, like the approach of the terrible original video, is flawed.

Trying to interpret Black Butler as action scene after action scene, with mystery after mystery with the only connective tissue being the mystery of who burned down the mansion - is missing the trees for the forest.

That’s not the point.

And if you’re too much of a prude to engage with gothic horror in its gothic horror game, I see little point as to why you even bother to engage with it at all.

A lot of people, including the person who create the video, simply refuse to acknowledge Black Butler IS the story of Sebastian and Ciel as a close and positive relationship, romantically and sexually charged. The reason for it being that they’re “put off” by it.

Part of me wonders how much that is genuinely true, and how much is just performative outrage. It’s like ignoring the fact that Cersei and Jami are in an incestous relationship and try to frame it as “platonic love”, because the idea of it is THAT off putting.

But regardless of that, if you don’t like the fact that it’s as canon as canon can get, I would reccomend you don’t engage with the story at all.

As I’ve explained, the entirety of the series is about them. If you refuse to see Sebastian and Ciel as, at the very least, a duo that cares deeply for the other - you aren’t reading Black Butler.

I have no idea what you’re reading.Perhaps your own biases and subconscious stigma with British aesthetic. At that point, watch the fucking British Royalty Gossip Magazine. You’d find more substance there.

Just don’t be like the person in the video, please? Don’t play dumb. Don’t ignore the fact that Yana is a Shotacon, don’t ignore the fact Sebastian is a hero, don’t ignore the fact that the entirety of the story is based on Sebastian and Ciel’s dynamic.

Because if you do, you are ashamed. You are ashamed of what this story is about. You don’t wanna engage with the text, you want to engage with yourself. You wanna project into Ciel whatever traumas and experiences you have, for the sake a vanity project, where you come out as the morally superior.

You don’t wanna talk about Black Butler, you wanna talk about how good YOU are. How you “don’t sin” by watching it “without all the gross unholy stuff”.

Which is the exact opposite of what BB is about.

So, if you don’t want to, save us all the humiliation fetish and leave.

[flawseer]

In your last ask, you mentioned misgivings with Book 10's ending, and especially how it pertains to Winter. I absolutely agree, and I know why, but I wanna hear your thoughts on it, too: What's up with Book 10?

The following is a (very long) examination of my personal feelings with regards to the WoF second story arc finale. While it is based on what is in the text, this analysis will be interpretive and fill in blanks with my own thoughts. Keep that in mind.

Hahhhh... okay. Since mentioning it in my last post I’ve gotten several requests to talk about my feelings regarding the second arc finale. There’s probably no way around it then.

If you haven’t read that last post (it was admittedly very long, and so will this one be), I talked briefly about why I didn’t like that part of the story. I have to warn you now, this will likely be the most negative and dour post in the history of this blog. In a few parts it will sound like I hate Wings of Fire, and I want to say now, while I still have the chance, that I don’t. I love this series, thinking about its setting and characters brings me joy.

I also—very emphatically—want to make it clear that I have no ill will against Tui T. Sutherland. I’ve looked around other people’s stuff a bit and there are a huge number of posts wishing violence upon her or threatening her for doing things to her series that people don’t agree with. That is NOT what I am doing here, shit like that is NOT okay! While I will be critical of her choices, I still respect her effort of bringing this vibrant, wonderful world of dragons to all of us.

Also, obligatory last disclaimer: If you liked the finale, that is okay. You are valid for feeling that way. I’m here to share my point of view, not to demand people agree with everything I say. Just be warned that you most likely won’t enjoy what I have to say. If you don’t think you can handle that kind of criticism, this is your guilt-free opportunity to stop reading.

Otherwise, let's get into it.

CW: Discussion of parental abuse, depression, disease, and extreme acts of violence.

In defense of the finale

Before I start to systematically disassemble this narrative and get lost in a quagmire of negativity, let’s talk a bit about the circumstances that brought forth this part of the story. The plot of this arc was a mess from the moment animus magic was unshackled from the restrictions it had in the first arc, and from then on there was no longer any conceivable way to end this story in a clean way. Sutherland had created an invincible, unbeatable, omnipotent villain; he could read minds, see the future with perfect clarity, and anything he could imagine he could conjure into existence at any time with no cost to himself and no drawbacks. She was likely wracking her brain about how to resolve this impossible conundrum. What we got wasn’t good, but I believe nothing could have been. The foundation was rotting and by the fifth book it couldn’t bear the weight of the plot anymore.

The thing about animus magic in arc 2 is that it is so potent, so all-powerful, and so free of restraint that everyone who uses it also HAS to be a simpleton, or they would be able to break the plot immediately and become god. From the moment Darkstalker broke out of that mountain, he could have said “Any and all spells that are cast with the intention to harm me, interfere with my plans, or do something I don’t consent to will not work, from now on until forever”, and he would have instantly won. The strawberry would have fizzled out. The Darkstalker-blocking earrings would not have been created, and no one could have saved the Icewings. On the flipside, Turtle or Anemone could have said “I enchant the concept of animus magic itself to no longer obey Darkstalker”, and his threat would have been neutered. Point is, powers as potent and easy to use as this really need limitations, or they will quickly eat your plot alive.

I don’t envy the situation Sutherland was in at the time at all. If you’re an author, that kind of thing is a nightmare. It really is no wonder she decided to blow up animus magic for good in her next arc, even if I would have preferred it to get more healthy restrictions instead of killing it outright.

The Darkstalker age regression thing

Everyone has talked this part to death already, but if I am to write a thorough analysis of my feelings regarding this finale, I’m going to have to talk about it as well. I’m sorry if I end up repeating a lot of things you’ve already heard.

This final fate of Darkstalker, to have his memories wiped and be reset to an infant, is really uncomfortable. As far as I am aware, though correct me if I’m wrong, Sutherland said in an interview that she didn’t want Darkstalker to die because, in her view, he did not deserve to. We can debate here about the philosophical question of whether anyone is truly deserving of death, and the merits of “justice” and “punishment”, but in general, Wings of Fire did not seem to have any issues killing off its villains prior if they committed suitably terrible acts. That makes this moment stand out as noteworthy.

Who is Darkstalker then--and if we assume villains can be “deserving” and “not deserving” of death--what about him speaks in his favor, or against? The guy had a pretty crappy childhood, coming from a broken home (there is that inadequate parent theme again). He genuinely loved his sister and felt protective of her, and whenever he liked someone he wanted them to be happy and feel affirmed. The thing that Queen Diamond does to his mother is awful and he is justified in hating her for it. He is also portrayed as rather sympathetic in Moon Rising. When he asks Moon to find his scroll for him and not to leave him, he is not manipulating her, he is sincerely begging for her help. He is stuck somewhere underground, trapped in darkness, in a space so tiny that he can’t move. He remains that way for months, lonely and sad. If you just focus on these aspects, it’s easy to understand why he has so many fans who want him to see healthy and happy.

On the flipside, while he is dedicated to the happiness of his friends, he doesn’t always go for the most ethical way to achieve it. He tries to brainwash said friends without their consent whenever they exhibit behaviors he doesn’t like, or when he thinks he knows better and wants to “fix” them. He has very little regard for other people’s autonomy, lies to his loved ones with alarming frequency, and is unhealthily attached to the idea of power. Those things are certainly not good, but they are his character flaws. These are his demons; everyone has them and they make him a person. If this was all there was to it, he might still be a villain, but I’d argue he’d not be wholly irredeemable.

But there are things about him that take him beyond the pale. Things that go beyond the realm of just being misunderstood, or easily excusable.

He is possessive. He wants Clearsight and Fathom for himself, and for them to listen to him primarily. When Indigo makes it clear she doesn’t like him and cautions Fathom against trusting him, he deceives his friends and traps Indigo in a wood carving, just so he can isolate Fathom from his support network and manipulate him easier. He alters Clearsight’s mind to make her more agreeable and stop her from holding him accountable for his actions; while he thinks he loves her, he only loves an idealized version of her that is wholly devoted to and unquestioning of him. This is why, when he later forcibly overwrites Fierceteeth’s existence to recreate her (which is another horrific thing), he tries to excise the parts he finds undesirable to create a perfect version of his lover. But this caricature he has created in his head is not and can never be Clearsight, which frustrates his attempts.

He is vengeful. Not against people who have actually wronged him, like Queen Diamond. That would be questionable, but understandable. What makes this unacceptable is his frequent targeting of innocent people who just happen to be related to the person who wronged him in some esoteric way. He enchants a secret murder knife that kills random Icewings regardless of who they are or what they think about the Queen, just because the one who took his mother from him happened to share their tribe. He hates Turtle and wishes death upon him in Moon Rising just because he is a green Seawing, like Fathom was. And then there is the big one: He tries to kill all the Icewings who are alive in the present day, where Queen Diamond is long dead and none of them have ever even met her. Even his mother, who suffered from Diamond’s actions the most and has the most reason to hate her, is horrified and calls him out on that one.

And lastly, he is sadistic. He revels in torturing those he hates. He forces his father to disembowel himself, while the latter is fully aware and powerless to resist AND the man’s traumatized daughter is watching. Later he sends a magical plague to kill every single living Icewing sans one.

It should be noted that Darkstalker possesses virtually infinite magical power; whatever he declares, with very few exceptions, will happen. Even if he wanted them dead, he had the power to prevent unnecessary suffering. He could have said “Arctic, fall dead instantaneously”, or “Every Icewing will fall asleep and pass away peacefully,” but he didn’t. He wanted them to feel pain and pass away in the most wretched, agonizing ways he could imagine.

So what he chose to do instead is—and I want you to picture this for a moment—Darkstalker sat down, calmly, and said “Henceforth every living Icewing, excepting Prince Winter and those of hybrid blood, will fall ill with an incurable disease. This disease will cause heavy internal bleeding and make its victims cough up blood and waste away for a few days, followed by certain death.”

This spell does not discriminate with regards to who its victims are. The book glosses over the implications, but imagine the ramifications. Young children are notoriously frail, how many newborns got infected and died because of this? How many families were torn apart because they couldn’t get the magic earrings fast enough? Or accidentally got one earring less than there were family members and had to decide who has to die?

Most of the Icewings were physically cured by the earrings, but an experience like that sticks with you for the rest of your life. Somewhere surely, a dragonet watched as his mother put the earring on him and then slowly wasted away because she didn’t have one for herself.

It’s really easy to overlook how horrific this spell is because it isn’t shown or dwelt on. But the trauma, grief, and suffering it caused must have been immeasurable.

And none of those victims have ever even met the person Darkstalker wanted to get revenge on. None of those deaths meant anything to anyone.

The attempted death toll and scale of the calamity here puts even Scarlet to shame. The ones who come closest to it were Queen Battlewinner and Morrowseer with their attempted Rainwing extermination. All three of those died for what they did. Gives you some food for thought for sure.

Peacemaker’s burden

Despite just airing all of his dirty laundry and declaring him an irredeemable villain, I actually do have a lot of sympathy for Darkstalker still. His story is really sad. He was a child born with an amount of power that nobody should possess, and it corrupted him to the point where it destroyed his life before it began. His parents were always fighting and no matter how good his intentions were, he was unable to understand why he couldn’t hold on to his friends and relationship. He kept making mistakes, then made bigger mistakes to fix those, until his hands were covered in blood and he couldn’t stop anymore. My belief is that, after he wakes up in the present and realizes Clearsight is dead, he loses his reason for living and becomes completely lost in his grief.

Therefore, my opinion is that it would have been appropriate for him to die. If not to punish him, then to finally grant him reprieve from all that rage and pain, and let him rest. I think that would have been a dignified end.

But instead he got turned into a baby. ... And then they decided to magically erase his father’s blood from him? I don’t know what it is, but something about that Icewing erasure makes my skin crawl?

The thing that turns this baby twist from weird into highly unsettling is the context. Darkstalker’s mind is erased, then modified into a new person via animus magic. This is the technique a lot of this arc’s villains used to victimize Hailstorm, Queen Ruby, Peril, Kinkajou, Fierceteeth, and Winter. The same technique is now used again, by the heroes, which is a dangerous thing to have your protagonists do if you want them to remain morally upright.

It is also very reckless, because in almost all of these instances, animus mind alteration has been shown to be very unreliable. The spells seem to wear down over time and are susceptible to partial breaking upon encountering certain strong stimuli. Hailstorm—while trapped as Pyrite—seems to retain trace amounts of his former memories, which is why Pyrite is subconsciously drawn to Winter and clings to him all the time. Ruby is able to ignore half of her conditioning because her familial love for her son partially overpowers the magic. Qibli is just straight up able to reason his way out of it.

The thing to note here is that spells of this nature require a very meticulous approach; you can’t half-ass your reprogramming or the victim will just think their way past it. If you alter someone’s mind, the wording of the spell must be ironclad, lest you risk it wearing down over time and even break.

Luckily we have nothing to fear in that regard, because the spell that created Peacemaker was written by a Rainwing with a total of four days of literacy training. No one better mention the name Clearsight to the new baby Nightwing, or next month is going to be rather interesting.

But that’s just speculation on my part. Let’s assume that, somehow, this spell isn’t as unstable as all the others. Somehow Kinkajou threaded all the needles, and masterfully dodged every conceivable pitfall to pen the perfect incantation, despite having been illiterate just a few weeks prior. This one is built to last and Darkstalker is sealed away really thoroughly, for good.

That is still absolutely terrible and morally dubious, because now you have Peacemaker, who for all intents and purposes is a COMPLETELY innocent little kid, saddled with this huge burden of being the certifiable reincarnation of a genocidal ancient wizard. He’s gonna grow up thinking things like “Mommy gets real quiet whenever the topic of the Icewing tragedy is brought up,” and “Why does Auntie Moon look at me like that? One time she accidentally called me a weird name, who is Darkstalker?” “What is this ‘Clearsight’ name my mind-reading friends from the village found in Mommy’s mind?”

In a village that will be full of mind-readers soon, eventually the secret will come out, and Peacemaker is going to learn what was done to him. A huge, messy load of undeserved baggage was forced onto this completely separate, innocent entity. He will be devastated. Whether he then chooses to forgive them for this remains to be seen. To be honest, he would be well within his right not to, and turn resentful.

Poor kid.

Qibli’s callousness

I love Qibli, he is one of my favorite characters. This happens to be his book, and the fact that I fundamentally dislike half of it makes me rather sad. If anything, I hope this tells you that I’m not just hating on it for my personal amusement. I really wanted to like this. I tried to, and I couldn’t.

Qibli is really weird in this one, to be honest. He is suddenly made to be co-dependent on Moonwatcher, fawning over her every third paragraph, saying how much he loves her, how he is an incomplete and dysfunctional wreck without her, how it physically pains him to be apart from her, oh if only the stars would grant his wish and split the mountains apart so that he may fly to his princess, his muse, his goddess of ebony wit. It gets so old.

And it’s not Qibli. He never acted this clingy towards Moonwatcher. It’s more intense than even Winter gets about Moon, and Winter was actually depicted with a crush on her in book 6. Qibli was always just a supportive element, eager to befriend Moon but never desperate, like he is going to keel over if he is separated from his true love five minutes longer. These very frequent love declarations feel so forced coming out of him. It strikes me like it was just written in service of the love triangle. Maybe if we make him confess his love every four seconds readers will overlook the fact that they had no proper romantic build-up.

You might rightly accuse me of bias. I have previously admitted I am fond of Qibli/Winter as a romantic pairing, on the surface this seems like I am just not happy with my pet ship being blocked by Moonwatcher. But I assure you, I am actually pretty flexible and accommodating even towards pairings that contradict my preferences. I have no issues with Winter/Moonwatcher, for example, because the possibility was properly established and they have good romantic chemistry in Winter Turning. In theory, I would have no problem with Qibli/Moonwatcher either if it was ever set up as an interesting romantic dynamic. But to me, it seems like Qibli is written as a good, supportive friend to Moon for four books, only to pivot hard into “Moon moon moon moon moon moon swoon” at the last second, and it just reads to me as obnoxious.

I got distracted. This section is called “Qibli’s callousness”, and I haven’t even talked about the main part.

Qibli and Winter have excellent chemstry together, whether you read it as romantic or platonic—both of these interpretations have merit and are set up. They’re always the highlight of any scene they’re in. Throughout the story arc you get the impression that these two really get on each other’s nerves, but they bond and grow into really strong friends who bicker a lot but have each other’s backs when it counts.

Then there is a scene where Qibli casually tells Winter that he wouldn’t object if someone wanted to mind-control away some of Winter’s more objectionable traits.

This is genuinely a terrible thing to say to your friend. Like, it crosses a line and ceases to be harmless banter; you’re just telling them that there is something you hate about them so much that you wish they were someone else. Winter actually WAS mind-controlled earlier and felt (and proably still feels) guilty about having attacked Qibli in that state. And now Qibli says “Hey, I wouldn’t mind if someone did that to you again! Hue hue!”

It is awful, BUT I don’t necessarily object to Qibli saying this here. Qibli is in the middle of his character arc at this moment, so he is expected to be flawed. He is making a mistake by thoughtlessly telling Winter this horrid thing, and it seems like a believable continuation of his current character track. This is a reasonable development as long as the plot acknowledges that it’s a mistake.

Spoilers: The plot doesn’t acknowledge that it’s a mistake. Qibli never has a scene after where he reflects upon what he said and apologizes to Winter. When Darkstalker has Qibli trapped in his mountain jail and mind-wipes Qibli’s grandfather into a toddler (hey, wait a minute), Qibli gets visibly disturbed. Like, this is so off-putting to him that he gets queasy and Darkstalker hastily changes the spell. That could have been a great way to bring this back. Like in the epilogue, have Qibli track down Winter and tell him about disturbing baby grandpa theater and how he realized that wiping people’s minds is actually messed up and should have never said that to him.

But he doesn’t. He just lets Winter go, allowing him to believe he is broken and needs magical intervention to be tolerable. It leaves me to think that maybe he’s still okay with it, and fantasizing about rewriting his friend’s mind. Great.

Moonwatcher’s character death

You will find as this goes on that, I get the impression that the second half of this book takes all of the wonderful, endearing characters I have learned to love throughout the story and replaces them with really mean, or stupid, or otherwise inaccurate caricatures.

Moonwatcher’s relationship with Darkstalker gets plenty of setup and development in Moon Rising. You get the sense that these two could be great friends if their circumstances were a little different. It does a great job at making you think maybe Darkstalker is just misunderstood; maybe Moon should free him from his predicament.

Then at the end of Escaping Peril comes the emotional gut punch. Darkstalker actually IS a villain. He callously admits to Moonwatcher that he used his magic to make his own father gruesomely disembowel himself. Moonwatcher is horrified and disgusted that he would do that. There is no circumstance in which something like that would ever be okay. She ends the scene awash in tears because the person she thought was her friend is a murderer and a sadist. This is good, that is a natural reaction to what she was just told.

A few hours from there, in Talons of Power, Turtle finds Moon again and she is completely cool with Darkstalker walking free, despite crying her eyes out after feeling so betrayed earlier. That may seem strange, but this is still good because later, Darkstalker’s mind control plot is discovered. This scene was obviously written to set that up, Moon is mind-controlled into forgetting that Darkstalker could do something that morally reprehensible, and thus forgives him. This is also completely in line with his characterization in Legends: Darkstalker. It’s a kind of stunt he would pull to get Clearsight to shut up about him slipping into villainy.

In my earlier post I alluded to a moment where Moon is set to narrative auto-pilot and says something so rampantly off-kilter that it does irreversible, permanent damage to her character. It happens here, in the second half of book 10. Qibli gives Moon the Darkstalker protection earring, and Moon, somehow, says “I’m not being mind-controlled, Darkstalker really is my friend.”

I get what the plot tries to do here. It’s taking this concept of mind-control and adding a nuance, in an attempt to flesh out Darkstalker and give his character depth. He is ready to control everyone in the world, but for Moon, who is his best friend in this era, he wants her to remain herself. Perhaps this is his attempt at attonement for playing with Clearsight’s mind and driving her away from him. It is very touching in a way, viewed in isolation.

Unfortunately, it does not work with the full context of all the books. Because Moon is in auto-pilot mode right now, her main character trait is “Darkstalker=Friend,” so naturally she would speak in support of him. But this revelation has devastating retroactive consequences. The earlier scene that was written with Moon under mind-control is now altered into her having been in her right mind! She is completely okay with Darkstalker’s admittance to cold-blooded torture and evisceration, within hours of being so shocked by it that it made her cry and ready to denounce him. That is such a quick turnaround it’s giving me whiplash. And what’s more it turns Moon from a principled, upstanding girl into a sociopath who casually accepts gruesome torture and murder if it is committed by someone she likes.

Did Sutherland forget about the scene two books ago, where Darkstalker’s actions were so inconceivably horrid for Moon to learn of that she started crying? It baffles me that this made it into the final version. Her saying she was never mind-controlled makes Moon come off as so awful. This torture-excusing lunatic is not the same kind-hearted and insightful character I followed in all the other books.

Kinkajou’s character derailment

The world is a sad place when I have to question the way Kinjajou is written. Fortunately she is mostly fine, despite her having the biggest excuse to act out-of-character since she’s the victim of a mind-altering spell. Her only real moment of “what!?” comes at the end.

I already talked about her role in casting the spell that regresses Darkstalker into an infant. But I didn’t mention how her being the source of it is questionable in itself.

The clue is in the first paragraph of this section: She herself has experienced the effects of invasive mind-alteration. She was cursed by Anemone in the previous book to be in love with Turtle, and kind of half-struggles kind of not with it, it’s really strange. Turtle is appropriately horrified and acts like really awful things are happening, but then it’s mostly played lightly for some reason. My assumption is that Sutherland introduced this plot point, but then realized how uncomfortable this premise really is and tried to downplay it until the story got to a point where it could get done away with.

But I think the takeaway is still supposed to be that this was a horrid thing to do (which it absolutely is), and that Kinkajou will have to spend a lot of time trying to untangle her real emotions from the fake ones the spell created.

The point is: Kinkajou knows first-hand how awful it is to do something like that to another person. Ideally she should never even conceive of the idea to cast a spell like that, but if we’re really set on this Darkstalker baby thing and it has to happen, she should at least be a bit hesitant about it. And afterwards she should struggle with the guilt of having resorted to it. Not celebrate it and be proud, like it’s funny.

The assassination of Winter’s future

Now we come to the part I’ve alluded to previously; the part where all of these threads converge to utterly destroy one character and drive him to the brink of ruin. Let’s talk about Winter.

Prince Winter is the son of Tundra and Prince Narwhal, hatching in the same clutch as his sister Icicle. He spent his formative years being unfavorably compared to said sister—who easily took to traits that Icewing royalty considers desirable—whereas Winter struggled greatly to embody those same ideals. He was just a little too kind, too merciful, too gentle. As a result he often had to endure abuse from his parents, who made him feel like he was defective.

Because he was young and didn’t have any other frame of reference, he embraced this abusive narrative and began to drive himself with a vigor unreasonable for someone of his age. He scraped and cloyed for every bit of credit he could get, obsessing over advancing up the circle rankings in an attempt to “purge” the wrongness out of himself. To make his parents as proud of him as they were of Icicle.

This never worked. He was always seen as the runt, poised to embarrass the family name. Whatever he did, no matter how hard he strived, there was always something he could have done better.

The only real source of love and affirmation in his life was his older brother, Hailstorm. Where everyone else only saw what Winter wasn’t, Hailstorm embraced his brother despite of his “failings” and was openly affectionate with him. When Winter was with him, it was okay to not think about rankings all the time, and just be himself for a bit. I assume Hailstorm fulfilled a similar role for Icicle as well, which is why both of them love him dearly, and Icicle destroys her own life to bring him back.

Winter also has a fascination with scavengers, possibly because they are small and perceived as useless, like he himself is. He likely feels a kinship with them and observes them being craftier and more adept than everyone else sees them. This is therapeutic for him, to see that a thing can have merit even if no one wants to see it.

One day, he and Hailstorm sneak into Skywing territory so Winter can catch a scavenger as a pet. This excursion turns hostile when they are discovered by a roaming Skywing troop and faced with the prospect of capture, possibly execution. In a gambit to save Winter from this fate, Hailstorm mirrors the words of his parents, calling Winter pathetic and useless, so the Skywings will not think of him as a threat and show mercy. His act succeeds in convincing the Skywings, but it also convinces Winter, who does not understand Hailstorm only said these things to save his life. He returns home—believing his brother hated him all along—to face the wrath of his furious family for losing them “the desirable son”.

For all of his life, these themes have repeated themselves and haunted him. “I was born wrong and defective,” “I am unlovable,” “No one wants me.”

A few months after the war ends, Winter is one of the five Icewings enrolled in the newly founded Jade Mountain Academy. Shortly after departing, he unexpectedly returns home, having successfully rescued his older brother and bringing him back. He is made to believe that this erases his mistakes, his mother even pays him a backhanded compliment, an uncharacteristically “nice” gesture. He is promoted to the top of the rankings, finally his parents are proud of him.

But of course it is all a trick. The “adoration” afforded to him was all a ploy. Secretly, his parents abused power and tradition to arrange for Winter’s death. They force him into a lethal trial they intentionally rigged against him, all to finally erase that stain on their family’s honor.

Winter finally realizes the true nature of his parents’ opinion of him. Even when he succeeds, and does everything right, he is still defective, unlovable, and unwanted. He will never be anything else to his family. And so he leaves his homeland, pretending he is dead, resigned to live in hiding forever.

During this time, while at the brink of despair, Winter is able to draw strength from one source: His new friends from the academy. He vocalizes that, for all the abuse he suffered at the hands of his birth family, he fervently believes that THEY would never do anything like that to him. They chose to stuck with him, even when he was awful, and told him he was not hopeless. He was not a mistake; he could be deserving of love.

So naturally, he returns to them; they accept him readily, are willing to be his new surrogate family. When he almost burns to death at a later point, they fear and weep for him. When Qibli sets out to confront his own abusive family, Winter, despite being mind-controlled into a placid potato at the time, feels concerned enough for his friend’s safety to insist to come along (returning the favor of them accompanying him in his time of need in book 7). When Darkstalker’s mind control forces Winter to attack Qibli, he is shown ashamed and guilty of it once the control wears off again.

They bicker and struggle, and make mistakes, they break up but always come back together again. Time and time again the one thing that is always reinforced: When the cards are down, Winter loves his friends, and they love him. They would never intentionally hurt each other, or give up on each other.

I want you to keep in mind how wholesome, and loving, and mutually supportive this ramshackle band of misfits has been portrayed to this point... Because we’re moving on to the arc 2 finale, and it will do everything it can to corrupt all of it and consign Winter to a life of misery.

We arrive at aforementioned scene, where Moonwatcher receives her earring. Just a little bit prior, Winter had learned that Darkstalker unleashed a magical plague onto his people in an attempt to wipe them out. Now here is Moonwatcher, revealing that she is not under any spell, and has aligned herself with this guy willingly, speaking fondly of him as if he was a dear friend who never did any wrong. Winter takes this badly and accidentally breaks a vase; the narrative lingers on this moment and really tries to sell us on how unreasonable Winter’s reaction is, how he is overreacting, but let’s examine that interpretation for a moment.

Moonwatcher doesn’t yet know about the attempted Icewing genocide, but she DOES know about Darkstalker being okay with casting spells to inflict immeasurable torture upon those he hates. WE know that she knows this, so her stance here is already suspect. Yet she goes on to praise Darkstalker and refer to him as a friend. Look at this from Winter’s perspective. This “friend” of Moonwatcher just tried to kill his entire tribe, and he actually succeeded in killing his aunt, Queen Glacier, a person Winter greatly respects. Winter is currently unable to return to his homeland for fear of being branded a traitor. Even if he could return, he knows his obstinate and spiteful family would prevent him from attending the funeral, meaning he is not even afforded the basic dignity of saying farewell to his aunt. The aunt whom Darkstalker murdered by making her vomit her own blood until she withered away in her bed. And here is Moon, absolving the person who did this to Glacier from his appalling actions, despite knowing full well what Darkstalker is capable of and choosing to look away.

I don’t know about you, but I think I can forgive the grieving, emotionally overwhelmed boy for shattering a little pottery after hearing his trusted friend—who held his hand when he was dying—say that the guy who makes people disembowel themselves and wipes out entire countries may be misunderstood and not so bad. I think I would have a similar reaction. In fact, I would never want to talk to her ever again.

There is no way I can read this scene in which Moon doesn’t come off as either an absolute lunatic, or critically stupid and callous. In fact, based on her earlier behavior I half-expect her to get over the news of the attempted Icewing massacre in a couple hours, saying “Eh, it’s kinda bad, but you just have to do these kinds of things sometimes, you know? I’m sure he had his reasons.”

Then there is the part where Qibli makes his off-color comment about how Winter’s brain could really use a good wash. I already went into how it could have worked but didn’t. But with the timing here, we’ve already had Moon spit on their friendship, so as Winter’s other closest friend, it naturally follows that Qibli also craps on his feelings.

Consider the context: Winter comes from an abusive household where his parents forcibly tried to change him away from who he was to purge the “wrongness” from him. When they betray him and he narrowly escapes their attempt on his life, he re-affirms his belief in his friends, and the knowledge that they wouldn’t treat him like that gives him the strength he needs to keep going. But now, Qibli asserts that Winter DOES need to be altered, thereby AGREEING with Winter’s abusive parents, rendering Winter’s affirmation from book 7 erroneous. Qibli WOULD treat him like that if it made Winter less “intolerable”.

Neither Moonwatcher nor Qibli ever make an attempt to repair this rift. Winter is left betrayed and alone.

Stuff happens, and the forces of the Nightwings and Icewings come to blows over Jade Mountain. With his two closest friends having written him off and his support network eroded, Winter relapses into thinking he is worthless, seeks validation in unquestioning patriotism, and realigns himself with his abusive family by throwing himself into the battle. Nobody wants him to, in fact his parents still hate him for it, but whatever. His father dies and his mother blames him for it.

Meanwhile Turtle, Anemone, and Qibli are cooking up a solution to the battle problem. They have the idea to make everyone’s minds connect in a huge empathy wave for a few moments, which I think is a pretty interesting idea for what it’s worth. But then they teleport both armies back to their homes, and the spell sweeps Winter up with them, taking him out of the rest of the finale and bringing him to the Ice Kingdom. The characters say “whoops” but aren’t further concerned with the situation. It’s all a big laugh.

Let me remind you that Winter is currently considered not welcome on Icewing territory. His family, whom he was sent back with, is extremely abusive and vindictive. His friends know this. Said parents have previously arranged for him to be killed, and are still on record as wanting him dead. His friends KNOW this. And now he is alone with them and a gaggle of other royal Icewings who all are extremely pissed off at him for ruining their sacred trial site.

It is very possible that he is being torn apart and mauled by an enraged mob right now. He could be forced into captivity and flayed. Maybe the interim regent is sentencing him to death and getting the rope ready. There is a million different horrible things that could be happening to Winter right now, while he is trapped alone with people who hate him, things his friends would be reasonably able to anticipate. And nobody is doing anything to get him out of there, to suggest bringing him back, even though it would only take a single spoken sentence to do so! They aren’t even concerned!

Then the climax happens, strawberry thing and all, and we get the coup de grâce. After all is said and done, the group decides that Winter is untrustworthy, and that they must protect the secret of Darkstalker’s fate from him, because they fear if he knew he would kill Peacemaker.

Moon, who read Winter’s mind in book 6 and reached out to him about how the “ruthless Icewing warrior” persona in his head is a facade and how she sees he has a gentle and good heart... Moon, who in book 7 finds out about Winter’s secret deal to kill Glory and STILL trusts him, who calls out his bullshit to his face because she KNOWS how kind-hearted Winter is and that he would never resort to murder... Moon who, again, held his hand while he was dying... thinks that the dragon she has reminded of his compassionate nature time and time again would kill an innocent child.

This is disgusting. Moon believing that is so far off the mark with regards to anything this group has embodied or done for any of the last 4 books, that my only conclusion can be that these are different characters. Maybe the Nightwing library collapsed on top of original Moon, and when Darkstalker magiced her back to health she came back wrong or something. I don’t know.

So after all of this, Winter is left alone. He somehow escaped from the Ice Kingdom; luckily there is a timeskip so we can just gloss over the horrible situation he was put in by his friends. He thinks about Jade Mountain. He reflects on everything that happened, how his parents never really loved him... How they hated him so much they tried to kill him... How he despaired, but found solace in his friends who loved him for who he was.... How those friends then betrayed him too and magiced him away... How they didn’t care about what happened to him... And he decides he is done. He won’t bother going back. A few people, probably Sunny, reach out to tell him he is welcome back, but he says “it wouldn’t be fair to other Icewings if an exile took up a bed”. The decision isn’t hard to make, after all there is nothing left for him there. Everyone has written him off, moved on and left him behind.

Kinkajou visits sometimes, tries to stay in touch, but that’s just how she is. Maybe the others sent her to check on whether he’s going to become troublesome. They don’t trust him. Better to keep an eye on him, he might kill the baby.

With nowhere else to go, Winter moves to Sanctuary, a place for rejects like him. I picture him standing there, at the edge of a cliff staring blankly into the distance. He is completely alone; no one wants to go near him or talk to him beyond the bare necessities. He could probably make new friends with the Talons of Peace if he tried, but there is no point. Why should someone like him have friends? It wouldn’t work. They’d just decide he is too inconvenient to be around. Sooner or later they would just tell him to leave anyway. It's better not to try, so he doesn't get hurt again.

And slowly it dawns on him. His parents had been right all along. It was never them, or the others, it was him. He is the problem. The Icewings said it, Qibli said it, Moonwatcher said it. There is just something fundamentally wrong with him.

He is defective. He is unlovable. Nobody wants him. He will never be anything, or have anyone. And so he stands at the cliff, looking over the broken vase fragments of his life... This is who he is. Prince Winter. A mistake.

And quietly, where no one knows or cares, he does the only thing he has left to do... he begins to weep.

As it is written, the tale of Winter is the story of a boy who is told he is wrong for being alive. He closes his ears and tries to keep walking forward, desperate to prove that he is not an error, that he has merit. But this book comes out and it unmistakably says that he doesn’t. He is nothing, and he deserves to have nothing.

And I just cannot accept that.

Why did this have to happen?

I think that the author was really struggling with the ending of this book. I’ve said before how much of a corner she wrote herself into with such an invincible villain. I think she came up with the strawberry idea as a solution to this problem. But as she was writing it, the characters kept fighting her. It was not a natural solution, not a decision the characters—as they were established—would ever make.

So concessions had to be made to force the issue. Established traits had to be bent slightly to make this plot work. The farther she went, the worse it got. The concessions piled up and turned into contrivances. Eventually the characters were no longer acting like themselves. Their bonds got stretched too far and some snapped. It’s a very tragic pitfall that occurs with long-running series.

I think Sutherland must have also been tired. Writing an entire book is a monumental task, and writing 6 connected ones even moreso. She also comes out with these things really quickly. Maybe she was burnt out? Maybe she wanted to be done and her attention lapsed. Maybe that’s why she forgot that Moon knew about the disemboweling. It seems reasonable to believe when you consider that the next story arc would make a relatively clean break from the problems of this arc, especially with regards to the magic system.

But I don’t know what ultimately happened, so I can only speculate. I reiterate, I bear no ill will against Sutherland for writing this. Even if I kind of hate everything about this finale, and very vocally wish it would be different, I don’t want this examination to generate (or reawaken) any hatred towards her, or to attack her personally. I understand the pain of an artist who gets trapped with something for too long and has to find the means, any means, to see it through to the end. I criticize the story, but I could never hate anyone for that.

But for me, I do not consider this half of the book as part of the story. The characters act too unnaturally for it to have happened. So to me, it didn’t. We don’t know what happened, maybe Darkstalker is still out there. Maybe they dealt with him. Maybe what actually happened is my crappy and self-indulgent rewrite of the ending which I will never show to anyone because it would be really embarrassing.

But whatever actually ended up happening, I am sure Winter never ended up at that cliff, pondering how worthless and meaningless his life was. He is currently at Jade Mountain, surrounded by friends who love him, and bickering with Qibli about the correct solution to their advanced calculus assignment that is due tomorrow.

Is there anything left to say?

Probably.

I didn’t talk about Anemone yet. You know, in the epilogue she enchants herself a bracelet that makes her “not be so mean all the time”. I find that creepy. To me it reads as Anemone voluntarily brainwashing herself with magic to erase her negative traits instead of growing past them naturally because she finds them undesirable and wants to work to change for the better. I would ordinarily assume that this is an overreaction on my part, and I’m just reading the scene wrong. But no, we just got through a part where the heroes brainwashing someone is treated as an unequivocal good and worthy of celebration, so I think my reading may actually be spot on. Why are we letting the little kid alter her own brain without supervision? Hello? Tsunami? Someone intervene maybe? This cannot be healthy.

Turtle stands out to me as the one bright spot in all of this. He (and Peril, but she’s mostly out of focus) remain as the only main characters of this arc who don’t have any mind-boggling out-of-character moments or sudden streaks of uncharacteristic callousness. I really like the part where Qibli goes to free Turtle from his captivity and plans to give him an earful about the comically unhelpful messages he’s been sending him. But when Turtle asks if what he did was helpful, Qibli sees how beaten down and exhausted Turtle is, and wordlessly drops his frustration to tell him “Yeah, they were helpful.” That is the true Qibli shining through for a moment, showing that he cares about the well-being of his friends.

Do I hate the pairing of Qibli/Moonwatcher? No. Well, I DO hate how it happened in the book, and how the story tried to assassinate Winter’s character to resolve the love triangle and make it happen. I don’t hate it on principle though. If you are a fan of Qibli/Moonwatcher and want to write fanfics about it, please do! I absolutely encourage you to do that! Maybe you can fix this mess and turn it into something that’s actually properly handled!

Mightyclaws keeps the power that Darkstalker granted him past the finale. That means all the spells that Darkstalker cast are technically still active. Does that mean the Icewings have to wear earrings for the rest of their lives? Do they get sick again if they take them off? Is Peril forever cursed to think of Darkstalker as a cool old uncle and has to somehow reconcile how everyone else thinks of him? How did the Nightwings relinquishing their powers work, do they have to wear the earrings forever too now?

And there is one more thing to mention.

My confession

You may have already intuited this, if you’ve been following the content of my blog. It is very heavily skewed towards the first and second arcs of the series. I would now like to confess something.

When I read the second half of book 10, I found it so disillusioning, Winter’s fate so upsetting... that I put down the series then and there. And I haven’t picked it back up since.

That’s right, I have not read arc 3. I don’t know if that makes me a fake fan. I know pretty much everything that happens in it, the controversial twist at the end, Pyrrhia coming back into the story later, Snowfall getting brainwashed by a piece of jewelry until she cares about a plot that had nothing to do with her or the fate of the Icewings, etc..

It’s not out of malice, or because it’s a new continent. The opposite in fact; I would have greatly prefered a clean break with a new setting—Bug-themed dragons in a slightly more contemporary, developed environment sounds fascinating and full of potential. I don’t hate Pantala or the new characters.

I just... I can’t really do this again. I can’t handle the thought of Pyrrhia coming back post-Darkstalker, with Winter showing up and talking to these guys again like nothing happened, seeming like a different person, joking around with them like his entire character wasn’t dragged through a mountain of manure to make the plot bend a certain way. I think as long as this is the ending that the story is continuing from, seeing that would just make me miserable.

Maybe I will just stay in the parts of the story that I fell in love with. And imagine a version of reality in which Pantala is allowed to exist on its own, where Swordtail was the fourth POV character of arc 3, where Queen Wasp stayed the villain throughout, and Snowfall got her own legends book about how she reformed Icewing society and fixed all the shit that poisoned Winter’s life, so future generations don’t have to suffer through the same stuff he did.

~~~~~

If you’re still with me, thank you for reading this far. I think this is everything I ever thought about the finale of the second story arc, so now I never have to talk about it again. Writing this was difficult. I found it crushing at times. This will probably stand as the only overtly negative post I have ever made on this blog. I love Wings of Fire, and I want to celebrate it. To add to it, not tear it down.

I hope this wasn’t too boring, or painful, or frustrating, or soul-crushing to read through. I’ll see you later, hopefully with a more constructive post.

[tonythr]

Quick Slash is even cooler from a narrative perspective, and why I think the Nailsmith's story parallels the Pale King's

Cold take: Quick Slash is the best charm in Hollow Knight.

Slightly Warmer take: Quick Slash is the only S-tier charm that is great from both gameplay and lore perspective (aside from maybe Spell Twister).

The reason for this is that its existence is actually a

metaphor

Here, look at this.

So, Quick Slash is something that was created from a relatively big number of objects that were discarded and deemed imperfect, and that possess a collective will of wanting to fulfill their purpose.

You know what that reminds me of?

A large amount of creations: check.

Discarded as imperfect: check.

Still possessing a will to find closure: check.

Being a part of a larger, more powerful thing: check.

Having a common creator who is responsible for their creation and rejection: check.

So yeah, I think that Quick Slash's lore (or at least its description) is meant to parallel that of the Vessels'.

But I wanna talk about that last point: the creator.

It is heavily implied that the person who created and then later discarded those nails was the Ancient Nailsmith we see in the room where we get Quick Slash.

(Oh by the way I just realized that this stone ring thing on the right of that room is actually the furnace, neat.)

Judging from their Dreamnail dialogue, this Ancient Nailsmith was trying to achieve the same goal as the other, more famous Nailsmith we all know and love: creating a Pure Nail.

And you know who else was trying to create a perfect, Pure thing while discarding many other similar things that later gained a collective will?

That's right - it's the guy who is also responsible for creating those other discarded things we discussed earlier!

Ok, but what I really wanted to talk about here is how all of what I just said ties back to that other, more famous guy - The Nailsmith.

We don't know for sure how the story of the Ancient Nailsmith ended, but it feels like it exists there mainly to put an emphasis on the City's Nailsmith's story; to convey that his struggle is an important theme in this narrative (because ancient means important, ok?) And, I mean, the City's Nailsmith's story also parallels that of the Pale King's in the same manner, right?

The thing is, we already know how PK's story ended.

In trying to achieve perfection, to create an eternal Kingdom by making a Pure Vessel devoid of mind, voice and will, the Pale King doomed himself to be taken over by his regrets, by the vast emptiness of the futility of his struggles. But was it because he failed, or because that was where his story was headed all along?

What if PK succeeded? What if the Radiance was sealed forever? What if his Kingdom actually stood eternal, never to change, never to end? What if he realized he achieved his only goal in life?

And that's the part where we get to a story the ending of which is up to the player's choice.

To quote White Lady, only two obvious outcomes there are from such a thing.

The first is an honorable death by the fruits of his labor.

If we choose to kill the Nailsmith with the Pure Nail, he dies happy, knowing that his life's goal is accomplished and having gained all the satisfaction he could from it.

The second I find preferable, a new passion.

If the Nailsmith doesn't feel the finishing blow of the Pure Nail, he is left unsatisfied. But, while trying to resolve that unsatisfaction, he eventually finds something (and someone) that gives him a new calling, a new thing to create, a new reason to live.

And, while those are both equally valuable, equally canonic outcomes, don't you think the second one is just... better? I mean, not only does it include the achievement of the Nailsmith's goal, but it lets him live AND gives two lonely souls a partner in life! I feel like that's the thing this narrative is trying to convey. What it's trying to say about the meaning of life, about our dreams.

Maybe that was the ultimate folly of the Pale King - the inability to change. His story would've ended in the same way, regardless of whether Hallownest lasted eternally or not. He would be dead, if not by the hands of the Void, but by his own - but ultimately, by the hands of that vast emptiness of realizing that you achieved your only goal and that now all there is for you is this eternal satisfaction that slowly fades away, leaving you with nothing.

TL;DR: Quick Slash is the best because it's a metaphor for discarded vessels; perfection is overrated, try to get laid instead.

[souliebird]

[[and then I met you || ch. 27]]

Series: Daredevil || Pairing: Matt Murdock x Fem!Reader || Rating: Explicit

Summary:

A one-night stand years ago gave you a daughter and you are now able to put a name to her father – Matthew Murdock. Everything is about to change again as you navigate trying to integrate your life with that of the handsome and charming blind lawyer’s and Matt realizes he needs to not only protect his new family from Hell's Kitchen, but from the world.

chapter masterlist

Words: 4.4k

ao3 link

Police Arrest Three After Mass Protests in LA County

By C. Grant

Three people were arrested in Pasadena, California yesterday after a crowd gathered to protest the death of Sheila Pom. Police say the three individuals, whose names have not yet been released, appeared to be Enhanceds attempting to agitate the crowd. Witnesses claim one of the individuals was creating sparks with their fingers and threatening to start a fire, while the two others encouraged the behavior. Police have made no comment about these arrests and all questions about the incident have been redirected to a now defunct phone number. 

Sheila Pom was killed in an officer-related shooting two weeks ago after neighbors reported her as a Dangerous Individual under the new Sokovia Accords Act. Pom, 23, worked at her uncle’s auto body shop as a mechanic while also attending online classes to get a degree in Engineering. She was also a telekinetic - someone who can move objects with their mind. 

Pom was known to not be shy about her gifts. Pom was seen frequently lifting cars and trucks within garages without the help of equipment and is rumored to have once righted a tipped over semi-truck. Neighbors became concerned when Pom began using her gifts at home.

“We’d come home, and things would be floating up and down the street,” one neighbor said.

Another claimed Pom was unstable, and when she would become upset, things around her would begin to shake.

“I thought it was an earthquake until my TV hit the ceiling,” a source who lived in the same building Pom told GKTV, “I learned the next day her boyfriend broke up with her.”

Officers were called when Pom refused to return a motorcycle to the ground while working on it in a residential neighborhood. After a brief standoff, officers fired two shots, striking Pom in the head, and killing her. 

Pom’s family claims she was unaware of the officer’s presence, as wireless earbuds were found near her body after. Pom was known to listen to music to block the noise of machines. 

Protests began after the officers involved in the incident were cleared of any wrongdoing. 

----

A full-page ad takes over your screen, and instead of continuing to read the depressing article, you close the tab.

There has been a palpable unrest in the news cycle the past week that is starting to leave you with an uneasy feeling in your stomach. You’ve noticed a shift in the general narrative tone and terminology used when discussing people who have superpowers. 

Before Sokovia, before Lagos, before Connecticut, the morning shows would bring on people with amazing gifts and gently joke about them joining the Avengers as they made water fly around the set, but now those same hosts debate if they should be allowed to have the right to privacy. ‘Enhanced Peoples’ has been shortened to just Enhanceds and is now spit out like it is something dirty. 

You don’t know when the conversation stopped centering around heroes and vigilantes and started being about everyday people, but it scares you that the change happened. There seems to be no official power scale about what is deemed ‘dangerous’ and your mind keeps zipping all over the place trying to justify different lines of thinking.

Does Matt fall under the category of Dangerous? 

He is a vigilante, so by default the Accords are directed at him, but is it doubly so? If he was forced to reveal himself to the government, would they require him to wear a tracking device? Or would they try to lock him up?

Could he fight it in court, or would they whisk him away in the middle of the night and you’d never know what happened?

If Matt is deemed Dangerous because of his senses, and not just because he is a vigilante, would Minnie be considered the same?

With how intense and angry everyone is becoming you could see yourself having to take her in to be tested.

To be monitored. 

And she is just a baby. 

You can’t imagine how others must feel - people who are older, who are just trying to live their lives. The girl who was killed was just trying to fix her bike, like millions of other people do every weekend. She wasn’t going to other countries to fight terrorists. She wasn’t trying to use her powers to rule over others. She wasn’t hurting anyone.

But she was different, so they killed her.

“Mommy! Mommy! Mommy! I need help!”

You’re ripped from your spiraling thoughts and look across the room to where Minnie is sprawled out on the floor. Her Starkpad is in front of her, and she’s set up Pig and Scooby so they are also peering down at the device and you know exactly what she is doing.

It is the same thing she has been doing for a week straight - playing a bootleg Muppet’s math game. 

Since meeting Spider-man, all your little Mouse has wanted to do is learn math. She keeps saying she wants to impress him and make him proud, and you are in no way going to discourage her. Every day has been filled with counting and addition and subtraction and you are a bit amazed she has stayed so focused. 

You are not going to complain at all about it - you are getting time to yourself while she has been glued to Elmo and Kermit. 

You leave your phone on the dining table and head towards your daughter.

“You need help?” you confirm as you crouch beside her. The screen shows a Muppet you don’t recognize, along with various numbers floating around them, and up at the top, the equation that has your little Mouse stumped. 

“I need help!” Minnie repeats as she scrambles up off her belly and into sitting. “I don’t have enough fingers!” 

She holds up both her hands to show you all ten of her itty-bitty fingers and you make a sympathetic noise. 

Mouse has been getting pretty good at using her fingers to help her with addition and subtraction, but on only one hand. She uses the index finger on her right hand to help count by pointing at each finger and hasn’t quite worked out she can use her fingers to point and count. That is okay, though, as you are happy to lend yours to her important cause. 

“Okay, how many fingers do you need?”

You hold out your hands and she instantly begins to manipulate them. 

“This one…this one needs three! One, two, three!” She pushes your thumb and index finger down so the other three remain up, then she pushes down the pinky of the other hand. “And this one is four!”

“So, three and four? What are we doing with three and four?” You ask, trying to not laugh at her determined face.

“We adds them!” She chirps, before starting to jab at your fingers, “One, two, three, four, five, six, seven! That’s seven fingers! Mommy, it’s seven! Three plus four is seven!” 

“That’s right, it is seven. Which number is seven?” You direct her back to her game, where she triumphantly picks the correct symbol. The Muppet congratulates her before presenting a new equation. 

Minnie squeals in delight before ripping the device off the ground and shoving it in your face, “I know this one! Mommy! I know this one! It’s three! Mommy! It’s three!” 

You can’t even process what the question is before the screen is out of sight. Your daughter holds her Starkpad above her head, treating it like some war prize as she starts spinning and dancing around the living room. 

“It’s three! It’s three! It’s three!” 

You laugh at her antics, heartwarming at her pureness. How could anyone ever think she’s a danger?

“Are you sure it’s three?” You tease as you watch her. 

She whips around to you, eyes scrunching up into a glare, and barks, “It’s three!”

“Okay, okay, it’s three.”

You push yourself up into standing just as Mouse returns to her spot. She drops her Starkpad to the ground a little harder than you would prefer, but that is why it has a big bulky case. She plops down in front of it and happily smacks the number three that is floating around the screen.

You let yourself watch her for a few seconds, silently bombarding her with all the love you feel for her. You want to wrap her up and live in this bubble forever.

Except, there is one element missing from your perfect moment. You wish there were a pair of arms wrapped around your waist and a chin on your shoulder. You want to lean back against a muscular chest and lose yourself to eternity like that. 

Instead of indulging those thoughts, you tell yourself to stop fantasizing and you make your way back to the kitchen to check on dinner.

Vegetable curry has been simmering on the stove for most of the day. It has been a while since you had the energy to make the dish from scratch, but you had a craving this morning and went all out. You’ve made curry for Minnie before, and she did not complain - though you think that is because her portion was mostly rice and hot dog cuts. You plan to do the same again tonight, and if she wants more sauce, you’ll give it to her. 

You check your seasonings and give everything a stir to make sure nothing gets stuck at the bottom of the pot. The rich aroma tickles your nose, and you are glad you don’t have to wait much longer to treat yourself.

As you debate adding a pinch more salt, you catch Minnie sneaking towards you out of the corner of your eye. Her movements are slow and dramatic, and you pretend you don’t notice her. This ruse works, and you appropriately jump in fear when she suddenly tugs on your shirt.

“Up!” She demands and you oblige, scooping your daughter onto your hip. As soon as she is high enough, she cups her hands around your ear and leans into whisper, “Daddy saids the food smells yummy-yummy.”

She quickly dissolves into giggles, and it is infectious, so you end up smiling. 

Matt hasn’t been over for dinner in a hot minute, and you are hoping to have a nice quiet family night, before he goes out on his Patrol. The plan is to watch a movie after your meal and Minnie has already prepared for this by dragging multiple blankets out to the couch. You just know she is going to demand a cuddle pile, and now that you and Matt are intimate, it isn’t something you are nervous about. 

You just want to have a good time.

“Can you tell Daddy everything is almost ready?” you ask, even though you know Matt can probably hear you just fine. 

Mouse, always eager to be helpful, nods and relays the message directly into your ear. You try to not grimace, and so it won’t happen again, set her down on the ground. 

“Can you plug in your Starkpad so it can sleep for the night?” 

She streaks off to do her newly assigned task, leaving you to start setting the table. When you were at the store, you bought Matt a bottle of beer - a brand you know he likes - and you set it at his designated spot. You’ve grown accustomed to just drinking water and juice, but you don’t want to push that on to him - not when he’s a guest and coming over after a long day of work. 

As you start to make everyone’s plates, you hear the water in the bathroom turn on. You know Minnie knows the routine for getting ready for dinner and you just hope she isn’t trying to wash Scooby’s paws again. You are worried he’ll end up moldy and you aren’t sure what you will do if that happens. You peek into the living room and are relieved to see your daughter’s best friends have been relocated to sitting on the coffee table, facing the television. 

You finish setting everything up just in time, it seems. Minnie runs from the hallway right to the door as you go to wash your own hands, and you rush to get all the soap off so you can help her open the door. 

Matt is standing on the other side, looking handsome as ever in a gray suit. He looks like he’s had a busy day - his hair is windswept, and he is sporting a strong five o’clock shadow. There is a garment bag draped over his arm and his saddle bag looks a little bulkier than usual and you wonder if he ran some errands on his lunch - picking up his dry cleaning and such. 

You barely have time to take in his appearance before Mouse is launching herself at him.

“Daddy!” She shrieks and Matt oh so easily swings her up onto his hip. “Daddy! We’re having vege-tuhble kermies for dinner! I helped make it! I cut up ALL the carrots! By myself!”

“By yourself, huh?” Matt confirms, a bright, warm smile taking up his entire face. “Soon you’ll be making us dinner.”

You step aside so he can come in and help to take his things to hang while Mouse soaks up his attention. 

“No! Mommy makes dinner because…’cause she makes the bestest foods. I just help!”

“You are a very good helper,” you interject, “You keep a very clean workstation. A professional chef would be proud.”

Minnie beams at the praise, then a microsecond later, is wiggling in to be let down. Her feet hit the ground and she takes off running back toward the living room, probably to collect something to show off to her Daddy. 

Matt takes the small break to turn his attention to you. A hand goes to your cheek, and instead of a brief ‘hello’ peck, he kisses you like he wants to turn and pin you to the wall. It catches you off guard, but you easily melt into it. You clutch at the lapel of his suit jacket and try to not moan as he nips at your lips. You open your mouth for him, but being the tease he is, he pulls back just enough to whisper against you.

“Been thinking about that all day.” 

The words send your blood rushing - some north to your cheeks and the rest to your cunt. 

He’d been thinking about you? About wanting to kiss you? Or has he been thinking about more than that - because you must admit, you’ve been thinking about it. You’ve had more than a few thoughts about what you want to do to him the next time you two are alone together and those thoughts were certainly very explicit. 

“Matt…” you totally do not whine out but instead of replying, his grin just turns cocky. He pulls away as Minnie returns to the entryway, and you decide you need a drink of your water. You escape and Mouse starts showing off her latest masterpieces to Matt. 

Food coloring, cotton balls, and popsicle sticks have proven to be a massive hit and Minnie has made a whole collection of things for Matt - there’s butterflies and flowers, a house with clouds, and various abstract pieces. You are sure his office is already filled to the brim with his daughter’s art, and you would not be surprised if he started to hang things from the ceiling when he does run out of room. He seems to treasure every little thing Minnie has given him and it warms your heart so much. You hope that love never runs out. 

Somehow, Matt ushers Minnie back to the dining room while she shoves different papers into his hands and gets her up in her booster seat. 

“I’m going to put all these in my bag, so they don’t get dirty or lost, okay?” He tells Minnie, who nods way too enthusiastically. 

“Keep them clean!”  And then, just like that, she switches from being excited her Daddy is there to being a hungry toddler. She whips around to face you and asks in an almost impatient manner, “Can I has my hot dogs now?”

You give her the go ahead as Matt returns to the table and takes his place. You quickly tell him the placement of everything, including his beer, then quickly add, “If you don’t like it, I have a few different things I could make you. Or we could order something.”

A brief panic runs through you when Matt scoffs. You think you’ve insulted him - having him come all the way to Chelsea to eat a dinner he won’t enjoy and having to find a substitute. 

“I love curry and this smells delicious. I wouldn’t trade it for the world - in fact, I’m hoping some of those leftovers on the stove are for me to take home and lord over Fog tomorrow.”

You flush at his sweetness and mumble out you’ll pack him some to go. This seems to please him, and he starts to dig in. Ever the little parrot, Minnie mimics him by shoveling food into her mouth with a big grin and you can’t help but laugh a little. 

“It’s nummy!” Your little one declares, and even if she’s just eating plain rice right now, you’ll take it as a win. You know well she won’t eat what she doesn’t like.

“Speaking of yummy,” Matt starts, slow and deliberate, with his head angled towards you, “I was hoping we could go somewhere yummy together.”

You blink slowly at the statement, rolling it over in your mind and trying to dissect the meaning. Did he want to go somewhere for dessert? Maybe get ice cream or something? “Somewhere yummy…?” 

“Mhm,” he hums, then his smile becomes a bit more sly. Even though you know it isn’t true, you feel like, behind his glasses, he is hungrily looking you up and down, “Somewhere like Uvas.”

The name doesn’t automatically generate anything for you, but after a moment, it dawns on you. Uvas in a Spanish restaurant near Central Park known to be high end and impossible to get into. It’s been in the local tabloids a few times for turning away minor celebrities who don’t meet the dress code. You’re mouth parts slightly in shock.

“What’s Oo-vuhas?” Minnie asks around her fork, her big eyes looking between you and Matt. “Do theys has yummy foods?”

“Oh, they have yummy food,” Matt teases. He then leans forward a bit in his seat and stage whispers to her, “It’s where I want to take Mommy for a date.”

“A date?” Minnie scrunches up her face at the word while your mind is still spinning. 

Matt wants to take you on a date? To Uvas? You have never been anywhere that fancy or expensive as a date. Hell, you’ve never been somewhere that fancy, period. The nicest date you’ve ever been on was Hard Rock Cafe - which says a lot about your dating life.

“A date,” Matt confirms, smug and knowingly scheming. You can hear it in his voice as he tells Minnie, “That is where Mommy and Daddy go and have dinner together as grown-ups.”

Up goes Minnie’s hand into her mouth, but it stays there only a split second. Her eyes get impossibly bigger and filled with wonder, and she whispers, “Like Lady and Tramp?”

“Exactly like Lady and Tramp.”

“Mommy!” Minnie says a little too loudly, pointing her fork at you. “You gotta go to Oo-vuhas and be Lady and Tramp! You gotta!”

And at that moment you know you can’t say no, and that Matt knows that. You can’t tell your daughter you don’t want to be like Lady and Tramp. Not that you don’t want to go on a date with Matt - the idea gets you giddy and makes your stomach flutter - but you thought if it happened, it would be a coffee or something. Not somewhere where you can’t even afford to look at the building. The idea makes you a little nauseous, because you are sure you’d make an absolute fool of yourself.

But Matt looks determined and sure of himself. You are certain he asked in front of Minnie so that she could help bully you into saying yes to such a lavish date. 

Luckily, your mind is working in overdrive, and you choke out, “I don’t have anything to wear. They have a dress code, don’t they?”

You don’t expect Matt to push his chair out and get up. Your throat instantly tightens up and fear shoots up your spine. Have you offended him? He clearly wants to do something with you and you’re over here hesitating. You must be coming off as a complete bitch. 

You start to stand up yourself as Matt disappears into the entryway. You don’t think he’d just leave without saying goodbye to Minnie.

Maybe you can talk to him - explain that somewhere a little less grand would be ideal to start.

Before you can start to follow him, Matt is coming back to the table, holding up the garment bag he brought with him, still looking like the cat that got the canary. 

“I thought you might say that,” he starts, his voice almost a little musical, “so I got you this.” 

You stare dumbly at him, shock and confusion overtaking your system. 

He got you something to wear? To Uvas? 

No one has ever bought you clothes before - except your parents. Even when you were pregnant, the small amount of gifts you got were all for Minnie. 

You distantly hear Minnie start saying something about presents, but it is all muffled under the sound of blood pumping through your ears. You step forward hesitantly and reach out for the zipper of the bag, your hand shaking slightly.

You expect it to be a joke. You’re going to open the bag and there’s going to be a clown costume inside, or a skimpy dress people like arm candy to wear, or something akin to a Burka. 

You don’t expect a black floor length sheath gown. The silhouette is simple, but you can tell just by looking at it the quality of the dress is top notch. The fabric has a nice weight to it, and it is incredibly soft to the touch that you have the distinct feeling that it did not come from a dress warehouse or a department store. 

This type of dress would come from a boutique uptown and would cost a few hundred dollars. 

You are so caught up in admiring the dress, you don’t notice Minnie come up beside you until she is also touching the dress. Panic that she might have crumbs or curry on her fingers runs through you, but you force it down.

“It’s like a princess dress for Mommy!” Mouse cooes and you feel your face start to heat up.

You’ve never worn something so nice before and certainly nothing that would be fit for a princess, but it seems like Matt and Minnie are on the same page.

“Well, I want Mommy to feel like a princess.” 

You want to hide your face, but you know you can’t, so you cover your mouth instead.

“Matt, this is beautiful. But this is so much, I can’t accept this.” 

You know that while Matt is a lawyer, he’s still struggling a bit financially. If he had his way, you know he wouldn’t charge anyone for his services, and even though Nelson, Murdock, and Page has paying customers, they still have to stagger out their bills. 

He shouldn’t be spending his hard saved money on you. 

Matt sighs your name before gently draping the garment bag over the back of his dining chair and stepping towards you. Both his hands go to your waist, and you freeze up as he steps close enough to press his forehead to yours. Your heart begins to wildly beat when his hands slowly begin to rub your sides. 

“Let me spoil you. To make up for all the dates I’ve missed. Please?” His lips dip into a small frown and you feel like you’ve kicked a puppy. 

He’s gone out of his way for you, and you are being so ungrateful. 

But it is so hard to say yes. Guilt is pooling in your stomach, and you just want to disappear into the shadows and be forgotten about. That is so much easier than Matt holding you, saying such sweet things.

You don’t want to ruin everything. 

You close your eyes as you have a war inside yourself. All you have to say is ‘Yes’ and you’ll make Matt happy, but the monster inside of you keeps dragging your mind into a pit. 

Matt wants to treat you like a princess, but how crushing will it be when he decides that is no longer the case? Can you take that?

The corners of your eyes start to sting and your monster starts to mock you for getting worked up over something as simple as being asked on a date. 

Why can’t you be normal?

Why can’t you accept this?

Why can’t -

The thoughts cease as Matt’s lips press against yours, soft and sweet and tempting. You respond hesitantly.

“Let me take care of you,” he breathes into your mouth, making you shudder. “You deserve it.” 

“You deserve it!” Minnie chirps from beside your knees and you very suddenly remember where you are and what you were doing. You try to pull away from Matt, thinking Minnie hasn’t seen the two of you like this yet, and it might confuse her, but he keeps his hands firmly planted on your hips, not letting you go. You don’t try to fight it, instead, you turn your head away, trying to hide away in your shell. 

You know there is no way you will win this. Matt is determined and he clearly has Minnie on his side, so, very hesitantly, and feeling like you are going to throw up at any moment, you nod into Matt’s shoulder.

“Okay.”

Mouse lets out a deafening cheer and you feel her dart away.

“LADY AND TRAMP! LADY AND TRAMP! LADY AND TRAMP!”

Matt laughs at her excitement over something she doesn’t understand, while you tuck yourself into his hold, wondering how long you have before he ends up shattering your heart into pieces.

---

tags:

@two-unbeatable-beaters @kiwwia-wiwwia @1988-fiend @xblueriddlex @loves0phelia @ninacotte @lovelyygirl8 @littlenosoul @ednaaa-04  @astridstark13

 @lovingkryptonitehideout @moongirlgodness @soocore @bluestuesday

@starry-night-20 @rebeccapineapple @writtenbyred @cherrypie5 @capswife @silvercharacterchaos @resting-confused-face

@Specialagentjackbauer  @yarrystyleeza @ofmusesandsecrets

@midnightreids @cloudroomblog @yeonalie @thychuvaluswife 

@petrovafire39 @ghostindeath @roxytheimmortal 

 @allllium @waywardcrow @thatkindofgurl @waywardxrhea 

@anehkael @akilatwt @lostinthefantasies @reluctanthalfwayoptimism @ethereal-blaze

 @nennia-2000 @seasonofthenerd @abucketofweird  @mattmurdockstateofmind @imagineswritersblog @hazelhavoc @smile-child-13 @allst4rsfall @hashcakes @kezibear @mapleaye @sammanna @gamingfeline @moon-glades @nightwitherspring @phoenix666stuff @dare-devil

@ladyoflynx @hobiebrowns-wife @sarcasm-n-insomnia @lillycore 

@dorothleah @mattmurdocksstarlight @mars-on-vinyl @mywellspringoflife @sleepdeprived-barelyalive @simmilarly @soupyspence @darkened-writer @akila-twt

@murc0ckmurc0ck @groovycass @sumo-b98 @just3rowsing @tongueofcat @zoom1374

@theclassicvinyldragon @aoi-targaryen @lunaticgurly @nikitawolfxo @shireentapestry @snakevyro @yondiii @echos-muses @honeybug-victoria @the-bisaster @ristare 

@mrs-bellingham @eugene-emt-roe @cometenthusiast @stevenknightmarc @yes-im-your-mom @hunnybelha @actorinfluence @capbrie @prowlingforfood @jupitervenusearthmars

@mayp11-blog @danzer8705 @thinking-at-dusk @remuslupinwifee @akila-twt  @nommingonfood @mattmurdocks6thscaleapartment @dil3mma @allllium 

[transmutationisms]

oh i would actually be curious to hear your thoughts on lolita book covers in that case. i do get the sense that some of the covers are designed to uncritically titilate and seem to misunderstand the text, but that could obviously be an assumption on my part lol.

oh i agree that the cover designs tend to run counter to nabokov's intentions, both in the text and in the literal instructions he gave about covers lol. they pretty clearly rely on putting some young girl on display, which is exactly what nabokov did not want to do visually; they also tend to suggest dolores as some kind of seductress (sultry gazes, pouty lips, &c). clearly this is precisely the opposite of what the text tells us about her.

however when evaluating these visual choices i find that many people portray them as some kind of originary and culturally polluting act: that is, a narrative emerges that the problem here is people misinterpreting 'lolita', and then publishing it with covers that will do harm to young girls &c. i think this is lazy analysis and fundamentally makes idealist assumptions overestimating the effect of cultural products (books, book covers) on problems, like the sexualisation of children, that are in fact grounded in material relations, such as in this case the status of children as legal property and the total power granted to adults over them. that is to say, these broader conditions are at root the reason that cultural products like the cover of 'lolita' look the way they do, and chalking it up to individuals not understanding the book is never going to get us very far; and also, although some of these covers are pretty egregious, they are the reflection rather than the cause of the sexualisation of children, a problem that would continue to exist even if every edition of 'lolita' ever printed just said "humbert humbert is an unreliable narrator and dolores haze is a child he is preying on" on the cover.

fundamentally i also think this sort of conversation often elides some more interesting points about whom these covers communicate to and what they say. you suggest they are meant to "titillate"; although i would agree dolores is often shown as sexual, desirable, and seductive, i'm not sure that's the same as assuming the cover is trying to arouse the potential reader. for one thing, to put it bluntly, this style of cover tends to be associated more with books marketed to women than to heterosexual men. and more broadly, and this is something the lolita podcast really fails to understand imo, the phenomenon of people reading 'lolita' and relating themselves to dolores is not mutually exclusive with this type of rhetorical construction of dolores-through-humbert's-eyes. that is, often what appeals about dolores is, i think, precisely the fact that through her, people find a way of discoursing about or simply re-enacting the kind of sexualisation that they are already subjected to or have been in the past, whether or not at a level as explicit and extreme as what nabokov depicts.

i'm not really interested in a simple moral condemnation of the people who design these covers; that critique writes itself. they are obviously bad and facile, and reflective of precisely the culture of child sexual abuse that nabokov's text condemns. but if we are interested in the reception of these objects, or interrogating the cultural meaning and implications of their existence, i just think there's a lot more going on here than what the podcast portrays as a simple sort of 'broadcast' model of mass media wherein the 'lolita' book cover and trope is beamed out to unsuspecting innocents who are then exposed to its nefarious elements. dolores appeals to people for lots of reasons, some prurient, some pitying, some openly self-projective, and these are not mutually exclusive with one another nor are they mutually exclusive with readings that reproduce elements of the very lolita character that humbert creates and uses to silence and re-write dolores. we can be uncomfortable with that and refuse to talk about it but if that's the position someone wants to take then i'm not likely to be interested enough in their opinions to, like, listen to their podcast about this book lol.

[akirathedramaqueen]

The bias is not always conscious

And that's the case with Stolas. That's it, that's basically the post, so you can count it as your tl;dr, but let me elaborate. :)

(A little gratitude note! Sorry @tealvenetianmask, I failed being concise here, but I thank you for encouraging me to put it all together :3 I also thank you for our conversations about Stolas and about museums in particular which heavily contributed to it)

I think there's some misunderstanding when people get offended by the suggestion that Stolas acts classist/racist. It seems that people assume we’re implying he is malicious and intentional with it, but the actual problem is that he doesn't think.

S2EP2, Seeing Stars, 1:29

The problematic behavior we're discussing is reflexive and internalized. Stolas was raised in an environment where the lower demon class is looked down upon, and while he believes he expresses nothing but deep respect for Blitzø and treats him as an equal…

Goodnight, Blitzø. S1EP7, Ozzie's, 14:50

And while you can see from this bow that this intention is sincere, which is both wonderful and fascinating—he preserved this profound gesture ever since he was a kid, despite being actively discouraged from doing so!...

[Stolas]: I'm Stolas! It's nice... Ouch! [Paimon]: Don't bow to that one! He bows to us! Idiot! S2EP1, The Circus, 7:40

He was still raised in privilege and influenced by the narratives around him. For him, it's acceptable because that's what he was taught is fine. It's part of his everyday speech, and he never actually asks Blitzø, or anyone else, how they feel about the literally belittling nicknames (like literally—do you notice how often he uses the word "little" when referring to imps?).

I mean... there's a lot, okay? I'm just going to pull out some examples off the top of my head. All of them are from Season 1, and I'll explain why later.

I was hoping you brave little imps would accompany us! S1EP2, Loo Loo Land, 5:15

Ugh, that's better... Where's Blitzy? He's my knight in shining armor, not you, littler ones! S1EP2, Loo Loo Land, 13:22

And it [grimoire] isn't supposed to be lent out to itty-bitty imps like yourself. S1EP5, The Harvest Moon Festival, 0:30

Greetings, tiny Wrath Ring imps! S1EP5, The Harvest Moon Festival, 8:22

[Stolas, in the background]: Who dares threaten my little impish plaything? S1EP6, Truth Seekers, 18:20

How the fuck did you get caught by humans? Are you little creatures not being careful up here? S1EP6, Truth Seekers, 19:38

He also takes pride in being part of Ars Goetia. That pride seeps into his mind whether he wants it to or not. He lives in a huge palace, never worries about money, can arrange a seat in a club that’s always booked out, and gets admitted to a hospital immediately, while hellhounds wait five years for a Hellbies shot.

Being part of the Goetia family is rather valuable, you know. S1EP2, Loo Loo Land, 4:39

Most of these examples come from Season 1 because, after the disastrous Ozzie’s date, Stolas begins to unconsciously cut back on this language. He seems to sense that something is wrong, though he doesn’t fully understand why. However, he is acutely aware of the problems with the transaction and the unfair dynamics it creates, and he is serious about putting Blitzø on equal ground by providing him with the means to run his business independently of Stolas.

And still, he maintains full control over the conversation during the Full Moon meeting, immediately dismisses Blitzø after one mistake, and throws him out. He continues to impose his narrative on Blitzø and…

I don't look down on you! How many times do I— When have I ever?! S2EP9, Apology Tour, 2:45

When have you ever indeed, Stolas? You literally look down on Blitzø saying that. This moment illustrates the problem clearly. He isn’t lying when he says he doesn’t look down on Blitzø because he genuinely believes he doesn’t.

Despite all said, Stolas is making a tremendous effort and is progressing, and he is far ahead of Stella, who is openly classist/racist and very conscious of her biases. So I believe—no, I know—he will get there one day. But not today.

This is something I take quite seriously, and I think people need to understand how dangerous this subtlety can be, as it happens all the time in real life too.

How often do you ask yourself why medical research groups are predominantly represented by white, cis, upper-middle-class males, and how this affects the efficiency of treatments suggested in these studies for everyone else—women, people of color, non-binary folks, and those who struggle financially?

How often do you visit museums and see art created by wealthy aristocrats who defined what constitutes 'fine art,' while 'folk art'—often created by marginalized communities—is overlooked and lost to time?

I could elaborate further on how deep and cruel this bias is, but I’ll stop here. I just ask you to consider why you might get offended when someone points out Stolas's subtle bigotry and why you might downplay it compared to the loud, aggressive Blitzø, whose anger and avoidant issues are obvious.

Just sit with it.

[lime-bloods]

I honestly didn't ever expect that I'd be in the position where I'd be using this blog not just to analyse what has come before in Homestuck, but to look toward the comic's future and do some real old-fashioned theorycrafting. but the time has come. so here goes; lime-bloods' Beyond Canon theories as of the July 6th 2024 update:

Vriska's Going to Hell

were all gonna help you! / whether you like it or not

a select few eagle-eyed readers already noticed that the sound used in last month's (Vriska: Figure shit out yourself.) is called "hell_tierwav". while it was easy to dismiss this as irrelevant composer shenanigans at the time, it's now become clear exactly what this was foreshadowing. whether it would be more apt to call this "Hell" or "Purrgatory" is probably up for debate - but whatever you call it, Vriska's been placed in a dimension seemingly tailored specifically for her personal torment.

while Vriska characteristically interprets the recreation of her childhood home as a symbol of how badass she was, the ghosts of her past - both literal, as the shades of the trolls she killed as Mindfang, and figurative, in the form of sprites wearing the faces of her dead friends - show us in no uncertain terms that Vriska's childhood home is the stage where traumas play out.

Erisolsprite puts it succinctly with his welcome to hell, but pay close attention to what exactly we're being welcomed to: this update ends on page 665. so as of this next update, we'll be starting on page 666.

Does Homestuck Have Hell?

the exact bubble of reality Vriska's currently found herself in seems to be an entirely new construction of the likes we've not yet seen in Homestuck - but that doesn't mean this kind of cosmic torment is without precedent. because while 666 is a number with Satanic connotations in the broader cultural context, it also has a very particular meaning of its own within the world of Homestuck. indeed, the latter half of the comic almost revolves around it, culminating in a climax in Act 6 Act 6 Act 6.

specifically, this repetition of a single digit is emblematic of recursive storytelling. to summarise what you can already read about in detail in my essay The World / The Wheel: when Caliborn is 'gifted' the Act 6 Act 6 supercartridge, which he is told is an "expansion" of Homestuck, it's a trick. there is no "expansion"; he's going to be trapped in a story that never ends because it keeps dividing into smaller and smaller versions of itself forever. the only way to truly beat the devil who trapped the heroes within a story is to trap him in his own story.

that's what Caliborn's "Hell" is, and that's also exactly what the Alternate Calliope achieved in Act 7 by creating the black hole which Vriska knocked Lord English into, ending Homestuck's story - something that Calliope even hints at in this very update, when she refers to the black hole as "containment"; not an accident, but a deliberately crafted prison. black holes are a symbol of recursion and regression; being sucked into one means being forced to live out your whole life over and over again, forever. so really, this is all we ever could have expected to happen when Vriska stepped into a black hole within a black hole! the presentation of the narrative even subtly hints at this; events in Beyond Canon that take place in the black hole are enclosed (in brackets), and now events that take place in a black hole-within-a-black-hole are contained within {curly brackets}, because you should always use a different kind of brackets to differentiate nested parenthesis from each other!

it is absolutely no coincidence that when Caliborn closes the curtains on his appearances in Homestuck, thinking he's won when really he's been condemned to a hell of his own making forever more, it's with a tribute to this exact same Sweet Bro and Hella Jeff strip.

IF YOU REMEMBER JUST ONE THING I SAY, OF SO MANY GREAT THINGS SAID BY ME, THEN PLEASE REMEMBER THIS. I WANTED TO PLAY A GAME.

So What Does That Mean?

one of Beyond Canon's central missions is expanding upon Homestuck's exploration of the relationships between author, text, and audience. as discussed above, a large part of Homestuck's thesis is the evil of forcing characters to live the same lives and the same stories over and over without the chance to grow or move on, and Beyond Canon picks up on this by placing Dirk in the position of trying to keep Homestuck going forever purely to appease its fans, while the Alternate Calliope continues to oppose this ideology. and while the alpha Calliope outwardly seems not to have taken a hard position on where she stands in this cosmic battle, the question posed by her device seems to be an entirely new one: can it actually be a good thing to regress, to return to ground that the story has already covered? can this path lead to something new, rather than merely stagnation?

it's so relevant that Vriska is being confronted with the crimes of her past, not only in the form of all the trolls she was personally responsible for killing but also in the form of the exact same punishment she condemned Lord English to with her heroism - complete with the herd of horses that are always present at Caliborn's demise! but where being condemned to an eternal cycle was fitting punishment for Caliborn, someone who refuses to break free of cycles of abuse and instead chooses to enact that same abuse on the world around him... if Vriska is someone who can break free of these cycles, who can change and become a better person despite what happened to her, will this punishment have the same effect? or, as Davepeta seems to believe, is forcing Vriska to reckon with her own past and traumas exactly what will allow her to break free of that cycle?

DAVE: [...] ill just be over here in the hyper gravity chamber training to beat lord english KARKAT: WE HAVE A HYPER GRAVITY CHAMBER???

it's hard not to be struck by the parallels in design and purpose between the Plot Point and Dragon Ball's Hyperbolic Time Chamber, and not just because of the Dragon Ball enthusiasts present on Beyond Canon's writing and art teams: albeit in typically Strider-bastardised form, the Time Chamber got a shoutout in Andrew Hussie's own Homestuck (see quote above), in a reference that was even picked up on by prolific theorist bladekindeyewear at the time. for the uninitiated: the Hyperbolic Time Chamber allowed its users to train for extended stretches of time, sometimes even spanning years, while a significantly smaller time period passed in the world outside - something that is actually true of real-life black holes! and with the Plot Point's own emphasis on time, represented by the hourglass included among its mechanisms, it seems to me that an essential part of making the 16-year-old Vriska ready for the trials ahead will be giving her the time to undergo the same growth her adult friends have experienced.

considering that Beyond Canon is already playing in the Ultimate Self space, where there are levels of power beyond merely the "god tiers", it also doesn't seem too farfetched to speculate that Vriska, forced to reckon with the fact that becoming a powerful Thief of Light isn't the be-all and end-all of personal growth, will take another leaf out of Dragon Ball's book here and ascend "beyond Super Saiyan". perhaps this is even the "hell tier" so cheekily alluded to in the Plot Point flash? certainly this kind of evolution would be the perfect way to challenge Dirk's belief that the Ultimate Self is the only logical final step for a character's development.

whatever the case, I believe we can take Davepeta at their word here. I don't think it's just a joke that by the end of this ordeal Vriska Serket is going to be fucking RIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIPPPPPPPPPED!

[iridescentscarecrow]

what frustrates me about fandom interpretations of makima as a one note Source of evil, apart from the fact that the manga itself refutes this, is that her character haunts and ties together so much of part two that it's impossible to fully understand without understanding her.

makima isn't ever a unilateral antagonistic force. she's an agent of the institutional evil that looms over all of CSM. she's in as much a commentary on gender and performance of gender as denji is.

and fjmt in part two enacts the "haunting the narrative" trope in such an interesting manner because you see flashes of makima in every female character. you see elements of her diluted into, most visibly, the characters of asa, nayuta and fumiko.

in asa, i see makima in that yearning for connection. i see her in the way that asa herself is fundamentally unable to approach the relationship of equals that she so desperately desires, partly due to her own social awkwardness but also because of yoru's threat: everyone she gets close to turns into a weapon. the fundamental inequality to human relationships that makima is unable to overcome.

during the aquarium date, you see asa echo makima again and again in lines that evoke makima's purposing of denji. that weaponising. "i'll grant you any request / save me chainsaw man! / you don't have to think about a thing."

and her connection with denji also founds itself upon this. yoshida talks to asa about parasocial relationships -- rerendering makima's idealisation of the CSM in how asa sees denji as a love interest. asa and denji parallel each other so organically in their gendered suppression and portrusion of desire. it's a punctuation of denji's search for intimacy that's mirrored by makima's in part one. exploring how asa is different from makima is perhaps the most intriguing part of this reflection though: an example being the way asa overthinks her outfit for her date with denji while makima seamlessly models herself into an Effortless woman.

[it's not like asa borrows just from makima. for example, there are things to be said about the way she views her Body (as compared with reze and quanxi) but examining how mkm's character bleeds into asaden is quite compelling.]

nayuta being the most visible remnant of what makima was is also interesting because makima herself appears so little in nayuta beyond the surface. nayuta's role as the control devil is hinted at frequently as is her appearance resembling makima's

but her and denji's dynamic more often echoes the hayakawa family and pochita than anything else. consider: aki giving up his goal (his 'easy revenge' that he finally sees for what it is) for the sake of his family, that warmth of blood and platonic bodily intimacy that power embodies--

it's all referenced to again with nayuta and denji, in direct panel callbacks and the plot itself! nayuta is The Family that makima constructs for denji in part one to pull him along the plot she prepares. i'm thinking about how makima is an allegory for capitalism. and what the family unit means in a capitalistic structure. the propagation of an ideal that hinges on birth and descendancy, about narrative and reproduction of narrative, about how nayuta births herself from makima and denji's relationship.

and this is also why nayuta herself exerts so much control over denji in the plot, as well as why she's used as a piece to control him. in part one, family was used to create the Chainsaw Man from denji. in part two, it's used to make denji abandon the Chainsaw Man, this icon that the church and the public now take possession of. [something something alienation of the worker from the product. from the collective. from the self.]

fumiko is perhaps the hardest to pin down here because her role evolves as the fandomisation of the Chainsaw Man evolves too. in fact, as a denji fan, she represents not just makima but multiple people who see something in and want something from denji! (think of how she references reze in her highlighting how denji is just a child; how reze uses her commentary on denji to engage with her Self. it's fandomisation,,, and what is makima but Chainsaw Man's fan?)

fumiko most obviously calls back to these wants and their conceptualisation of denji in the raw sexual violence that the events in the theater scene moving into the karaoke scene embody. the undercurrent of sa that runs through p1 and p2 is brought to the forefront in this scene -- denji falling back into these cycles of abuse, him slipping into habitating the wants of others (his initial horrified expression and then his grin during the fight. his initial inner monologue and then the cut to him licking the tentacle.)

so much of CSM rests on this fandom of denji, this theme of what production and idealisation means, one you can trace through fjmt's body of work. and this fandom reaches its crescendo in p2. what's even more interesting about fumiko is her pathos under this layer. her seeing denji as denji at some level but in the end, her handling of him is so selfish. her echoing makima's uninhibited laughter at the horror of denji's situation, her predatory cruelty. denji simultaneously humanised and dehumanised through her fandom.

fjmt's characters exist as foils, as parallels and ideas. makima's character has such a stranglehold over part one and these ideas run over into part two naturally -- as a consequence of denji being a reciever of these themes, but also deliberately in fjmt evoking the Thing that is makima repetitively -- to underscore the forever re emerging structure that denji and now asa are trapped in. the same structure that makima produced and was simultaneously caged by.

[andy-wm]

I don’t think this is what he meant especially because Namjoon said he gets how he feels and shook his hand after. We all know Namjoon is single for a while now after going through a nasty breakup. Jimin and Jungkook’s bond is precious even though it’s now clearly not romantic.

He also said “Although I feel this way it’s not sad…” when speaking about Who. I think Jimin is strongly indicating that he has been single for a while. We should really take his words for what they are rather than trying to twist them into a narrative that makes jikook romantic. In the context of everything he said earlier in the video up until the Who talk it seems that he created Who to have the direct message of searching for his person. He was speaking about the song when he said that he felt this way. Not having those butterflies is what he is referring to when he says he feels flat, not sad but not exciting. Even if currently platonic jikook have a precious bond.

Imo these three sentences sums up MUSE and WHO perfectly instead of those essays wanting to connect it to jikook because we want them to be real :

https://x.com/jkyoongs/status/1814588120291287475

This is exactly what he told, meant and going through when he created this album. It's sad Jikook is not involved romantically but they still have a great bond given their trips and now enlistment but if Jimin is saying he's single without even feeling butterflies to fall in love then we have to accept that guys.

Hey Anon, thanks for this ask. Its so great to interact with someone who disagrees with me but doesn't have a huge chip on their shoulder about my views.

And honestly i can see that there are many ways to look at this situation.

Nobody can without a doubt claim they are romantic partners, just like nobody can without a doubt claim they are not. You and I have differing perspectives based on what we see and how we interpret it. We probably have different ways of seeing the world and different experiences of love.

And if one day we all find out that they were really just friends, I’ll shake your hand and, without screaming or crying, I'll accept that i was wrong. I hope you would do the same.

But right now, I don't think I am wrong on this.

Looking at the whole picture it seems to me that they are very much still romantic partners.

More like an old married couple with complicated and busy lives, but

Clearly still very focused on each other.

Clearly delighted with each other.

Clearly care deeply for each other.

Clearly spend a lot of time together despite being so busy.

Clearly attracted to each other.

Clearly physically comfortable with each other.

That's how i see it.

Am i prepared to die on the hill that their relationship is romantic? No, because I can't possibly know for absolute certain. Same reason i dont believe in god (although i think Jikook is more plausible than an old guy sitting in the clouds watching humanity like he's playing The Sims, just quietly... and yes bring on all the anon haters who are gonna want to thrash me because i'm an atheist).

But on the balance of evidence I'd say ...

they're still together.

Lets talk about MiniMoniMusic.

As for the Minimoni video, Jimin was there to talk about the album. It wasn't a conversation about his personal life.

He talked about not having excitement in his life, about his life being bland, and empty after suspending group activities. They hadn't been active as a team, and he was working really hard. It was a long time since he felt excited about something.

That sense of excitement was compared to having a crush and confessing his feelings. He said he can't remember the last time he felt that way, and the journey of MUSE was to make him feel excited again.

Tracks 1-5 were exploring the exciting emotions, like you would have when you're crushing on someone. That euphoria, the fizz in your belly, the high energy etc. That's what excitement feels like.

The crush conversation... This is the part that's throwing everyone.

He said he couldn't even remember the last time he had a crush, and Joon says I know how you feel and he and Joon laughed about that.

If it was because they've both come out of long term relationships (and we know Joonie's breakup was traumatic) why would they laugh?

They weren't laughing about being single, they were laughing about being OLD.

Remember what came next ... Jimin says the youngest in his band is really young so Jimin asked him about how a crush feels:

"Give me something since you're the youngest"

Because having a crush is something teenagers feel.

Jimin and Joon feel old, like they are a bit past having crushes. I believe that's what they're saying. And honestly, when was the last time you heard 30 year old men talking about their crush?

A crush and a long term romantic partner are two very different things.

At no point did he say he wasn't in a relationship.

+++++++++++++++

Edited to add a better translation of 'crush' , being one sided/unrequited love.

I'm not deleting what i originally posted because the reason jimin asked Evan is based on his youth.

+++++++++++++

One more thing i need to add...

In my experience, it's very difficult to go from being in a long term relationship to being platonic besties with your former romantic partner. It takes a LOT of work, and it requires energy, effort, and very carefully maintained boundaries.

Jimin & JK don't look like they're maintaining boundaries to me.

Based purely on the recent footage - the Are You Sure teaser they released - I see no sign of clear boundaries. Even in the Minimoni conversation Jimin says they drink and talk for 3-4 hours and it gets DEEP. That's a recipe for disaster with a former lover.

It also usually requires substantial time apart - YEARS maybe - to reset the relationship so you can be best friends without falling into old habits. We aren't talking high scool boyfriends who get the odd hour alone together here. We're talking months and months abroad in hotel rooms with nothing to do except listen to Lana Del Rey and... eat bread (apparently) 🤣🤣

Ok look, that last part was a tongue in cheek joke but they have spent YEARS under the same roof with zero reason not to be in each others bed, pants, shower, and anything else that sounds fun.

So honestly I don't buy the 'used to be lovers but now good friends' argument.

Those boys are comfortably intimate to such a level they don't know where one of them ends and the other begins.

[vaspider]

youve got a lot of really great thoughts on a transphobia and homophobia, tbh more critical thinking than most people on here, and i was wondering how much you knew about the theory of rapid onset gender dysphoria/if youd be comfortable sharing your thoughts on the ridiculous idea

It was explicitly invented by transphobes as a means of delegitimizing trans identity, and that invention was backed up by a "study" in which the person running the study never spoke to any trans people or to any professionals providing care for trans people, only spoke to the parents of trans minors, and those parents were specifically recruited from forums for anti-trans parents.

The paper which supposedly coined ROGD was taken down for a while and corrected. Further studies have found no basis for ROGD.

What's really interesting is in the cache of emails which became public earlier this year from a former detransitioner there's a paper trail which pretty clearly indicates that the term was actually created on a very heinous website called 4th/wave/now (forgive my anti-search slashes, these people are awful) well prior to the study.

Hey, you want to guess where the parents for this study were recruited from? If you guessed "the one where the term was invented," you're right!

But wait, there's more!

It appears from the journalistic work done by Mother Jones, Jude Doyle, and Julia Serano, that this term was created by an anti-trans activist who works extensively with right-wing think tanks and who went to great lengths to hide that she invented the term.

Jude Doyle:

Finding anti-trans narratives that would “sell” to the general public was a constant concern for this crowd, and Shupe says it didn’t much matter if the narratives were based in fact or not. Marchiano, for instance, eagerly watched the spread of the ROGD theory — “[transfeminist writer and researcher Julia] Serano has already written a takedown,” she exulted in one August 2018 email. Shupe suspects Marchiano’s role is larger than the public knows: “Marchiano never explicitly said she is the inventor of ROGD, but the evidence points to her, and she’s listed as a contributor to the [Lisa Littman] study on PLOS One,” she writes to me. “My ‘opinion’ is that Marchiano and the 4thWaveNow folks are behind the ROGD study, and Littman merely fronted it for them to make it appear unbiased.”

Jude Doyle again:

On July 2, Shupe sent Marchiano a link to Jones’ blog post telling her “you’ve upset Zinnia again.” (Shupe had a tendency to send Marchiano news of ROGD, and to attribute the theory to “you” — that is, to Marchiano — whether Marchiano was explicitly named or not. In the communications I’ve reviewed, Marchiano does not reject the attribution.) Marchiano responded by saying that Jones had done something to “make her nervous” — namely, she’d dug up a blog post about ROGD that Marchiano had written under her own name.

Julia Serano:

If all of this is true — that Marchiano ran YCTP and invented ROGD — then it would follow that Marchiano was also likely skepticaltherapist, the supposed parent of a trans child who invented the idea of “transgender social contagion” in the first place.

Julia Serano again:

Also on March 15, 2016, at 6:07am (so very early in the day, likely before the aforementioned YTCP piece is published), skepticaltherapist posts her final comment on 4thwavenow before mysteriously disappearing. In a reply to someone named Starrymessenger, skepticaltherapist says: 'I wanted to mention that this month’s Psychotherapy Networker is focusing on trans youth issues, and the tone of each article is uncritically celebratory — lots of mentions of “courage,” and “bravery.” You may need a subscription or at least an account to comment, but I have so far.'

At the time of this comment, "Lisa" is the *only* person to have posted a comment on this particular Psychotherapy Networker article, as the 2nd comment doesn't appear until later that evening (7:30:15 PM on March 15th; both 4thwavenow & Psychotherapy Networker appear to be based in the U.S., so the should be only a few hours apart, if at all). Therefore, "Lisa" and skepticaltherapist must be the same person.

Did you catch all of that?

This is a fraudulent "diagnosis" explicitly invented by an anti-trans psychologist who at times has used sockpuppets to manipulate online conversations, claimed at times to be the mother of a trans child, or maybe it was her friend who had the trans child, or maybe she just knew somebody who just randomly decided he was a trans boy after going on tumblr. (Boy, does Lisa Marchiano hate Tumblr, lol.)

After inventing this diagnosis and pushing it on a forum for parents who don't like that they have trans kids, Marchiano then approaches a different researcher and uses this other researcher to launder this term, launching it into the verbal stratosphere, while explicitly working with right-wing groups who used this "evidence" to manufacture anti-trans bills. This list of right-wing groups and individuals includes the Alliance Defending Freedom, the "American College of Pediatricians," -- not to be confused with the American Academy of Pediatrics, the legitimate organization, ACPeds is a fringe right-wing group.

They literally made all of this up, this idea that transmasculine people specifically are being "infected" by online sources, and then they laundered it through a shitty study and tried to hide the laundering they did, so that shit like this can happen:

The president of the American Principles Project, a member of the coalition, recently told the New York Times that his group’s goal is to eliminate all transition care, starting with children because that’s “where the consensus is.”

This isn't about protecting children or any bullshit like that, and it's not about this fallacious "disorder" because it doesn't exist -- and they know it doesn't exist. They know it doesn't exist because they were the ones who made it up.

Like... what else is there to say? It's like if I made up Purple Big Toe Disease and claimed that all people taller than 5'10" and born on a Tuesday have Purple Big Toe Disease and should not be able to buy aspirin, because it's G-d's plan that people who have Purple Big Toe Disease should not prevent themselves from feeling the pain that G-d has planned for them, and then I asked someone to write a paper about PBTD and pretend I wasn't the one who made it up so I could point at the paper and be like le gasp, PBTD is the number one problem! We need to stop everyone over 5'10" and born on a Tuesday from being able to buy aspirin! And then some dude in South Dakota starts writing up bills in consultation with a bunch of Evangelical lawyers to deny basic health care to people over 5'10" and born on Tuesdays.

If it sounds fucking ridiculous, it's because it is.

[nyuuronfly]

On Rain World lore and it's implementation within the game.

This is kindof a random ramble I went on in a Discord chat and just feel like sharing elsewhere. (also note this is all primarily in reference to the original game, Survivor's story.)

I honestly think too many miss the forest for the trees a bit with RW, in terms of how important the lore is, if that makes sense. I talked with somebody about first-time experiences with the game and they said they'd watched a number of lore explanation videos on YT before starting, because of some reason along the lines of "I didn't trust the game to deliver its own story properly." To me this is almost saddening to hear because I really feel that misses the point of why the game has it's lore to begin with.

To me, while playing, any tidbits i learned about history or other information contributed to a feeling like the world I was navigating had a very real history that saturated it, yet one that I would be unable to grasp fully. It is an illusory feeling of realness, given how it is experienced. The game is mechanically not designed to incentivize collecting many information pearls, especially when in the original game you can literally just drop them off a cliff and lose them forever. You get the feeling often like you are bound to never be able to get everything, nor would you even probably want to put in the effort, so the illusion actually stays stronger because of that. Your mind wanders speculating about every little detail, whether intention truly existed behind it or not, because it feels like it did. You learned that it might have. Maintaining that illusion while playing I think is the primary reason they were included, not actually the experience of "knowing" the history. Rain World in general seems to have a thematic fixation on the simple idea that individuals have limited perspectives. Joar Jakobsson has said that one of the core ideas behind Rain World was to recreate the life of a "rat in Manhattan." That is to say, a creature that understands how to find food, hide, and live in a complex man-made structure, that cannot understand it's structuring purpose or why it was built. The very core issue of the iterators, is that the solution to the "great problem" intrinsically has to lie with knowledge that could only be obtained from "the other side." They are corporeal beings trying to know something that pertains to something outside corporeal reality. Yet pursuit of knowledge is very important to creatures like ourselves. Collecting any individual pearl is mostly an exercise in doing a lot just for little bits of knowledge. There is a lot of understanding of just how significant wanting to know more is, even something unimportant, when you are left in the dark the way you are in the game. Most information pearls you deliver are literally completely useless to know about, but they feel personally important, especially in how finding them relates to your connection to the iterators. My primary motivation to find pearls in my first play was to spend more time with Moon. On a very real emotional level, Moon felt like my only friend in the world while I played. On a mechanical level, she does literally nothing. But Rain World manages to operate on a very emotional, even instinctual level with how it's designed. I wanted to be in her company and have something to give her. Because I am alone, and lost. So something along those lines is why I felt saddened to hear the sentiment like Rain World somehow "fails" to deliver it's "story." The purpose of the game is not to find pearls and hear about some grand narrative. At it's core, Rain World is a game that's design was inspired by nature, and it's use of history within the world relates to us as a player the way history relates to us as people. It is relayed through people reading from records created by parties with their own perspectives, and connects us abstractly to a sensation that there is more out there than our own lives. That is a feeling you have as a player, and ultimately the true story that Rain World tells is the memories you have playing it. What you did, saw, and felt. The same as how our story is that of our own lives. That is the purpose of the game.

[demodraws0606]

I'm kinda peeved off that I'm seeing a few people that have the critique that Siffrin didn't deserve their "happy ending" in the end, that he was forgiven too quickly. I'm bad about this for actually a number of reasons.

(Warning this will be long because I am irrationally passionate about this, totally not because I relate to Siffrin or anything ahahahahaha)

First, logically, Siffrin's actions definitely are not as awful as people make it out to be especially not in the context of a time loop story. The worst Siffrin has done was his actions in the Bad Touch achievement and the last loop, one being purely optional. Outside of that, any tampering Siffrin had done was purely harmless, sure it's existentially horrifying but it's not like he did any actual manipulation.

You could also argue since Siffrin was in control of the loop, they are responsible for everything that was happening but we know full well he wasn't in control literally, his emotions were in control of the loop. Considering, a whole thing in this story is how acting as though you're fine and trying to control your emotions don't work, I don't think we can make the argument Siffrin was really in control.

He only wanted to trap everyone in the timeloop when it already had destroyed his mind. I thought it was obvious it was a monkey's paws situation.

The last time loop was the breaking point of Siffrin and it's one of the things he does suffer consequences from, they do get mad at him and he does apologize. What else do you want him to do ?

The Bad Touch achievement is the only thing that could be said to be "unforgivable" but it's optional and as far as I know it's hinted that Siffrin would talk about it with Isabeau. In fact it's said that even though right now they're fine and okay, they literally say they are okay to be mad at Siffrin later.

And also, it's not taking into acount the Actual feelings of his family either. They can't remember the loops and they have their own reason to not still be mad with him, so why should they hold Siffrin accountable for feelings they don't have.

In fact, the storyline strikes the perfect balance to not have Siffrin do such horrible action that he'd actually be unforgivable but still have him do enough that it shows what the loops are doing to him but....

..it's not just logically, judging Siffrin's actions as bad/good things like that is not just what's wrong with the narrative that Siffrin should've suffered more consequences. It also goes against the narrative itself.

For me at least, ISAT is a game about mental illness but also recovery. It's not coincidental a lot of people project their own mental issues onto Siffrin, it's not just a "ahahaha they're so relatable !!", it's a genuine part of the story.

I could make an entire essay about it but that's not the point, what would a story about these themes be if the ending was just "you need to repent for the things you did during your own mental breakdown"

It may seem ridiculous after all this that they'd just forgive Siffrin after all of this, but really hasn't most of the points against Siffrin's morality been coming from Siffrin themselves.

Siffrin believed he deserved to be rejected, that he deserved the suffer, that he was disgusting. It was these belief that kept him from talking about the loop because for him, everything was his fault. Not just because he created the loop but because the desire of staying with them was the very sin he hated himself for since the beginning.

So for all that self hatred to be met with, strange acceptance. It almost seems ridiculous, and Siffrin's talk with Odile in the epilogue reinforces how almost comedic it is.

It's close to reality, isn't it ? How many times have you thought you did something completely unforgivable to someone you cared about and you were waiting for them to be furious at you, but that moment never came.

Because they just simply weren't hurt enough by what happened. And sure it was definitely a bad thing you did and they were maybe mad in the moment, but you apologized. Sure there could be more consequences for what you did but what's the point in asking for them to be more mad at you ?

Shouldn't you strive to be better than beg to be hurt for your actions ?

Do you think being hurt, being yelled at would make anything better other than just feed the voice in your head what it wants to hear ?

Weird flowery talk aside, it just doesn't fit the themes and the narrative of the story is what I'm saying. Asking for more punishement for Siffrin goes against what the story is about.

It's just like complaining that the looping mechanics are too frustrating, that's part of the package deal bb !!

Fuck the idea of "repenting by suffering through the consequences" !!! Having to deal with "blinding unrelenting forgiveness and kindness" is in !!!!