#and also it's the most important thing of all time for meta purposes.

[utilitycaster]

something I keep repeatedly realizing, and then not writing about, is how wiki summaries and meta usually end up focusing on completely different things, and not even in the sense of "your wiki summary should be as neutral and factual as possible whereas meta is inherently making an argument" nor "wiki summaries tend to focus on the story itself whereas meta on actual play frequently, though not always, incorporates analysis of mechanics" but rather "meta is, 99% of the time, about a conversation that can be summarized in a single sentence if that."

[13eyond13]

I love the way that, in addition to his origin story with his over-sized sword and the scar on his nose, the flashbacks to Guts's childhood show how much of his insane work ethic and reckless self-endangering abandonment in battle were all kinda ingrained into him by his craving for attention and approval from shitty father figure, Gambino.

Random nice mercenary guy: "Don't overexert yourself, kid. Just do what's needed. 'Cause if you die, you lose everything."

Gambino: "It's your first battle. Work hard!"

Guts: [throws himself into battle so hard he nearly dies multiple times, fixating on pleasing Gambino the entire time]

Gambino: "C'mon, hurry up! Work! Work!"

Guts: [gives Gambino his entire earnings, Gambino tosses him back a single coin]

Guts: [more motivated by this one mild bit of encouragement than anything he's ever experienced before in his life]

[mourninglamby]

god it's so nice to see your takes on things genuinely

As flawed as it is, i think dsmp is still an incredibly interesting and unique narrative about abuse, how it affects different people, and how it's spread and normalised. It's not a satisfying or clean narrative by any means, but i still think that it approaches its themes in a way that's fundamentally different than any other form of media and it's still worth it to spend time analysing it.

i don't know if the fact that actual abusers worked on it has anything to do with it (i would hazard a guess and say yes, but i digress), but oftentimes it genuinely feels like a look into the internal machinations of abusers, and i think it can make people more aware of the warning signs. and good analysis is the #1 way to actually bring that lesson to the surface, since the story wasn't written with that moral in mind but just stumbled onto it.

so, thank you for giving this smpand its story the time of day, i think that it's genuinely something that's worth doing and it's nice to see someone put themselves out there like you do (since i know how a lot of fans are), have a lovely day!

Ugh this is all worded soooo perfectly. This story is truly the most unique look into abuse and it never even used to word …….forgive the long tangent I’m about to go on but it’s important!! I know there is a bigger conversation to be had, particularly about the meta and the way Tommy played ctommy/how he interacted with the adults on the server, which greatly influenced the delivery of the abuse plotline. Tom Simons played Ctommy epistemologically, so the characters’ knowledge, for the most part, extended only as far as his did. Which created a devastating story ! Especially concerning cwilbur!

I wanna actually talk abt how the word “abuse” was never used, despite it permeating thru the entire narrative. This was on purpose of course. Tommy The Guy was 16. His outlook on abuse and the nuances of it likely weren’t developed enough for him to ever really understand what was happening to his character until it was too late. And in that vein, Clayton Ray Huff and william gold also didn’t think harder about the harm they caused not just Tommy, but everyone else they hurt irl. And I’ll never forget Tommy’s cry for justice before that HORRIBLE ending, saying in his twitch chat that “cdream drove ctommy to suicide!” Or when he told his chat they were Also being manipulated by c!dream, after his first prison visit. It’s so complicated and so difficult to talk about, but it’s absolutely necessary when the story itself never really…. Understood the topic it was portraying. The level of abuse apologism and victim blaming present in this fanbase had such an awful effect on me and my friends, and again, that was intentional. Send the audience they curated to silence any conversation that might allude to blaring red flags. BUT! I’m in a better headspace to discuss the intricacies of its harm and how it failed, and simultaneously investigate how it managed to be so Real.

As for the story being written by a handful of actual abusers … well……. It’s no wonder it ended like a punch to the throat. Absolute horse shit spun from the mouths of men who know what they are, and want to keep being that way. Wilbur thinks he can just Leave for a while and everything would go back to normal. Dream thought he could Start Over so that no ACTUAL consequences would ever reach him. They learn NOTHING because they don’t believe they have to. It’s sick. But it’s always necessary to remember when analyzing the train wreck of an ending both men concocted. Dsmp failed as damage control because they played abusers in that story too. And abusers don’t think they’ve done anything wrong. Completely incapable of introspection.

Okay I’ve talked enough lmfao but . I’m rly thankful I get to receive anons like this … I do not think I’m the smartest person by a long shot and seeing other people articulate these thoughts and introduce me to new things has been very healing and validating. It’s much better than the ppl who would flat out deny it or harass me lol.

[rosyandraw]

idk if this is redundant on your end but thoughts on Damen needing to talk during sex? in the books it isn’t even dirty talk it’s just endless want for Laurent and how long he’s been waiting for him and how different Laurent feels. Also in canon & in ur own writing

Definitely not redundant! You have just knocked on the Damen Character Study door in my head lmao but it's late and idk how much sense this will make so i'm sorry in advance.

Mini meta on Why Damen Likes to Talk During Sex in Canon

First and foremost words are hugely important to Damen, not just during sex but in general. It is part of the reason that Vere trips him up so badly, why he just doesn’t get it. Because Vere is a veil of word play and innuendo, it’s double speak and flowery bullshit and lies.

That’s not Damen. His word is his bond, it’s tied to his honour and they mean a great deal to him. He never says anything he doesn’t mean. Ever. If it’s coming out of his mouth he is saying that shit with his whole damn chest and doesn't give a fuck.

The few times he is forced to lie or to say something he doesn’t mean he says it as a strategy play but it barely makes it out of his mouth and he hates it.

For a long time by the time they get to Ravenel Damen has been playing a part. Living a half truth and not saying everything he means. Or wants to say.

Likewise, in Akielos, Damen keeps himself held back. We know this because in 3 books, despite being the darling crown prince and heroic military leader, he mentions 1 person by name that he is actually and genuinely close to. One. He’s never been in love with anyone before Laurent, he doesn’t get close, he doesn’t get particularly attached. If he did Jokaste would have been a Princess and not just his mistress.

It speaks of a whole heap of childhood trauma and issues, thanks in large part to his father and Kastor and this picture that is painted of strength in Akielos being The Most Important Thing. (And i have too many thoughts on said implied trauma to write it all out properly here because it's an essay unto itself.)

We also know that Damen does the talking thing with Jokaste too. So we know it's an indicator of intimacy in bed for him. He's certainly not doing it in Vask, for example. Because Damen values words so highly he does wear his heart on his sleeve, but he guards that heart close. Sharing his feelings becomes something then tied to both the value Damen places on words and the lack of emotional intimacy in his life. To Damen, opening up like that especially during sex, is an act of giving unto its self.

Damen is strong, yes. Crazy strong and the perfect warrior. But he also likes the wordy sad poems and has craved approval (and affection) from his father and Kastor seemingly most of his life. For example, Kastor stabbed him and made Damen believe with words that it was a good thing because it meant Kastor respected him enough to fight him like a man.

It’s the perfect anecdote to draw all of those ideas together. Damen being happy about being stabbed at 13 by his brother because Kastor said it was a good thing to be strong enough to fight properly and bear the consequences.

Words matter to Damen, he assumes they do to other people too. It's what nearly gets him killed.

It’s funny really, because Damen values words but he himself is a man of action and Laurent values action but is a man of words.

When it comes to sex we see them swap places from their usual dynamic and therein lies the intimacy.

Laurent acts and Damen talks. It’s a complete role reversal and it was always meant to be. Pacat has said, several times, that Laurent tops Damen with words all the time and it was a purposeful choice to have Laurent bottom because of this. So to follow that through to it's logical conclusion for the sex scenes to really hit we needed to see them swap places completely and Damen needed to talk.

Laurent is a mouthy little shit but when it comes to his important scenes (the building of their intimacy and their sex scenes) it's never his words that he's speaking loudest with. Like when he just hugged Damen after the meeting with Jokaste in KR or when he went to get ice for him in PG, it's an offering in place of words and Laurent does it frequently: letting his actions speak louder than any of his words because to Laurent words don't really matter, lies are too easy. He's been taken in by words before.

Damen gets to Laurent through his actions and it's Laurent's moments of honesty, of saying something unexpected, that make Damen really pay attention. This isn't to say that Laurent's actions don't get to him, they do of course, but only really when Damen comes to realise that's how Laurent is being honest. Likewise in reverse for Laurent.

It's the language the other understands that allows the distance to bridge, but the intimacy comes in the opposite every time.

So when they fall into bed Laurent instigates with action, all three times they are together. And Damen talks. Because it’s the thing that is important to them that they are willingly giving and sharing and that is what makes it intimate.  

Quite simply, Damen holds himself back emotionally so talking during sex like that is a way for Damen to let go and to let his partner know that's it not just sex. Laurent, in reverse, shows his want through the instigation and by the time it happens they both know what it means: Laurent never does that and Damen knows it. Laurent knows Damen says what he fucking means.

It's such an intimate sex scene because of that awareness.

In my writing I kind of try to take that and run with it. Damen says what he means and what he wants Laurent to hear, because words of affirmation are important to him personally so he makes sure to share that.

Plus, it’s just sexy, you know? Got to love a man who talks in bed, that sex rough voice when he’s so far gone you know what his saying is just the shit flying through his head?

Hot.

Loved this ask so much. I could literally write a thesis on Damen lmao

[buckgettingstruck]

here to ask about the camera panning to eddie. give me the freak answer pls

when i saw that shit airing i yelled and spilled wine on my carpet.

like. i feel like this is common sense but i dont know if people realize how intentional each second of a show/movie is. like whether the show is a silly sitcom or a serious drama everything is so intentional and purposeful. of course theres always continuity errors and mistakes that happen when you’re creating a show of that size thats been running for so long but for the most part everything has its intentions. its why you see certain themes come back again and again. im not gonna get into outfit meta or anything like that because its not really my wheelhouse but i did learn a lot about camera techniques and im a writer so. yeah.

shots are one of the most important aspects of a movie or a tv show. they set the mood. close up shots convey intensity and emotion while more wide shots establish a scene etc. they gave us a lot of close up shots of eddie’s face in the kim and eddie scene at the end of 7x09 because it was an intense moment for eddie as a character for example. you have to get the shot right to convey what you want your audience to see yknow.

so. you have the medal ceremony. they couldve done the announcements for these people in literally any order because they fucking wrote the script. they didnt do it alphabetically or anything normal they literally had the trio of triangulated desire standing in the back with buck in the middle AGAIN while chim and hen were being normal and serving cunt up front. and when they were sitting they had buck in the middle again because reasons. then once they got their medals itd pan to their families and significant others clapping. ofc for tommy they pan to buck because thats the person there supporting him. for BUCK they had so many options. they had bobby, his captain that he verbally said was his father figure the next episode, they had maddie, his fucking SISTER AND THE WOMAN WHO RAISED HIM, and they had tommy, the dude he’s dating. instead they pan to eddie.

literally that is the absolute LOUDEST fucking thing the show has done so far in my opinion. they panned to buck for tommy!!! they couldve panned back to buck or done it in a different order if they didnt wanna repeat so they could pan to them for each other!!! but they panned to eddie and the director of photography was even emphasizing that choice on twitter.

the entire bi arc had eddie written all over it. they had so many opportunities to shove their relationship to the side and double down on their friendship but they didnt. instead we had buck tweaking at the gym where we have no idea who eddie was even talking to on that phone, eddie constantly mentioned by buck in a kiss scene with someone else, the line of all time ‘MY attention?’, eddie interrupting the date next episode, buck not even giving a FUCK about the date because he lied to eddie, the shit maddie said that episode about being confused about his feelings, eddie saying nothing is gonna change between them (which. thats a chekov’s gun if ive ever seen one), and all the entire shit with the bachelor party. not even mentioning the implications of the song choice for the karaoke scene that paralleled madney because we didnt get it in the episode. they couldve completely avoided all of that but they didnt and then when buck is dating someone else they dont pan to HIM being happy and supportive for buck, they pan to EDDIE. it feels as if its supposed to remind us what’s actually going on or another attempt to clue us in

also like right after they had the two who were dating acting as acquaintances. and had that guy also kinda put buck’s excitement down at said ceremony. and later in that episode had buck ditch plans with the guy he was dating to make sure eddie was okay. for reasons i guess. so buddie canon or theyre doing a real bad job at getting me to care about bucks actual man

[lover-of-mine]

Welcome to Anna writes another color meta because she's losing her mind.

I made half this point before, but season 7 has more evidence, so I'm gonna make it again, just stay with me. Buck wears a lot of red, right? Staple color for him.

And, well, the coma dream has many elements that make it uncomfortable even if we don't fully realize it, one of them is the way that Buck is wearing green.

(something else is the way he's wearing black vans when he usually wears white hightops, but that's not important right now, but 911 costume department, I worship you)

Why is the green part relevant? Well, red and green are complementary colors, that means they are on opposite sides of the color wheel, and the whole thing with complementary colors is to create contrast. So, since he's usually on this part of the color wheel, the green stands out, even if we don't fully register why.

But the thing is, they put Buck in green when something is wrong. The coma dream, yeah, but the talk with Ali that leads to the breakup, the whole thing with taking Red to see Cindy that completely backfires, and subsequently the conversation with Maddie about being the one who gets left behind, telling Taylor he cheated, talking to Eddie about how he's avoiding Taylor after the Jonah thing, breaking up with Taylor, the cemetery scene, the gym scene in 705.

Those are all scenes where something is wrong, Ali doesn't understand who he is, the whole thing with Red is Buck deciding to do the wrong thing over his idea of what Red needs, the Taylor arc is very self-explanatory, the cemetery feels like he's trying to convince himself of what he's saying a lot more than it sounds like that's something he actually believes, the gym scene he's stressed because he lied to Eddie, it's all at least Buck doing misguided stuff. I feel like at this point, it is very clear that they put Buck in green for this purpose. If Buck is in green, something is most likely wrong.

So, Buck has a something is wrong color. During season 7, I offered the possibility of the show using maroon with Eddie for a similar purpose. But where Buck is about doing misguided stuff most of the time, Eddie is about lying. In a sense.

Eddie's color palette is very earthy. I don't wanna say green is as much of a staple color for him as red is for Buck, but he is usually in army colors, he does wear his fair share of green, greyish-green stuff, it's enough to make sense to some degree if they use maroon to say something is wrong in a direct parallel of what they do with Buck, just going the other way.

But why the maroon during season 7? He's wearing maroon while daydreaming about an idealized Shannon and during the date with Kim. Both situations involve lying to himself, Buck, or whatever. There's also the maroon when Chris leaves. He's not lying, but to say he's pretending to be okay with the situation because it is what Chris wants is not that much of a stretch.

But, I just noticed this dude is wearing maroon when Lena takes him to the first fight, which triggers something dangerous for him. So now we're talking. We have bad shit happening to him and bad shit being triggered by him while he's in maroon.

It opens up a lot in the possibility of them using red in this way for him in other scenes he's wearing reddish stuff. First date with Ana, the nondate with Vanessa, the 612 talk, and I'm gonna throw in the Carla thing too because I need another screenshot lol

Granted, as long as the show doesn't come right out and say Eddie is gay or Eddie was lying about remembering the shooting, these are just speculation and wishful thinking for the most part, but Eddie is peer pressured into the relationship with Ana and ends up admitting he liked the idea of them more than he liked her, so lying to himself, and the Vanessa one, he just plain doesn't want to be there and is agreeing to lie to Pepa so, it's a stretch but ¯\_(ツ)_/¯ the Carla thing, Eddie is at least hiding the Shannon of it all and he was lied to to get there, and while Buck does offer him the answer to a problem that scene, it is a problem he was struggling a lot with and pretending he had it under control. And I will live in a land where Eddie has been aware of his feelings since the shooting and it is lying to Buck about not remembering until the show explicitly proves me wrong, so in my head he is lying to Buck in 612. I'm not nearly as confident on this one as I am with the green and Buck when it comes to the whole show, but at least during s7, they did use it like that, and considering the way he was mostly in black or white during s7, the maroon has to mean something.

Now that we got that out of the way. Why am I telling you all this? It is not just because I think this is yet another way the show makes Buck and Eddie exist as mirrors of each other. It is because of the bachelor party.

Because Buck is in mint green and Eddie is in baby pink.

Buck is absolutely being misguided about what Chim actually wants during this, but I have no idea what Eddie would be lying about though. The interesting thing is that Buck loses the green and Eddie has the darker pink quite literally ripped out of him. Which is an interesting choice all things considered. And they get back to it once we find out Chim is missing.

This is pure speculation that even made me write a fic (self-promo if you feel like reading a confrontation about them almost kissing at the party), but the thing is, everyone involved in this damn show talked too much about this bachelor party for it to be a minute long montage with no lasting consequences and me to feel satisfied with it (rip karaoke scene you will always be wanted). Especially considering with the way we know the episode was actually 2 episodes long and they had to trim everything down (the fact that they tried to shove 18 episodes worth of plot into 10 is gonna make me mad forever, it was a reduced season, make a reduced season) and the ideal world madney's wedding would've been the 2 episode event it deserved to be and we would've gotten more. Do I think the show wanted something to actually happen between them, like a full-blown kiss? No. Do I think a "we are drunk and getting too close" situation was completely plausible? Yes. I mean, Buck was practically pulling Eddie to his lap. And it's not like this is something that can't come back to if they feel like it. Sudden triggers making them remember shit is a perfectly acceptable way to add some tension, push some realizations.

I don't know why, but Buck wearing green there will forever bother me. And with the added layer of Eddie and the maroon, I feel like there has to have a point for that particular costume besides making me want to make The Fairly OddParents jokes.

If we wanna go full conspiracy theory, considering the way the early renewal changed the way they dealt with 7b, I wouldn't be surprised if that party was going to trigger something and they decided against it. We'll never know unless they come back to it, but, nice to think about.

As always, if you read this, I love you.

Other color metas if you like my brand of crazy: blue and green masterpost, red and blue post, blue and yellow theory part one and part two.

[shadowboxmind]

Maybe a hot take, but I don't think the Traveler was being inconsistent or out of character in the last archon quest at all. People are getting upset at their reaction to Lyney and Lynette's behavior from the perspective of players, with meta knowledge of the story that the Traveler, the character, doesn't have.

The players know, for example, that because they're playable characters, Lyney and Lynette are ultimately friendly and on "our" side, and we can also trust that what they told us about their backstory is true. The Traveler does not have that knowledge.

TO BE CLEAR this post is talking about my thoughts on the TRAVELER'S thought process. If we want to talk about how I personally would have reacted to the situation, I'm an overly trusting bleeding-heart who would absolutely get scammed and probably murdered by Fatui in this universe.

(Also characters, even main characters who you normally like, can do things you disagree with and that doesn't mean they're badly written. I mean, sometimes they are, but I don't think that's true in this particular case)

But think about it! Looking at the entire situation from an in-universe, in-character POV, it's a really bad look for Lyney and Lynette overall, because here are the facts as the Traveler is aware of them:

Lyney and Lynette are not only members of the Fatui, the primary antagonistic force in this story, but are specifically members of the House of the Hearth, which is known to specialize in espionage, subterfuge, and sabotage.

Both of them also work in a field that would further require them to be masters of misdirection, audience manipulation, and drama.

They "coincidentally" ran into the Traveler right as they arrived in Fontaine and immediately began to do them favors and be very friendly, including saving them from Furina, bringing them to meet their family, and gifting them VIP tickets to Lyney's show.

During the trial, the twins withheld key information, and not just about their identities (and listen, I get it, I fully empathize with why they did it, I get the reasoning, but it's still a bad look when it gets figured out) but also about what they were doing in the tunnel.

They admitted that the entire magic show was a ruse to do, guess what? espionage! To break into the room with the Oratrice's core and find out how it works. To, through subterfuge, obtain Fontaine's secrets about the nation's most important mechanism and central source of power.

The Traveler has known these people for like, a day total.

So what conclusions might the Traveler draw from these facts? When the evidence shows that Lyney and Lynette have a record of misdirection and obfuscation for their own ends? When the Traveler has no way of knowing if even their initial meeting was orchestrated for an ulterior purpose? How are they supposed to know if the tragic backstory is even true, or if that's just Lyney trying to win back some favor and sympathy? In my opinion, at that moment, they don't. Hence the coldness.

My interpretation of events is that the Traveler does like the twins, and wanted to keep liking them, but was struggling to reconcile their initial impression of two friendly magicians with the realization that these two friendly magicians were dishonest with them for most of the time they'd known each other, so they needed to have some space to figure that out.

And for those saying the Traveler is inconsistent, here's the thing: they still helped Lyney. They still acted as his attorney, investigated thoroughly, won the case, and cleared his name. They've done similar for other Fatui members in their acquaintance—they helped Childe with Teucer, they helped Scaramouche/Wanderer with getting his memories back, they helped that other member of the House of the Hearth fake her death and escape the organization—whether or not they fully trusted them, and generally they didn't.

As for the Traveler's supposed hypocrisy, my view of their relationship with Childe is that it's only improved because, despite Childe trying to nuke Liyue in the past, the Traveler knows that

a. They can handle him if it comes down to a fight again; b. He likes them, regardless of if the feeling is mutual or not, and is indeed aggressively friendly to the point where it's easier to just be civil; c. Childe is generally upfront and honest about his actions and will strike from the front, not stab them in the back; and d. He's worked together with them before when they had a common goal (for example, the labyrinth they went through with Xinyan).

They know how his mind works and what motivates him. Childe is a known quantity, the twins are not, and it took in-story time and shared experiences for the Traveler to get to even this point of neutrality; they were openly suspicious of him during his story quest.

As for holding his Vision for him, the Traveler didn't exactly volunteer for the job, Childe literally threw it at them with no warning and peaced out. What do you expect them to do, drop it in the sea? That would be inconsistent with their characterization.

Wanderer's whole situation is even weirder, since the Traveler was able to experience his actual memories and emotions and therefore has good reason to trust that he's had a genuine change of heart. Not to mention that they're not friends, I'd argue they're in that same nebulous "neutral" zone, and that only because Nahida usually functions as a buffer (and also because, again, the Traveler knows that they can handle Wanderer in a fight, and Wanderer also tends to be blunt and honest).

Also, in Lyney's story quest it seems like everyone got over their problems pretty fast and they're all chummy now, so you can all rest easy that the twins' feelings weren't too hurt about it.

Anyways if you disagree go ham, refute my points, whatever, just keep things civil.

[fancifulplaguerat]

I’m so not normal about this

The way that Artemy tries to make Daniil feel better despite not caring solely because Daniil is upset, the “you are also better-crafted than me” like Artemy is telling him not to think of himself as some worthless unloved doll because look at yourself, you’re so much more than that; just that last line the compassion the kindness in it I cannot stand this. I’m not even that into Burakhovsky in canon but this is the most romantic thing I’ve ever witnessed in my life (←light hyperbole) 

I’ve gotten too desensitized to the doll ending that I forget what a gut punch it is. That line “Strangely, there is still not a word to be heard from the Powers That Be. Perhaps they became bored of it all... or were called back home for supper” plain devastates me. Just the futility of it all, how pointless all the characters’ suffering was, in particular the healers’. Though I enjoy the theatre-framing in Patho 2, the ‘children’s game’ meta in Patho Classic gets under my skin far more, as there’s some ‘purpose’ in Artemy/Daniil/Clara suffering onstage, playing their roles for an audience. While Patho 2 implies futility with the ‘you aren’t important, you can be recast,’ that idea of ‘you are not important, and everything you did meant nothing’ hits me harder in the game framing because the healers aren’t even worth being replaced. Everything is just some kids’ make-believe that can be tossed aside when they get bored or are called away. 

But I fucking love “The Powers That Be” concept because it’s so perfectly ominous and vague. Could be anything, likely the government, but sike actually it’s two children who orchestrated your entire living nightmare. I love the subtle references to them throughout the game, too, such as a plague victim telling Daniil “I keep hearing children’s voices... the girls are crying, and the boy is laughing... We mustn’t scare them...” or Aspity asking, “Pit-a-pat, pit-a-pat... Can you hear the kids running around?” And granted this might not truly be about The Powers That Be, but it certainly feels like it could be. Or the foreshadowing on Day 1 of the Bachelor Route when Daniil asks the kids, “How did it even cross your mind... to play epidemic!” And Clara directly references them when she goes underground with Artemy, warning him to talk as little as possible so “they who are beyond the wall won’t hear you.” 

She elaborates: 

“I can only feel them. They are obscure. They are the ones in charge of everything here. They’re big but narrow-souled, trying to hide their wretchedness from us. It was all their doing. They haven’t revealed themselves yet. [...] Their time hasn't come yet. They are waiting in the wings. They will probably break into the world when it ends. Tomorrow they will show themselves...” 

I highly enjoy Measly and Thrush’s presence being all over the game unbeknownst to the player and characters (excluding Clara). 

And it creates even more futility to me because there’s no catharsis of just anger against some cruel puppet-master, like I can’t be angry with these children who are just playing. Especially how they ask, “Heal the town, please! Just look, it’s so wonderful... It’s alive and it’s our favorite one... We won’t be able to make another one like this. If it can’t be helped, then it will disappear forever. You know how much we love it?” They’re just kids who want you to save something that they love; even if they can be devious they don’t really have malicious intentions. But even their fears about losing their town aren’t real and I’m just going to go outside and start eating handfuls of dirt 

[sevensoulmates]

Season 7 Press Article Buddie Analysis

Okay I don't usually write meta/spec on press runs/articles but I found these super fascinating today, especially in comparison to how the showrunners (including Tim himself) and the actors have spoken about their arcs in the past.

First I want to say that in these interviews the goal is never actually to give the audience any important information but rather to tease, and purposely be as vague as possible. So most of what they're saying will likely have double meanings and all of them are being extremely careful with the words they choose to say. Now with that out of the way in the first EW article (linked here), I found several things extremely interesting.

Calling Marisol Eddie's "Hardware store flirtation". It's so funny to me, for one, but it's also interesting that that's all she's reduced to. A flirtation. I know that was really all they were in the last season, but we know Marisol's involved (likely minorly) in at least 2 episodes out of the first 5. Natalia on the other hand is for the most part understood to not be coming back (I would honestly be surprised given the actress is in NYC). But what's even more interesting is that Marisol is not mentioned anywhere else in either of these articles, meanwhile Oliver WAS asked about Natalia. So, I want people to keep in mind that in whatever way Marisol IS a part of this season, I SEVERELY doubt she's making it past the finale.

2. This answer about Natalia is your typical non-answer but to me, it's basically a confirmation she isn't coming back, which lends a tad bit more credibility to Tommy potentially stepping in as a LI for Buck (fingers crossed).

3. Buck is apparently called in to help talk to Christopher about dating women. Do I even really have to talk about how weird this sounds? Eddie had a whole WIFE? He dated Ana for many many months. He's currently dating hardware store flirtation Marisol right now. And yet, Ryan is claiming that Eddie feels like he doesn't know how to talk to his son about women? Enough so that he calls Buck to help? Talking to your kid about dating is a new avenue yes, but why are we acting like Eddie has never been with a woman before? Like I know last season in particular emphasized that Eddie isn't the best when it comes to dating but like ??? I swear to GOD y'all it's giving such severe compulsory heterosexuality. Eddie, my man, I hope this is indicative of where your story is going this season because it's been heading this way for many many many years. Separately, I also find the lack of mention of Shannon very interesting as well.

4. Which brings me to this part. The whole family dynamic aside...Buck's romantic relationships have been severely questionable at best the entire show. Before Abby, it's canon that all Buck did was sleep around a lot, which doesn't seem like something you wanna tell a young teen dating for the first time. So what's he gonna talk about? How women flee him? As I saw someone else say on the timeline "are the successful relationships in the room with us"? This is especially odd if the spec is true and he and Natalia broke up off-screen prior to the start of the season. Eddie, you just saw Buck have yet another failed relationship with woman #4 and your thought is that HE'S the one best suited to talk to your son? These two men are so queer and so dumb, but their hearts are in the right place.

Okay, moving on to EW article #2 linked here. Here I'm shifting a little bit more to Tim Minear, and what he's said before in the past as showrunner about Buck, Eddie, the buddifer dynamic and the buddie ship.

I have a love-hate relationship with Tim. On one hand, I think he's a far better showrunner than Kristen (for OG 911, 911 Lonestar does and always will suck ass). But on the other hand, I remember some of the things he said back when season 2 was airing. It's part of the reason why I can't take things like "he's so cute. he gets that a lot" or "does this boycrush on eddie mean you're over abby" or "you two have an adorable son" or any Big Buddie fanservice line in season 2 seriously or as any definitive proof of anything. Tim has openly admitted most of those were in season 2 to throw shippers a bone. Not to be taken seriously. And that didn't sit right with me. Very obviously, there was a shift in season 3 and no longer was buddie and shippers the butt of the joke. Season 3 is when I genuinely think the writers and Tim shifted from "haha this is funny" to "oh wait, maybe there IS something here" and obviously The Powers That Be (Fox) had some control over whether or not that happened and is honestly why I think it didn't happen in season 5 or 6 where it realistically could've fit very well after s4.

So firstly, please take everything I say with a grain of salt because Tim is a Known Liar and Word Twister and is very VERY good at saying a lot while absolutely saying nothing at all.

5. So...I find what he says in this article interesting because it's not in the first article. First, his word choice is very interesting. Using both "friendship" and "coupling" in the same sentence, which have two different connotations. Secondly, he says that "at their core" their relationship is about their friendship. When something is the core of something else, that doesn't mean that's all there is. The core may be the essence, or the foundation, or the glue of something. But it is something that is BUILT UPON, something that extends past the core. To me, it means that while the core of buddie's relationship is their friendship, their relationship encompasses much more than that. It's like those successful old married couples who say the key to being married happily for 50+ years is that "we're still best friends" or that "the key to a successful romantic relationship is having that foundation of strong friendship" etc. Now, I'm not SAYING this means canon buddie, but I just find it interesting that this is how Tim chose to describe them this time around. To me, that says Tim is very much aware that there's far more to be explored in their relationship than just their friendship. Whether that means far more buddifer family arcs, or an actual real exploration of Buck and Eddie as a romantic couple, I'm very excited to see where it goes.

[browniboxx]

Here is my official submission for the @kirbyoctournament

Sir Chip!

Lore under the cut :3 (it's a lot)

Sir Chip Sweet (outside of KPP business known as Prince Chip) is the first born son of the princess of Kandyland, Sugaree Sweet. He was made with her life-bringing powers so he has no father. He was made specifically for his role as the kingdom's protector and leader of the KPP. He was also the first cookie ever designed for Kandyland and used as a loose blueprint for any other cookies. He grew up alongside the other members of the KPP and Lady Kandi Sugarose's twin brother, Taffee. Taffee was his best friend.

The most important day in his lore is his 10th birthday. During his party, he wanders off into the garden to play with a marshmallow rabbit. While playing with the animal, it jumps on him. That startles him and he accidently explodes it. (There was Life Sugar, their equivalent of blood, amd guts everywhere. Not a good thing for a 10 year old to see) Crying, he runs to his mother and grandfather and informs them of the situation. Surprisingly, The Confection King sees this as great news.

Thus, Chip's training begins. Using Candees as test subjects, The Confection King teaches Chip how to focus his power. Also, how to suppress it. Due to his power being closely tied to his emotions, suppressing the power ment suppressing his feelings. In a few months, Chip was handling executions at Kandy Castle.

Second important moment. Kandyland gets involved in a war. (How it started isn't important for the purposes of this post) Naturally, as the planet's Guardians, the KPP was on the front lines. And, wanting to help his sister, his best friend, and his girlfriend (who was Sundaie Skoopz), so was Taffee. After quite a bloody battle, Taffee suffered a major injury and tragically died at the ripe age of 18. This took quite the toll on everyone close to him. And, after the funeral, Sir Chip cried for the first time in 9 years.

Naturally, the death of his best friend sent him into a deep depression. This partnered with The Confection King's constant demands caused Sir Chip to suffer a mental breakdown which, due to his explosive abilities, stopped his heart. Luckily, his mother, with the help of her father, was able to save him. During his recovery, he was very often visited by Lady Kandi Sugarose. Under the pretense of "checking on her brother's friend." During this time, the two began to grow quite close and, in the following years, began a romantic relationship.

One day, The Confection King asks Chip to do some research on the (somewhat) legendary warrior Kirby. During his work, he learns about many others. Such as Galacta Knight, who the Confection King mentioned knowing before. But no one fascinated him as much as one.

That one was Meta Knight.

Meta Knight fascinated him. He always managed to remain somewhat illusive despite being so well known. One could say he became Meta Knight’s biggest fan.

This brings us to the Kandyland series. Being a fan of Meta Knight's, he was eager to take up an opportunity to duel him. However, Kirby ended up being his main issue. After being bested in combat, he very well expected to be killed.

But Kirby didn't kill him.

No, Kirby merely fixed Chip's wing and sent him to the infirmary. Kirby was something Sir Chip wasn't used to from an opponent.

He was merciful.

This brings us to post-Kandyland.

Kirby became quite good friends with the Sweet Family, including Chip. Being friends with Kirby also isn't anything Chip is used to. He doesn't do well with children due to his constant fear of hurting them. But he can't accidentally hurt Kirby. He enjoys the boy's company, though, Kirby always has a lot of energy. Being friends with Kirby also allowed to meet a lot of other people and get closer to Meta Knight.

Most recently, Sir Chip proposed to Lady Sugarose. Also making the couple's relationship public.

(That's all I've got lol)

[billpottsismygf]

The Devil's Chord! This was my most highly anticipated episode of the series because of The Beatles - who I'm very nostalgic for, sue me - but they had a much smaller part than I expected. That may be for the best, as the actors don't look anything like the real deal, but they did an admirable job considering the circumstances.

I love the idea behind this one. I'm a musician myself and love things about music. Music being important, music being holy, I love it all. Everything from Maestro playing us into the theme tune, to the way it aligns with the characters' established personalities (the Doctor's jukebox and Ruby's band), made me very happy. The music battle was especially cool. Very The Devil Went Down to Georgia. Out there, but I liked it a lot.

Maestro was also a lot. I liked them, though. Great costumes, great performance. A campy villain in the best way. They're the Toymaker's child, which is interesting in itself, and I like that the rules around fair play seemed to extend to them as well.

There was a lot of series arc stuff here. So, Ruby has Carol of the Bells deeply ingrained within her. There was some important figure (another of the Pantheon, presumably) at her birth - is Ruby herself a child of the Pantheon? More snow, as well. There's also the One Who Waits coming up again. It all feels a little too self-conscious and crammed in - "remember, there's pay-off coming for these random mysteries that you have no context for!". I know we live in an era of heavily serialised media, in large part because of streaming and the binge model, and obviously Doctor Who has been semi-serialised since the revival, but it just seems like a lot. Maybe even too much, especially since the first episode was quite heavy with it too.

Although, I did wonder if this one was meant to be later in the series. First Ruby saying "you never hide" and then "you always know what to do" signaled a far longer association with the Doctor than she has had, but then it was especially jarring when she said it was hard to keep track of when her time is and it could be June or July... That sounds like someone who's been travelling with the Doctor for a while, not like someone who's on their second trip. And it was Christmas for her only last episode. Obviously there can be off-screen trips, but usually for the first couple of episodes we want to feel that this is the start of their journey as the audience gets to know them. Did this get plucked from later in the series and dropped into the episode 2 slot? Because it seems a bit of a shame, if so.

There was a lot of fourth wall breaking in this one as well. There was a wink to camera each from Maestro and the Doctor, as well as the Doctor's comment about thinking the music was non-diegetic (a nice little moment that probably a lot of people will miss). I do quite like a meta moment, and particularly loved the Twelfth Doctor's partaking in them, but I wonder if these serve a particular purpose, because we also had Mrs Flood talking to camera at the end of the Christmas special. Since RTD seems to be going with a theme that the rules of the universe have changed and become a bit more magical, I wouldn't be surprised if the meta elements tied in somehow.

Then, this is less meta and more fully surreal, but that whole ending musical number was... odd. I don't know what I think about it yet. The Doctor with his wink and "there's always a twist at the end" seemed to signal that we were leaving the normal reality of the show, but then... Did that musical number literally happen? How about the Abbey Road zebra crossing acting like a piano? It's part of my specific brand of autism that I struggle with surreal things when it's not clear how/whether they relate to the more realistic things going on, so maybe other people love it. It just made me feel confused, though, and slightly annoyed. I expected a musical number because the trailers showing this made that fairly clear, but I'd assumed it would be explicitly connected to the strange happenings of the episode. Instead it's just plonked at the end after everything has been fixed.

A lot of this latter stuff sounds quite negative, but overall I really liked this one! As I said before, the music stuff speaks to me personally very much, and I'll withhold final judgement about the serialisation stuff and even the meta/surreal stuff, as it may well pay off yet.

Small things

Love their outfits so much, and obviously we've known about them for a while, but it was funny they were worried about blending in when both of them (especially Ruby) were wearing pretty 60s adjacent outfits at the start. The Doctor was more 70s, but I don't think many people would have looked askance.

Ahhhh, Fifteen mentioning that One was in the junkyard made me exceedingly happy! The speculation about what happened to Susan also has me hoping beyond hope that this might be set-up for a Susan return.

I loved that extended instrumental scene where Ruby just played on the rooftop and people listened. It was quite moving!

Love hearing the word "lesbians" on Doctor Who <3 - I don't think even Bill explicitly got to use that word!

Just the general queerness is really nice. Ruby writing a song for her friend's gay break up. Maestro being they/them and it not really being a thing beyond their introduction. Ruby's mum having a "girlfriend" who was a Beatles fan that makes me wonder if that's in the platonic or gay sense.

I want to know the behind the scenes details of how they chose the music they did, especially when it comes to the chords that both summon and banish Maestro.

Henry the child is real and alive at the end! (Though it's during the musical number, so I guess real is dubious.) When he vanished into nothingness (and his music teacher didn't seem to care), I had thought he wasn't real. Does he have his own world-ending powers?

The Doctor referring to bigeneration as having had his soul "torn in half". Hmm, don't like that! I won't rehash my feelings on bigeneration here, but this implies that there is not continuity between the end of Fourteen and the start of Fifteen, which mucks up one of the only ways I could hold onto being just about okay with it.

[mspopstar]

Welcome to the MS Pop Star Ask Blog!

This is a ask blog for the various titular characters of Dream Land in a loose yet-simple mspaint style.

“The setting takes place in a continuous consistent 'after' the most recent game release. This setting takes place in a modified mix of the Game-verse and Novel-verse. Almost everyone from the games are here to answer questuons and by everyone, I mean everyone. (i.e. Galacta Knight and President Max Profit Haltmann) The dead are now alive, though possibly not well. Not necessarily in Dream Land though. So come, come and send some asks to this 923kb land!”

Keep Reading For More Information

Questions will be answered directly by a character while others will be treated as a prompt. Note, this askblog is more gag-ish in nature than anything so not everything depicted is my honest and true interpretation and head-canon of a character or thing. A lot of it has exaggerations for the sake of humor.

Rules

Please be sure to follow these!

Please keep your questions Kirby related unless it's a direct question to the mod of this here ask blog.

No NSFW or gore related questions. There may be violence depicted on this blog but it will never be anything serious. NSFW will never be allowed on this blog. Even if shipping comes into play or if you direct the question at a adult character such as Meta Knight, Kirby, Susie, or Taranza.

I do not have intentions to have pairings be apart of the general universe at the current moment. While shipping isn't forbidden on this blog, please do not get your hopes up for certain pairings to appear or get upset if a pairing you dislike does appear. Shipping will be a option once I've reach enough asks answered and even then, it will be a poll whether such content will even occur on this blog.

No spamming. If you ask a question once, only ask it once. If you spam a question it will not be answered and I will delete it.

Please be patient! I made this blog out of my love of Kirby, to creatively think more, and to draw more often for myself and others! I may not get to every question as quick as you'd like.

No OC related asks. This is a mostly canon focused blog. I also worry about accidentally portraying an OC incorrectly and offending others because of it so I want to put it out there I do not accept asks with OCs in them. If you want a specific interaction and want to actively interact with the characters yourself, such asks will be done using "Anon Waddle Dee".

Any and all images on this blog are free to share and use for non-commercial purposes. Meaning, it's fine to share this art, use it, if you want to put my art on a shirt for personal use that is fine too!

If you have any questions, concerns, or you just want to chat please go shoot me a message at @capicola323427

META AND WORLD-BUILDING INFORMATION

This is just general information about the ask blog's universe! This can update so check back every now and then!

Pop Star and other planets are interconnected in various ways for communication and importing/exporting of goods, through differing levels of technology and means.

Some planets are barren and underdeveloped, such as Planet Floria. Other planets are booming giga-cities like Planet Mecheye.

Technological developments depend on the planet and what is imported from other planets, however, Pop Star generally technology up to a rudimentary working internet but not everyone uses it.

"World Ending" characters like Dark Matter or Fecto Elfilis are able to be asked asks, but it isn't like they're free to walk about. Like Zero & Dark Matter are biding time in the recesses of a barren planet on the outskirts of Gamble Galaxy! I will try my best to create a reasonable explanation for those sorts of things if asked, so please be patient!

Not every character is at Pop Star, Dream Land!

[parentsday]

i think david was a lot more like max as a kid but he softened the story he told to max nikki and neil in the car

thank you for the ask anon !! for your reference reading this made me grimace in a way that a wounded dog would upon seeing a piece of meat !! but seriously this is a topic that is very important to my personal and possibly general understanding of these two characters, so im just gonna say that i agree with you and such interpretation of david’s character is very easy to call accurate to canon as both david and max are written with obvious intent to be seen as parallels of one another, more so than they are written to be character foils.

max and david are set to be read as opposites in the show from the very start and i think this is also the easiest and safest way to perceive both of their characters if this shows meta doesn’t interest you. their standpoints and life views are seemingly removed as far away from each other as humanly possible and we are reminded of it more than necessary in the earlier content. the show tries really hard to make it look like david is an inherently good person put against max’s necessary evil, so it seems only right to view them this way. and yet the first two seasons of the show do a spectacular job at showing us that david is not at all as good of a person as he tries to be (not tries to appear, but tries to be, important bc first one is max’s perspective on david’s person while the second one is a description actually accurate to him). early seasons david is undeniably selfish and just as much of an asshole as max is, keep in mind that this is not my personal view on his character but a fact in canon that we are reminded of time and time again and is also something that gets lampshaded by the writers during the parents day episode. he pushes his positive perspective of the way things should be just as hard as max pushes his negative one, if not more, he behaves in his own personal interests instead of interests of others or the interests of camp constantly and guess who is the only other character in the show who does this just as often (the answer is max). the only reason why it’s not always easy to pin point this stuff is because they are constantly posed in situations that require them to act dissimilarly enough for it to create a contrast which isn’t always easy to pick up on as something intentionally vague and done for specific narrative purpose. this similarity extends onto the fact that they are both victims of abuse and the show is well aware of it and uses it to its own advantage. both max and david deal with their trauma in drastically different ways as seen by the way they talk about the world surrounding them, but the core of it is the same and that’s the important part of it.

so i believe it’s very safe to say that even if david didn’t say anything that would allude to him changing the story about his younger self to be nicer than it actually was, it sure was implied by the writers in the subtext of that episode, maybe in the subtext of the show in its entirety. early camp camp content surrounding these two based itself very heavily on david’s belief that his similarity to max is what will push this kid to become just like him in the future, so it really is not out of the left field to assume david was a lot more like max when he was younger. most probably because in many ways he still is just like him.

tldr; david sees himself in max in more ways than one and the show’s writing feels the same way because they intentionally wrote them to be as similar as possible. the writers rely heavily on these two being narrative parallels to make their characters work in the way they do so your headcanon is as real as it gets anon ^^

[tooloudamind]

I know that the fateful Final Fifteen of Good Omens S2 has been analysed to death and that there have been countless metas about the same (of which I may have missed some, so please direct me to any that may help answer my questions), but I'm still wondering what else Aziraphale could possibly have done at the end of S2 other than accept the Metatron's offer. I do interpret GO2's ending as being somewhere between “Aziraphale regressed completely to his S1 mentality” and “Aziraphale pushed Crowley away on purpose as part of his game of 4D chess”.

As we saw, the Metatron enters the bookshop apparently just in the nick of time, when Michael is making (empty? did Aziraphale have any way of knowing that, until the Metatron butted in?) threats of erasing Aziraphale's name from the Book of Life. I find this transition extremely jarring, as most of you probably did— what important part of the conversation did we miss, after Gabriel and Beelzebub and the other demons left, for us to jump directly to Michael re-asserting her earlier resolution of Extreme Sanctions? When did Crowley become sprawled over, almost immobile in Aziraphale’s armchair? Were Aziraphale or Crowley going to do anything about the threat that was currently being made to Aziraphale's life? These are all things that make my plot brain itch. But if there’s any purpose for this abrupt turn of events, it’s to emphasise this— Aziraphale's existence as he knows it is coming to an end (the “precious, peaceful, fragile existence” he had carved out with Crowley— which Crowley himself had called fragile for a reason), and there’s nothing he or Crowley can do about it. He is at a crossroads, and it is at this point that the Metatron approaches with a coffee— and makes it clear to Aziraphale as to exactly which options are available to him.

Even so, Aziraphale's first reaction upon hearing that he was to be appointed as Supreme Archangel was to say, right to the Metatron's face, that he didn't want to go back to Heaven (which btw, S1 Aziraphale could never. I'm so proud of my bby for coming this far) He really only seems to become amenable to the offer when the Metatron brings up the possibility of re-instating Crowley— and even then, we don't get to see Aziraphale's reaction in the moment, only the excitement that he later projects towards Crowley. When Aziraphale all giddily tells Crowley that he, Aziraphale, might have misjudged the Metatron— it probably is less because he’s getting something like a gold star from Heaven and more because Crowley’s getting the gold star, so to speak. I’ve been seeing about how Neil wrote in the flashback that GO2 started with, after he wrote the ending and realised there needed to be a reason to care— and the revelation that Aziraphale really did know the angel that Crowley once was, does put everything about the ending into more context (so that’s just brilliant). We know that Aziraphale has seen Crowley at his most carefree, and that Aziraphale was also always the one who was more cautious about Heaven. Many have theorised that in Aziraphale’s eyes, Heaven’s greatest failing was that it sentenced Crowley, of all angels, to Fall— Crowley, the once-angel whose inherent goodness wasn’t extinguished even when his essential nature as a demon forbade it (or at least, according to the propaganda that Aziraphale has been fed for all his existence)— and I do think it might have been the first in a long, long row of dominoes that were set to fall.

When the Metatron made his (clearly insincere) offer to undo Crowley’s Fall, Aziraphale might have clung onto it as a glimmer of hope that Heaven was indeed capable of righting its wrongs. Why would Aziraphale have reason to suspect that Crowley would react as badly as he did? From his point of view, and even from that of the audience, Crowley had always seemed at odds with his apparent demonhood and the fact that he even had to Fall. From Aziraphale’s point of view, Crowley won’t have to pretend to be a “bad demon” anymore— he can just do good (and be with Aziraphale), openly, without fearing for the consequences. Yet, even when the Metatron sends Aziraphale off after their little chinwag, he still doesn’t match the enthusiasm with which he confronts Crowley. Had he psyched himself up for the sole purpose of appealing to Crowley? (… ouch.) And Aziraphale has had a listening problem all season, often distracted from whatever Crowley’s trying to say, but here it comes into play worse than ever. Crowley reiterates that they’re “on their own side” to Aziraphale in the most explicit way he has since the bandstand in S1, but this seems to fly over Aziraphale’s head almost entirely, with Aziraphale then proceeding to make exactly the same offer to Crowley except in terms of the Metatron’s newly proposed status quo. It’s as if Aziraphale didn’t want to consider any other possibility where Crowley and he could continue being together— or couldn’t.

I think that Aziraphale really wanted to make the best of a bad situation, and for Crowley to come with him, emotional baggage be damned. (Otherwise, he wouldn’t have tried so hard to stop Crowley leaving.)

And a bad situation it is— let’s lay out all the cards on the table, shall we? Aziraphale and Crowley were left alone by their respective ex-employers only because they’d scared both sides enough with their body swap shenanigans. The implied precondition, of course, is that they wouldn’t further meddle in the business of Heaven and Hell— confirmed when Gabriel and Beelzebub are explicitly given this ultimatum, and they decide to fuck off together and find their freedom in Alpha Centauri. Meanwhile, Aziraphale and Crowley have already exhausted their first, and only, strike— and Michael seems to have found another threat that seems dangerously effective. (Really, though, for all Aziraphale thinks Crowley could even bear to return to Heaven as an angel— does Crowley think Aziraphale will ever be content leaving the Earth and its denizens to the tender mercies of Heaven and Hell? Have those two ever been able to go without sticking their noses where they’re not supposed to, for all Crowley pretends not to care? Heaven and Hell already had more reason to chase down Aziraphale and Crowley than they ever had for Gabriel and Beelzebub.) They were at the end of their road, and Crowley knew it as well as Aziraphale did— except Aziraphale was in denial the entire season and Crowley revived his fantasy of them running away together that he only ever brings up when they’re literally in an end-of-the-world situation. Did the Metatron threaten Crowley? He might have— but the question is, does he even need to do that?

The Metatron isn’t negotiating. Michael may not have the authority to edit the Book of Life, but if that authority does rest with anyone, it’s with the Metatron. This isn’t a choice that Aziraphale can merely walk away from, and he knows it. Who would choose death over coffee, if given the choice— if that can even be called a choice? “So predictable”, as the Metatron says.

Still, after Crowley kisses Aziraphale back to his senses, Aziraphale is on the verge of throwing all caution to the wind anyway. The Metatron divulges to him for what exactly it is that Heaven is taking Aziraphale back into its clutches, and Aziraphale exchanges a single, vulnerable look with Crowley which could say a million different things— You were right—I wish you were with me—or is it just a goodbye? And then he gets in the elevator anyway, and flashes the creepiest smile we’ve ever gotten from Aziraphale during the entirety of the show. To me, this is the demented expression of a not-man who is realising he has absolutely nothing to lose.

Personally, I think that Heaven won’t know what hit them.

[fantastic-nonsense]

hey i saw your answer to the ask about alfred making damian robin in battle for the cowl. while i 100% agree that is not what happened in bftc, outside of that comic i think alfred has a lot more involvement. im not sure if this is a post-crisis exclusive blog, but in secret origins (2014) #4 we see alfred's feelings on damian and his conclusion that damian would listen to no one else except his father. so alfred forges a letter from bruce that asks damian to be robin. the end of the comic shows that dick knows alfred forged that letter but imo leaves it pretty open-ended as far as dick's decision. if you ask me, i think dick talked to alfred about damian being his robin or alfred picked up that things were going to way and decided to pull this to make that transition easier for everyone. sorry is this is weirdly nitpicky or contrarian im just really a sucker for alfred and damian's relationship.

[referencing this response on how the transition from Tim to Damian as Robin was handled]

Preface: I am not a post-Crisis universe exclusive blog (far from it), but since 1) the New 52 era's attempts at dealing with the Batfamily are a mess and a pain to deal with for a variety of reasons, and 2) the post-Crisis universe was and remains the definitive interpretation for most of the Batfamily's history and the basis for their interactions with each other, it's what I tend to default to when writing meta...especially in cases where the events under discussion originally happened in post-Crisis continuity. The exceptions to that tend to be characters introduced post-Flashpoint (ex: Duke), who have no previous continuity bogging them down, and characters who have had the majority of their stories and development take place post-Flashpoint (ex: Damian).

That being said, while I am aware that Secret Origins (2014) and particularly that story exists and have read it, I tend to default to ignoring it for a few reasons:

One, it's a story whose events make little sense within either post-Crisis continuity or post-Flashpoint continuity as they otherwise exist; minimally, the timeline doesn't match up in either case.

More specifically for the purposes of writing a meta about the transfer of the Robin mantle from Tim to Damian, it rewrites Damian into the pre-Reborn era Batfamily very awkwardly by pretending he was always there. It shows a League clothes-clad Damian taking on Victor Zsasz and Professor Pyg (which he did not do until he was already Dick's Robin) while pretending that Bruce had time to try and connect with him before he "died" (which, he didn't; Damian appears in two stories prior to Battle for the Cowl—Batman & Son and Resurrection of Ra's al Ghul—and his interactions with Bruce are fairly minimal in Resurrection).

It is a clumsy attempt to integrate Damian into the pre-Batman R.I.P timeline that ignores all of the ways in which Damian's early relationships with his father and the rest of the Batfam (particularly Dick and Tim) are directly informed by the fact that he wasn't there during that time period:

[Alfred, Dick, and Tim watch The Magnificent Seven in Wayne Manor in the immediate aftermath of Bruce's death. Damian is not present, as he was still living with Talia. An empty chair between Dick and Tim marks Bruce's usual 'movie night' seat] -Nightwing #151 (2009)

I thus find it very unhelpful to use in any capacity when discussing and analyzing interactions between those characters in the aftermath of Bruce's death.

Two, while I have no love for Battle for the Cowl, Tomasi effectively ignoring it completely beyond "Gotham was in chaos following Bruce's death" doesn't sit right with me either, especially since it was referenced (even obliquely) in several other New 52-era books.

Three, I love Alfred and Damian's relationship. I think it's one of Damian's most important relationships and we should talk more about it. But I also love Alfred and Dick's relationship, so I'm not particularly enamored with a reimagining where Alfred is the one who orchestrates Damian's takeover of the Robin mantle largely unilaterally. That's not his call to make beyond a suggestion to Dick that it might be good for him. I also think it takes a lot of agency away from Dick in the one transfer of his mantle that he canonically actually has control over and undermines a big aspect of Dick and Damian's relationship development to take those decisions out of Dick's hands and give them to "Bruce."

Four, and probably most importantly: that story is never referenced before or after that issue. That origin for Damian is long gone. Its portrayal of his childhood was revamped in Robin: Son of Batman. Its reconceptualization of Damian's entrance into the Batfamily has not been acknowledged since. DC's larger refusal to acknowledge Dick and Damian's time as Batman and Robin beyond subtle references ended during the Rebirth era. New 52!Tim quite literally wasn't Tim Drake and was only restored to being himself again post-Rebirth, so 99% of the interactions between Tim and Damian from 2011-2016 have been effectively discarded as non-canon. And whenever Damian becoming Robin is referenced after Secret Origins #4, it is nearly always referenced as Dick choosing him as Robin rather than him becoming Robin "at his father's request." So there's little incentive for me to acknowledge it given that it generally appears to not be canon beyond the scope of the New 52 era of post-Flashpoint continuity.

I'm sorry that this probably isn't the answer you wanted to read, but I hope this gives you a better idea of why I specifically choose to stick to post-Crisis and post-Rebirth continuities when discussing the transfer of the Robin mantle from Tim to Damian.

[thingsseenandheard]

I have returned with more Cazador/Vellioth meta. I want to ramble about that one brief bordering on throwaway line: "Oh how they both laughed!"

This, to me, says a few things. First of all, this is an indication that Vellioth was absolutely whacked out of his mind at the time of his death, and I think that's important. Vellioth being completely insanely irrational is useful information because I think it is important for understanding how Cazador became the particular type of bastard the he is, because in my mind, he is very different from Vellioth.

The things that Astarion was subjected to were absolutely horrific, but as far as I can tell I think they were usually quite different from what Cazador went through under Vellioth. And I don't think that's an accident. It's both a product of the fact that Vellioth was just way crazier than Caz & did things for funsies whereas Cazador generally has a purpose to his actions and the fact that I think in Cazador's fucked up little brain what he is putting his spawn through is kindness compared to what Vellioth did to him. I think he considers himself, in some ways at least, merciful and kind and gentle compared to Vellioth which is obviously not true, but because he behaves so differently from Vellioth despite just being the newer version of him, I think this is all another aspect of Cazador's incredible propensity for delusion.

He didn't impale Astarion for 11 years, therefore in his head, he's being merciful, because he knows that that's an option.

It also shows, I think, that Cazador was also completely out of his mind at the time. He is of course utterly broken from all the shit that Vellioth put him through, and this ties to my previous rant about Cazador's sense of identity. In this moment, laughing alongside Vellioth while he's boiling the flesh from his skull, Cazador and Vellioth are one in the same. And I think this is probably the first instance of that - Of Cazador truly becoming his former Master.

This is, for Cazador, the point of no return. He has risen up and killed his Master, symbolically and literally taking his place. And this is signified by Vellioth and Cazador laughing together.

For completely different reasons. Vellioth laughs both because he's out of his mind and because Cazador has finally done what Vellioth always knew he could - replace him. Cazador laughs because his psyche has the structural integrity of wilted spinach and his torment is finally over. To be honest, I would be shocked if Cazador could remember killing Vellioth. To me, the image of somebody who has faced some of the most fucked up tortures imaginable for god knows how long laughing hysterically as they brutally kill their tormentor sounds like Cazador's brain was on a completely different plain of existence during that whole situation. (And it's canon that Astarion experiences dissociation as a result of the trauma Cazador put him through, does it not make sense that Cazador would also experience dissociation considering he was also tormented by a vampire lord for decades at least?)

So there's that, and I think it points to Cazador's utter detatchment from reality. I think seeing how clearly unstable he was also lends itself to understanding his incredible talent for being delusional, because I think he has no other option. If he recognizes that he has become Vellioth, what can he do? I don't think he would be able to handle that at all. It would consume and destroy him. But he also can't avoid being Vellioth because well, that's just how things have shaken out. All he can do basically is distance himself from the idea of Vellioth - and he can do that easily by simply torturing his spawn in new and creative ways, not treating them the way that Vellioth treated him. But since he's still Vellioth at heart, he of course still has to torture them. It's what he does, and quite literally it is all he knows. That is the only way that he knows how to exist as both a vampire and as Cazador because that's what Vellioth taught him.

He has taken his old Master's place whether he likes it or not and there is nothing he can do to escape the prison he has built for himself. He is living inside of Vellioth's ribcage like it's a prison cell.