#and also one of the most tragic characters in the franchise

[bunnybeandraws]

You know, I've realized that part of the reason I get so much writing inspiration from @crumb-crumblet-s-crumbington comics is because the way it writes the characters just... Scratches my brain in a way I really like. :3

It's the smell of freshly cooked eggs that wakes Leon that morning, and he rolls out of his bed (which was little more than an air mattress set up on the floor with a few spare blankets thrown on top) with a groan.

He'd have a quick shot to wake up the rest of the way, but he's sure Ethan would disapprove, especially this early in the morning before he's even had breakfast…

Oh, right… It'd probably be a good idea to check up on that, see how Ethan's doing.

Walking into the small kitchen of the even smaller apartment, the thing that surprises Leon most aren't the dark circles under Ethan's eyes from lack of sleep, or the way he just stares blankly at the eggs sizzling away on the pan. No, it's something else…

"Are you… Cooking breakfast with a blanket on?"

"It's cold." Ethan snaps, shooting Leon a quick glare from the corner of his eye that's definitely less intimidating than intended simply due to his softer face. "You got a problem?"

"No no. Just might be a fire hazard is all." Leon says, propping his hand on his hip as he gestures with his other hand to the thermostat on the wall.

"Thermostat also says it's, like, 75 degrees. And that's enough to make me wanna change into shorts."

Leon hears a soft click from the stove, indicating that Ethan's turned the heat off so as to not burn the eggs, and he can't help but wonder if his tiredness comes from baby things, or nightmares.

Both are plausible.

"Do you get cold easily?" Leon asks, unable to stop the question from slipping past his tongue. Not that Ethan holds it against him as he extends his hand to Leon, the one a Lycan had taken a chunk out of.

"I guess ever since Dulvey I've run a bit colder…" He murmurs, and as Leon takes his hand, 'a bit' might've been an understatement. Ethan's skin is freezing, like he's been sat in front of the AC or out in the cold for hours on end.

"I think it's because I died back there, and I-" Ethan pauses as he pulls his hand away from Leon, his eyes very quickly growing glassy. "And I'm technically a corpse. Haha, hah…"

Despite the soft smile and the forced laughter, Ethan swiftly devolves into sobs and hiccups, hands covering his face like he's disgusted by his own appearance, desperately begging Leon not to look at him.

Leon, for a moment at least, just kind of stands there, unsure of what to do. He's never been the comforting type, especially not in recent years, so all he can really do is watch Ethan break down, the blanket falling from his shoulders as he shakes.

Almost hesitantly, he reaches out to awkwardly pat his shoulder, glancing away until he's suddenly pulled into a desperate hug, Ethan burying his face in his shoulder.

'He's freezing!' Leon thinks to himself as he returns the embrace, one hand cradling the back of Ethan's head for support and the other simply resting on his back. 'Maybe I should hold him for just a bit longer… To warm him up…'

…Breakfast can wait, Leon decides… Ethan needs him more, and he won't let go until even the softest of hiccups has faded from his tongue.

[astrolotte]

listen guys I love Peri a lot too, I think there's a lot about his character worth studying and that he's a good guy but you all have GOT to stop blaming Dev here when Peri is arguably more at fault!

Sure, Dev was mean to him, but Peri was mean back! And Peri is an adult while Dev is a ten year old child, Peri should have the capacity to not complain about him directly to his face, especially considering Dev has been emotionally abused all his life.

Ultimately, I don't consider it to be either of their faults. Sure, Peri was bad at this, but he straight up didn't have any experience except for Timmy, where he took up the role of a brother instead of a parent, a VERY different dynamic. Peri should've gotten like at least 3 different godkids before someone like Dev, to give him a feel for how different kids can be, and how you need to deal with different situations in their own ways. And that's just the lowest I'd advise going, he should've definitely had more.

So I blame the system for throwing him to the wolves fresh out of schooling, especially considering, iirc, Fairy Academy is canonically pretty terrible, as it's more like a military academy than an actual school. He had no proper experience, no way of knowing how to help a kid that doesn't seem to want to be helped...

But if you're going to blame anyone, blame Peri. Not the child that he was supposed to help, the child that he failed.

Mind you, 10 year olds literally don't even have fully developed minds yet, of course his sense of morality is a bit twisted. His brain isn't fully grown!

[lungthief]

really funny that sebastian stan went from being in like the worst movies in the entire world (and black swan) to being a lead in a huge tv miniseries and a couple of really interesting and well received movies but not to ever enough to distance himself from being known as That Guy Who Played Captain Americas Gay Lover

[akkivee]

OH SO THE WOMEN DO HAVE TASTE CONGRATS HITOYA

[victimsofyaoipoll]

Finals

Propaganda Under Cut

Sakura Haruno

Her husband is gay and her author doesn't know how to write women. So many people say she's the worst but she. DESERVES. BETTER!!! Save her from this franchise.

My baby girl my bestie my best friend. She committed the crime of um being written by kishimoto who both doesn’t know how to write women and somehow writes men in the gayest way possible specifically naruto and sasuke. Like the thing is naruto and sasuke ARE gay and also she gets so much hate for the crime of kishimoto writing her one dimensionally in love with sasuke. I know her personally she is a butch lesbian to me just trust me she’s in love with Ino and has a lesbian thing going on with Karin okay just trust me. My everything. She needs to divorce the loveless lavender marriage she’s in 

What is there to say, even? The OG Threat to my 90s anime brain, the only woman I've ever hated with such a passion she made me turn away from the color pink. I used to write fics with my friend where she got left behind on purpose so our OCs could join the Naruto and Sasuke team instead. I loathed this bitch until I was 16 and realized the author simply couldnt write women and decided it was time to make peace with Sakura. It is not her fault she's vaguely written and obsessive over Sasuke. She deserves better. Sasuke and Naruto still should be together and Sakura shouldnt be with Sasuke but I no longer believe this because I hate Sakura, it is because I love her. She deserves a spouse who will actually put in the time to treat her like the hero she is.

Misa Amane

she gets treated in-canon the way fandoms treat female characters that Threaten an m/m ship. it's like, "oh why don't you go sit in the corner and be pretty, misa, while the Men have intelligent conversation and pretend they aren't ten seconds from fucking each other, doesn't that sound nice?" it's infuriating. and MAYBE it's better now but i remember her getting treated the same way in fanfiction too, like we all need to do just as badly by our female secondary characters as fucking tsugumi ohba, but with the added insult of making her be alternately oblivious of the relationship between light and L or actively trying to sabotage it—incompetently, of course, because god forbid misa be allowed dignity or moments of cleverness.

she's one of the first characters I think of when I consider old school fandom misogyny. The annoying bitch and clingy crazy gf allegations were AFTER HER ASS. She's also a lot more intelligent than people gave her credit for, but most seem inclined to take the Very Biased word of our unreliable, narcissistic narrator and his homoerotic arch nemesis and claim that just because she's bubbly and into romance that she's also a complete moron. Which is blatantly untrue. Everyone was afraid of Misa girlbossing too hard. Killing people and devoting yourself to the deranged twink of your dreams even though you know he'll never love you back??? Having a hardcore goth aesthetic and being so Hot even literal Death Gods are into you?? God forbid women do ANYTHING!

Not only is she the victim of yaoi culture, she is the victim of early 2000s misogyny by an author that wanted to introduce a girl character because he knew his male rivals were getting too homoerotic. She is a goth bimbo icon who portrays what I think is one of the few callouts for stan culture and what parasocial relationships can do to both the stan and the idol. The fact that she is a toxic fan of Kira and also hot, funny, sociable is tragic in its own way, which I think the author did try to touch on but was too misogynistic too really get through. Of course, she was reduced to villain status by the fandom and anime alike because she got in the way of the supposed romance in their psychological horror anime

[the-bed-gremlins-reading-list]

My Marriage to the Cursed Royal

Demo: Twine on Itch.io Last Update: 9/6/2024

Rating: 18+

Synopsis

When you meet with an unfortunate accident in the real world you find yourself cast into the role of the younger Medulloi sibling. Your elder brother is the Duke of Ausones, a small and recent addition to the Nasennii Empire.

For three hundred years the Imperial war machine has fueled the Nasennii expansionism across the continent of Fantasia. A war machine that has been unable to advance across the northern expanses that make up Ithel.

Imperial superstition maintains that it is unlucky for a commander to remain unwed - so when the Royal Bastard, the Emperor's cursed child, makes little headway in the campaign a marriage in absentia is arranged.

A marriage to you.

It's a new world with a spouse you have never met.

Oh, except one itty-bitty thing - Fantasia Crown Wars is one of the most popular media franchises to exist. (Oh, and a savvy fan knows that Auberon Medulloi's younger sibling died.)

Characters

Auberon Medulloi - The Duke of Blood

Your new half-brother. He's famous among fans for his brutality as a military commander and the cold calculus with which he approaches his alliances when he's introduced during the third book of the main series. You know him as your warm, slightly fussy elder half-brother who frets himself silly over taking care of your family's lands and makes you sweets when you feel sad. He's joined you in the Imperial Capital to insure that you're safe and have all the support you could possibly stand. In the books he becomes the most feared leader of a rebellion against the Nassenian throne. One that was destroyed by your spouse and leads to Auberon's eventual execution.

Lucius/Lucia Nasennia(us) - Your Spouse, the Cursed Royal (RO)

They are the emperor's eldest child, the illegitimate one whom misfortune follows like an old friend. They were born in the dead of a moonless night and gifted with the ice magic of Ithel through their mother's veins. The priesthood has sworn should they ever take the throne it will be the end of the Nasennian Empire. And yet they are among the most gifted commanders of the age, it is on them victory against Ithel and peace among the conquered lands depend. The books described them as cold and calculating. The blockbuster movie saw them behead their younger brother after arranging the death of their father. They were also supposed to be unwed.

Marcus Nasennius - The Golden Prince (RO)

The third child of the emperor and the heir to the throne after the death of their sister. Marcus has always been the charmer of the royal family, the one for whom life was easy and joyful. He's said to have been blessed by the Empire's gods - born on a bright summer day in the heat of noon, and gifted with command of light magic he has always been placed in competition with his elder brother by the court, but they were friends once. Marcus was one of the main characters of the books - and the classic prince charming had always quite popular. So popular, in fact, that after his tragic demise in the movie he was brought back to life in the television show.

Rossella Catilia - The Red Mage (RO)

The Catilia family has stood behind and beside the throne of Nasennia since the War of Sparks founded the nascent Empire. They are wealthy and powerful and Rossella is the same age as Prince Marcus. She was brought to court at a young age and raised with the expectation that she would be among those considered as his match. A marriage she's openly appalled by due to her close friendship - and lack of romantic feelings for both the royal brothers. Still she's publicly considered the picture of what an Imperial Lady should strive for. Like many Imperial nobles she has some talent as a mage with a reputation as a skilled healer. In the books Rossella played the part of peacemaker between the brothers until her sudden foreign marriage removed her from the picture during TFCW's brief period as a graphic novel. (A move her fans hated almost as much as the scarlet color her hair was colored with on those pages.)

Caerwyn - The Assassin from Ithel (RO)

Bright, obnoxious, oh, and a vampire. This Ithellen assassin was meant to be your death. You're still not sure what changed his mind, nor why he's decided to serve you as your personal "spy-slash-assassin-slash-bodyguard-slash-gossip-gatherer". Caerwyn's appeared in the plot far earlier than he should have based on the books, where he only emerges out from the shadows after Ithel's defeat. Following the demise of his homeland he had come to serve your brother, Auberon. Caerwyn is among those that is supposed to be killed by your spouse, having dramatically sacrificed himself to ensure the escape of the rebel army and leading to that arc lasting much longer than anyone expected it would.

Rune Leleux - The Knight? (RO)

Like the assassin Caerwyn, Rune Leleux has shown up in the story far earlier than they should have. In fact you have a strong suspicion that the next book that was suppose to release in a month will reveal that the person introduced as a wandering bounty hunter and oath-breaking knight stole the real Leleux's identity. The Rune Leleux you know serves as your brother's faithful knight and right hand. They've been your friend since you were children. You can't see how the soft-spoken, if sometimes sarcastic, warrior who helps you live in Fantasia could possibly be the brutal and heavily scarred murderer draped in wolf skin that the Bastard Royal hires to help assassinate the emperor and sabotage the capital's defenses.

Robin Watcher - The Bard (RO)

This sweet natured bard is a minor character in the canon - like your new identity is. Or at least, she must be, because you definitely can't remember her from anywhere. (Maybe she was one of those unnamed extra in that one made-for-tv movie that everyone prefers to forget exists?) Whoever this bard is she always seems to know quite a bit about whoever happens to be around - and, well, she's rather curious about you. (In more ways than one.) Also, no one seems to know who she is or where she came from, just that she's great with instruments and has a very pretty voice.

WIP Warning: Any information contained in this post is subject to change as the project develops. The same goes for information posts on this blog.

[felassan]

From Game Informer:

Solas plays an important role in the game as a central figure and significant character, but the game is not about Solas, hence the title change

Rather than focusing on a specific individual, the focus and centerpiece of the game is Rook's team, stopping the end of the world with this group of specialists

"I think you could argue [these companions] are the best the franchise has ever seen". We will have the opportunity to interact with them in a way that both shapes their story and also influences the main story, including having the opportunity to impact their fate

"Arguably, this game has kind of, in a way, been called Dreadwolf to some degree since its earlier days"

Excerpt:

"When I ask about Solas' role in the story after I learn his namesake is no longer in the game title, Darrah says Veilguard is still taking the Elven God's narrative in a good direction. He adds, "It allows us to, hopefully, give a good conclusion to all the varied attitudes toward Solas that are going to be coming from people who love Solas, who agree with Solas, who hate Solas, people who want to kick Solas off of a building – I think that we give you the opportunity to bring that to a close, but then tell a greater story about The Veilguard and about the world as a whole." Talking to Epler, I learn more about how Solas isn't exactly the big bad I expected before seeing the opening hours of Veilguard. There's a lot more nuance to everyone's favorite bald elf.  "The most interesting villains to myself, and honestly most people, are not just straight up, 'I want to end the world.' To them, they are the heroes of the story, and Solas is no exception," Epler tells me. "Solas always feels that he is a tragic hero but a hero nonetheless, so he's coming into this believing firmly that what he did, that which you stopped him from doing, was the right thing – that you made a mistake. But now he's trapped and can't reach out and actively affect [Thedas], so he needs to work with you. "That allows us to provide a lot of nuance to that relationship," Epler says."

Solas is literally trapped in the Fade after the game's prologue. Rook and co stop his attempt to destroy the Veil. Rook passes out and wakes up in a dream-like landscape to Solas' voice. He explains that he was trying to move Elgar'nan and Ghilan'nain to a new prison because the old one wasn't containing them properly anymore. The two blighted gods are now free and roaming Thedas. Rook has to stop them, but it seems that they will have to work with Solas ("or at least listen to his guidance and advice") to do so

Excerpt:

""So one of the principles we took to when we were building the story of The Veilguard early on was we wanted the beginning of the game to feel like the final chapter of an earlier story and you're coming in right at the end, you're coming in as if you've been chasing Solas – the [Solas at the end of Dragon Age: Inquisition's Trespasser DLC] who said he was going to end the world and tear down the Veil," Epler adds.  Epler says players will see early on (and as the narrative develops across Veilguard) that Solas sees much of himself in you, the player-controlled Rook, especially "the parts that maybe he doesn't like to face." As a result, there's an interesting push and pull between Solas and Rook. He says players can define the relationship between these two characters with their choices in dialogue.  "You can continue to be suspicious and hostile towards him, or you can start to see him and find that common ground, that connection between the two of you, and really develop a different relationship over the course of the story," Epler says."

[source]

[centrally-unplanned]

Japanese website Forest Page is shutting down ~today, a tragic loss of "Heisei otaku memories", as so many are calling it. Launched in 2003, Forest Page was a "Geocities for mobile", a site that hosted user-created websites and gave them tools to allow non-coders to make them. In practice, it became one of the premiere places for fanfiction in Japan, with the stories hosted on author-created sites.

It wasn't quite the Fanfic.net of Japan, as for one the Japanese fandom just never centralized quite the way the 2000's western one did, instead being spread out over a half dozen or so sites. But additionally, it wasn't initially popular for fanfic so much as cell phone fanfiction, because in 2000's Japan the "cell phone novel" was a specific thing. These websites were being made for flip phones, not smartphones, and not only would people read them on those phones, they would often write them. None of that was very conducive to the creation and consumption of a "traditional" novel; so starting in the 2000's Japanese writers started making stories fit for the medium, namely:

Very short

A huge focus on dialogue and inner thoughts, with no/minimal description or scene detail

Using a limited POV of a specific character

Often employing the medium-as-message, like using emojis, structuring the story as IM's or emails, etc.

Also they all had huge gaps between lines, I'm not really sure what that is about:

Probably for readability on the phone given the small screen size? But it was absolutely part of the genre. A few of these novels actually made it big, got movie adaptations, people wrote articles about the "cultural phenomenon", it was the 2000's so Hiroki Azuma had a take on it of course, and so on. It slotted neatly into the vibe of the time of technology changing culture, paralleling discourse around otaku in the same era.

In fanfic those trends met up, and anyone familiar with fanfiction probably read that list of traits of the cellphone novel and thought "oh, this is perfect for fanfiction". Skipping out on description? I don't need it, I know what they look like already. Focus on conversation and POV? Perfect for shipping fics. Short lengths? Yeah, we are shortcutting to the good stuff, that is the point. Mirroring trends in the west, Forest Page's userbase was ~95% female, and the most common content on the site was romantic or edgy-dramatic stories in the franchises you'd expect. The closure page linked above actually summarizes the site's history by year, and lists the biggest fandoms:

Which is exactly what I would expect from a female otaku fanfiction website. Congrats to Pirates of the Caribbean for making it though, freeaboo's represent.

I do think the fact that the site was a website hoster as opposed to a fic hoster did align with the way the Japanese fandom was more "creator focused" and embraced the media mix more. There were "fic circles" a la doujin circles who made their own pages, people would make fanart, fan video games, and so own to host alongside it, and all of it was centralized to the creator; it made following them-as-a-person just a little bit easier. Most websites were simple text, but others did have the full Geocities experience:

Something that was somewhat common were basic visual novel concepts where the reader could make choices, or even insert their own name so they would be the "MC" of the story:

(Dream novels are in fact their own thing in Japan) My understanding is the site was quite popular through the 2000's and into the 2010's, though over time the "cellphone novel" as a concept fizzled out. People got smartphones, more people got PCs, and the constraints didn't make sense anymore - you can read ebooks and normal websites on your phone now after all. You can probably draw a line between these kind of stories and the webfiction/light novel boom of the late 2000's/2010's, something that was equally born on the internet, that streamlines the novel to "shortcut to the good stuff" but without the need to fit on a flip phone's screen. Though I will admit my own understanding of their histories shows them more as two sides of the same "youth demand for new literature" coin.

In 2017 Forest Page launched Forest Page Plus, a new service fully optimized for the smartphone era; but it did not transfer over all the old content, starting the clock ticking on the original Forest Page. My understanding is that in June they announced Forest Page was officially closing down; and from what I have gathered from reminiscing writers on twitter, they did not provide any easy, one-touch way to save any of the content, so people are archiving Wayback Machine links or sharing tips on how screenshot-save stories (I think the rub is they gave people a way to transfer content to FP+, but most don't want to do that, as places like Twitter & Pixiv are the content kings of this era).

As of tomorrow I would bet the large majority of the content will be gone; quite sad given both the quantity of stories there and how many got sometimes millions of readers. I am sure most of the biggest stories are archived at least, but particularly the early stuff was a very ephemeral genre, one that doesn't make sense to revisit once you aren't a 16 year old teen writing and reading fics on a flip phone in between classes. Which means another legion of the ghosts of the Wired is being born today. May we pour one out for a fellow online community that lived and died!

[welcometothejianghu]

Welcome to another round of W2 Tells You What You Should See, where W2 (me) tries to sell you (you) on something you should be watching. Today's choice: 重啟之極海聽雷/Reunion: The Sound of the Providence/The Lost Tomb Reboot/this thing has too many names

Reunion (I'm just going to call it that) is a 2020 action drama about the most specialest little babygirl in the tomb-raiding world, his two husbands, and the cadre of assorted weirdos they pick up as they try to follow a set of directions left by a dead (?) man in the thunder.

Imagine if someone showed you the Mandalorian, and you were like, gee, that was a neat little sci-fi one-shot! because you'd never heard of Star Wars. That was basically my experience watching this show, having no idea that the Lost Tomb franchise (DMBJ) was even a thing. Turns out that not only is there a whole big continuity out there with these characters, but that Reunion takes place a few years after the main story's resolution. Don't worry, though -- Reunion doesn't spoil you for that resolution. It doesn't spoil you for much, period. Look, DMBJ has a weird relationship to endings, okay?

I have written a more thorough where-to-start guide for DMBJ as a whole, so if you want to consider other entry points, well, that information is there for your consideration. Yet it is my opinion that this is the best entry into the overall franchise, and a fun thing to watch just in general, and I'm here to make my case for both of those.

The rest of this rec will assume that you have no familiarity with the DMBJ series. That's okay; you don't need any. All you need is to trust my five reasons you should watch this.

1. Old Man Yaoi

As you begin this show, you are introduced to the Iron Triangle. That's them in the picture up there. Left to right, you have: Xiao Ge, magically tattooed immortal hottie who just got back from ten years in [scene missing]; Wu Xie, our protagonist, who's just a little guy and it's his birthday; and Wang Pangzi, the literal best.

(And yes, Wu Xie is in his 30s and Pangzi is in his 40s, which is not technically old man anything, but ... look, if you watch, you'll see why I think I'm justified in calling it that.)

They are extremely married. They are a disaster trio of disasters so disastrous that no one else should ever be subjected to their chaos. They're going to make sure lots of people are, though, don't you worry about it. Sometimes those people even deserve it.

However, because the show (tragically!!) decides that Xiao Ge has somewhere else to be like 95% of the runtime, most of the relationship you get to see is between Wu Xie and Pangzi.

I'm saying this now as an old gay nerd who just this year celebrated her 15th wedding anniversary: I have never, never felt so represented in media as I have watching Wu Xie and Pangzi interact. There's a little wake-up song they sing together near the end of the show, and it just ... it packs so much character development into thirty seconds. These boys have been living adjacent lives for so long that they've made up their own little shared songs about the mundanities of daily living. That is just what happens when you marry your best friend and then decide to get old and weird together. Ask me how I know.

Look, if you want to know whether this show is for you or not, watch to the end of the first episode, to the part where Pangzi flips over the table. If your heart is filled with joy (as it should be), keep going.

Love makes a tomb-raiding syndicate family.

2. A fun-filled action-packed romp of nonsense!

If you're familiar with Hellblazer canon, this will make sense to you: Reunion is Dangerous Habits. If you're not familiar with Hellblazer canon, try it like this: Reunion is a terrible place to start because it plays on your extant affection for a character who gains a terrible status effect almost immediately. It's a also great place to start because it throws you right in the action with measurably high stakes and gives you a reason to build that affection very quickly.

I'm also going to warn you right off the bat: The plot of this show got cut to ribbons by censors.

See, the DMBJ books, being books, are allowed to get away with supernatural shit! So you've got zombies and ghosts and curses and monsters and immortality and all your other standard ooky spooky semi-urban fantasy trappings. But the DMBJ adaptations, being live-action, are heavily regulated in their content. This is why, in the early Reunion episodes, our heroes are menaced by human-looking creatures that are actually ancient mannequins made of leather that are piloted, mecha-style, by evil clams. Because evil clams are more scientific than zombies. I guess.

So yeah, the plot of this book already had to get mangled into a more "science"-compliant shape even before it made it to filming. The real problem is that a whole lot more of it got cut after it was all filmed and put together. I have read an explanation of what the actual storyline was supposed to be, and yeah, if you know what you’re looking at, you can see (and hear) the scars where major elements got hacked out with a weed whacker.

Therefore: You cannot expect this plot to make sense.

But that's okay! You're not here for the plot to make sense! You're here to watch some characters you love run around through ridiculous and sometimes beautiful labyrinths, trying to solve puzzles you're never given enough information to understand, all in search of the resolution to a mystery that had half its guts torn out before you got to see it -- and you are here to love it. If you have ever laughed and cheered your way through a Mission: Impossible film without pausing to care too much about the plot holes it’s dodging left and right, you are in the correct frame of mind to appreciate this. Just believe that whatever engaging nonsense the show tells you is correct for the time being and go with it.

You cannot watch DMBJ and care about the laws of physics. You simply cannot.

Do not, however, let me give you the impression that the shoddy plotting is accompanied by equally shoddy performances. A major part of this show’s incredible watchability comes from how the cast is shockingly good. There are some serious heavy hitters among the actors. A major part of why this Wu Xie and Pangzi are my favorite together is the incredible chops both Zhu Yilong and Chen Minghao have, to say nothing of their real-life affection for one another. (See that scar on Wu Xie's neck? That scar is there because Zhu Yilong commits to the bit.) Effortlessly charming Mao Xiaotong turns potentially irritating wunderkind Bai Haotian into a perfect precious weirdo baby. Wu Erbai's entire second-season character arc could have been unintentionally comedic, but veteran of queer cinema Hu Jun sells even the undignified moments as relentlessly tragic. And of course Baron Chen absolutely kills it with...

3. This giant fucking loser

This is Hei Xiazi. That's not his name, but it's close enough. Allow me to do a dramatic reenactment of my watching his first scene:

[camera pans over to him]

me: Ugh, I recognize this kind of wannabe badass character design. I hate his type. He's self-important, hyper-masculine, and just a big jerk, and the show thinks he's soooo cool. Barf.

[thirty seconds later]

me: Oh no. I was so wrong. I love him forever now.

This is because he is (as indicated above) a giant fucking loser. Yes, he's a good fighter who knows lots of things. He's also a wet potato chip of a man. Sure, he can get you into a headlock, but he can also annoy you into submission, and that's honestly more fun for him. My wife has used the phrase “Vash the Stampede-coded” to describe him. My wife is not wrong.

And the kind of ridiculous thing is, being such a loser is what wraps back around to making him cool again. He's a loser because he just doesn't fucking care. His masculinity is the opposite of fragile. You tell him to wear a dress and makeup, he'll do it -- and sure, he'll complain, but only because he enjoys complaining. He has no dignity. He’s tits-out. He's gender. He's the worst and also the best.

Hei Xiazi is a major character in the other installations, to the point where he and his boyfriend (more on him later) even have their own movie. But of course, I did not know this on my first watch, so I kept expecting the show to explain his whole deal. It does not, but you don't really need it to. He sees better in the dark. He doesn't age. He's a thug for hire. There, that's all the bio you need.

One of the things that makes him great is that he is the least sexually threatening person ever. Across all the properties he's in, he spends a fair amount of time with women -- sometimes in very close quarters -- and they are perfectly safe around him. I actually wrote a whole post about it once upon a time (warning for tiny spoilers for a series that isn't this one) wherein I claim that not only Xiazi but Reunion in general is the television equivalent of the shirt that says I RESPECT WOMEN SO MUCH I DON'T HAVE SEX WITH THEM.

That said, this loser does get a sort-of romance plot here -- and honestly, I find it very cute! It's not even the only instance in this series of a bisexual guy in a long-term same-sex relationship getting a girlfriend, and I like that other one too! Look, the handle of my DMBJ sideblog is @katamaricule because I joked that Wu Xie treats polyamory like a katamari, and if you don't move fast enough, you're going to be rolled right up into his gay little cuddle puddle.

This is not a show for exclusive ships; this is a show for inclusive ships. The Jiumen Association is a polycule. You don't even have to know what the Jiumen Association is to know it's true.

4. The power of friendship

This show has a lot of characters.

I'd say the supporting cast is divided into three categories: characters who have been in previous installments, characters who have not been in previous installments, and characters who probably should have been in previous installments (or at least mentioned) but who were only created for Reunion so we have to pretend like we've known about them all along.

There is no way to tell which is which -- which is part of my argument that this series makes a good entry point to the franchise.

Take Huo Daofu. Huo Daofu is a brilliant doctor masquerading as a donut stand operator who treats Wu Xie with all the cold disdain of a man confronting the person who left him at the altar years ago. On the one hand, yes! We do know Huo Daofu from a previous series, and we've known he's both a doctor and a bitch. On the other hand, oh, we have no idea why he's like this about Wu Xie, and we probably never will. The show just treats it like it's for an excellent reason, and you know what, from what you know about Wu Xie, it probably is.

Consider also Jiang Zisuan. One of the show's principal antagonists, Jiang Zisuan turns out to be the brother of ... well, let's just say it's someone whose having a brother really should have come up before this. It has not come up. (And that's even before we get into the issue of his surname.) His stated identity as that person's brother is so bizarre that my favorite interpretation is that he isn't actually that person's brother -- all the flashbacks we see are just his delusions about a relationship he's completely invented. But there's no way you'd know how fucking weird this is on your first run.

Then there's our friendly little support himbo, Kanjian, who shows up to all occasions with two tickets to the gun show and not a thought in that beautiful head. (His name just means "vest," which is par for the course when it comes to the author's naming conventions.) He was a lot more menacing in the last series (where they kept putting sleeves on him, geez), where most of what we learned about him is that you can loan him out to other tomb-raiding families. Now he's a golden retriever with great aim and a slingshot. It's an upgrade.

The trick is, you cannot be surprised when someone shows up and the show treats them like you should know who they are, even when there's no possible way you could know who they are. I mean, for heaven's sake, Liu Sang arrives in the middle of an obvious beef with Pangzi, the origins of which are never satisfactorily explained, while also having a giant do-I-want-to-fuck-him-or-do-I-want-to-be-him crush on Xiao Ge, which is also never satisfactorily explained. Whatever, you just roll with it. He's got good hearing, a bad attitude, and questionable taste in idols. Now you're good to go.

(I should throw in a special note here that Liu Sang is many, many people's little meow meow, and not undeservedly. For a fuller explanation of why that is, please consult this other post I made.)

Part of the fun of this big cast is the adorable interactions you get. All the characters have appropriately big personalities, and the show loves letting people you wouldn’t expect bounce off one another. It’s not your typical action-hero show where nothing happens without the protagonist in the room. There are lots of exciting combinations and tons of charming dynamics! Unlikely friendships form all over the place! Enemies become allies! Allies become friends! Friends become friends with other friends! Some friends become enemies again! You'll need a scoreboard to keep up!

This is not to say the show treats all its characters perfectly or equally -- one of the precious few main female characters doesn't even get a real name, for heaven's sake, and the less said about the brownface racism, the better. It is, at its heart, a dude show for dudes made in China, with all the troubling decision-making that implies. Where it does deserve credit, though, is in understanding that its supporting characters are actual people with personalities apart from their function in Wu Xie's narrative. Sometimes the show just asks "what if [random character A] and [random character B] had to interact?" and has fun considering the answer! Which is almost always a delight to watch, and sometimes even breaks your heart.

5. Amazing rewatch value!

And by this I mean the experience of watching this show is remarkably different once you have any understanding of the rest of the DMBJ universe.

For instance, there's a point where two characters are scuba-diving past some submerged coffins, and one character tells the other whose coffins they are. Working only on information Reunion has given you, you're like, oh, that's where they buried the guy who built this creepy place, that's a little weird. Once you recognize that name from other series, though, your reaction is far more, excuse me, they did WHAT to WHOSE corpses?

Or another point where a character you've already met is on a train, and there's a handsome gentleman who just happens to be riding with her. He hands her his business card! Aw, that's sweet, he seems like a nice guy! Well, no, Xie Yuchen is not nice, but he is one of our allies, and he's Hei Xiazi's boyfriend, and a lot of what he's doing hits real different when you have a fuller grasp on why he's doing it and for whom. (Honestly, a major reason to watch Reunion first is so you're not fully and appropriately upset by how your black/pink gays merely have one teeny tiny scene together.)

From the way the series treats the persistent absence of Wu Sanxing, Wu Xie's third uncle, I absolutely, 100% assumed that he was a completely new character to this installment of the series, an extremely long-lost relative that we've somehow conveniently managed to never talk about before now. So imagine my gobsmacked surprise when I went to watch a different series, set much earlier in the timeline, where the opening scene prominently features Wu Sanxing as an actual character in the present-day narrative! ...Well, sorta. Look, there's a lot of fuckery with his identity in earlier parts of the story, and fortunately you need to know none of it to understand Reunion. But when you do, it suddenly makes a lot more sense why Wu Xie talks about someone who was a major part of Wu Xie's adult life like he died when Wu Xie was nine.

AND THE FLASHBACK SCENE WHERE A-NING GETS KILLED BY THE SNAKE, AND YOU'RE LIKE, OKAY, AND THEN YOU WATCH ULTIMATE NOTE AND IT WASN'T LIKE THAT AT ALL look, I know there are kinda reasons for this, different production companies and all, but seriously, what the fuck

All of which to say is that the experience of watching Reunion the first time is, hey, this self-contained romp is a lot of fun! The experience of rewatching it after watching any of the other DMBJ installments is a transcendently wonderful head-clutching avalanche of one moment of recognition right after another.

And here's the thing: You will watch more. Reunion is a gateway drug. If you are interested enough to make it through all 62 episodes, you're going to be interested in watching more. Which is great. The English-speaking fandom needs more people. Come down into the tombs. It's great down here. We've got snakes and arguably unintentional homoeroticism. Join us. Join usssssssss

Are you ready for an aventure?

There are a couple different ways to watch the first half, but there's (weirdly) only one way to watch the second, so for both of them, I'm going to send you straight to iQiyi: Season 1 (32 episodes) and Season 2 (30 episodes).

And just so you’re ready when Reunion is done, here’s how you find the rest of the DMBJ series, in the absolutely non-chronological order in which I, personally, think you should watch them:

The Lost Tomb 2 (AsianCrush, YouTube)

Ultimate Note (iQiyi)

The Mystic Nine (iQiyi, Viki)

Sand Sea/Tomb of the Sea (Viki, WeTV, YouTube, also YouTube)

Also, there's a lot of movies and side series and other pieces that are worth seeing, and even a couple of full series I've left off the list, and you can just slot them in wherever. And maybe we'll get Tibetan Sea Flo-- IT'S HERE! IT'S HERE! And someday maybe I'll actually have time to watch it! What a concept.

They're so perfect. Perfect triangle. Perfect boys.

[thekingofwinterblog]

Oghren Branka - A Broken Dwarf

Out of all of the original Dragon Age Origins companions, I've always found Oghren to be the most fascinating one in how rare it is to see someone actually do a full breakdown of the alcoholic, berserker dwarf, despite arguably having the most interesting and deep under the surface aspects to his character.

So i'll rectify that here, by doing a full delve into Ogren as a character, and the rather tragic tale of the last member of house Branka.

Oghren was a member of Orzammar's warrior caste, bred, born, and raised to be a warrior, a role that by all accounts he excelled at.

Oghren is famous for being probably the biggest alcoholic in the franchise, but according to lore, this actually wasn't a part of his personality before way later down the line, and came about due to a spiral downwards.

Oghren, like all warrior caste dwarves was raised to be an absolute killing machine, who's life was going to be devoted to killing darkspawn, and killing more darkspawn, and then killing more darkspawn.

This part of his life, Oghren excelled at. He was great at killing his enemies from day one, and won fame and glory.

Unfortunately, the thing that defined Oghren as a person, was the very brutal struggle, of, and Bioware's take on how hard it is for soldiers to reintegratd into societies after their states does everything they can to make them into tools for killing.

And in Oghren's case, this began with his family.

When young, Oghren was interested in a young woman named Felsi.

The two hit it off quite well, only for Oghren to be forced into a political marriage with a certain woman named Branka from the smithing caste, a political match that was seen as mutually beneficial at the time.

This marriage was the single worst thing that ever happened to Oghren and everyone he had ever cared about.

Branka would in very short time rise to become a Paragon, the only one in living memory, a living ancestor in Dwarven Society, making her the most powerful and influential woman in Orzammar, but that part is not the one I want to focus on.

Instead I want to focus on Oghren and Branca's relationship, and how it quickly fell apart.

Their relationship started okay, and in the first year there doesn't seem to have been that many problems. Things would change however.

Branca, as we learn from Oghren's talk had plenty of serious mental issues, like massive and spontaneous mood swings, and a tendency for sudden violence for the smallest offenses.

The innitial target of which seems to have been her her husband Oghren.

Oghren makes no secret of the fact that Branca was pretty violent with him, in particular the fact that she seriously damaged the hearing on one of his ears, and once attacked him for misplacing her tongs.

Also, there is a bit of subtleness to Oghren's design that adds to how bad this relationship became for him.

Oghren has a permanent injury around one of his eyes, which makes it look like he's always squinting. The most likely culprint being his wife hitting him with something heavy and blunt, which never healed properly, giving him his iconic squinty eyed look.

We don't have anything to suggest Oghren ever actually defending himself physically from his wife, but if his own testimony is to be believed, their usual way of making up after one of these outbursts was makeup sex, which suggest that there was a rather sad cycle of spousal abuse, regret, then make up in the form of sex, then another bout of abuse, then rinse and repeat.

The usual cycle really.

Things got more complicated however, once Branka became a paragon, putting her firmly above her husband in rank as far as she could go.

And it's here that Oghren's life really began to take a turn for the worst, and where the drunkard who drowns himself in alchohol to try and forget how shitty his life is really began.

In very short succession, Branka, likely due to the mounting pressure upon her after becoming paragon, turned far worse towards Oghren, and their marriage began to rapidly crumble. But her becoming paragon had other consequences as well, the most obvious being that Branka became the head of the household, and absorbed Oghren's entire family into the new house of Branca under her.

Branka then began to shun Oghren completely, making her disdain for him open for all to see, while also cuckolding him with his own cousin Hespith(though Oghren wouldn't learn about that until years later).

This in turn, made Oghren's entire family follow suit, and he was quickly completely isolated and shut off from his own family, the same family that forced him into this marriage in the first place.

Oghren had already begun drinking to try and cope with his failing marriage at this point, and the way his entire family turned their back on him to please Branka just kicked that dependence off the deep end.

Then Branka committed herself to her great folly, and over Oghren's objections, took their entire family with them on her mad quest into the deep roads for a magical anvil... While forcing Oghren to stay behind so she could get to fuck her lover hespith on the side as she pleased without him around.

Needless to say, though Oghren didn't completely understand the full reasons for why everyone considered him a laughingstock at this point(the relationahip with Hespith was an open secret in Orzammar) , he kore than felt the effects of being alone, forgotten and abandoned by his family in a city that ridiculed him while still demanding he go out and kill darkspawn for them.

It was at this point that the Oghren we all know really began, as Oghren drowned himself in booze, embraced terrible jokes, and became the man with the most inappropriate pick up lines there is, desperate for anyone to give him any affection at all.

It was at this point Oghren for the first time cheated on his declared dead wife, seeking out Felsi. The renewed relationship did not last long. Oghren's downward spiral had already completely changed his personality, and she quickly left him.

At this point, Oghren really was at his lowest. Abandoned by everyone he had ever loved, alone, only having booze for comfort, and still having to regularly go out and fight darkspawn.

It's also here we see some of Oghren's hidden noble side, as at one single point he refused to buckle on, and that was his wife's fate.

Oghren refused(correctly) to assume Branka was dead and would pester the government time, and time, and time again to send out a rescue party to find her and bring her home.

Nobody took him seriously, and instead treated him like a joke... All the way until a young noble mocked Branka in his hearing and made it plain for all to hear that Branka could not possibly have survived that long in the deep roads.

The end result was that Oghren, in a drunk rage challenged the young man to a duel, then killed him, when it was supposed to be a duel to first blood.

Oghren thus changed from drunk pest, to dangerous pest.

In the end he was stripped of his house and the right to bear arms or fight in the city ever again, but was still demanded he fought darkspawn when the time came.

Oghren talks about this in his conversations with the Warden, how the city would turn their warriors into killing machines, strip them of all rules, morals and thoughts except kill and kill, and kill some more... Then put them right back into society, and bind them, and the rage they spent so long training you harness with rules and regulations. Add this with the fact that they will still demand you go out an fight at a moment's notice, it's not hard to see how warriors like Oghren came to be.

It's at this point Oghren has hit seeming rock bottom.

Alone, a joke in a city that will alternate between mocking, and spit on him, no right to defend himself, while still having to go go out and risk life and limb for it.

The only thing that keeps him going at this point, is the desperate hope that Branka and his family might still be alive.

Which brings us to the one soul who might bring him out of his stupor, depending on player choices.

The Hero of Ferelden.

The Hero of Ferelden scoffs at the claims Branka is dead and delves into the deep roads, and takes Oghren along for the ride, looking for her.

It's here that Oghren begins to form some sort of personal bonds again, where he will find the one person who is willing to put up with him, and all his flaws and possibly see him as a friend.

As the team heads into the deep roads however, they discover the horrible truth.

Branka, in her madness and desperate search for the anvil, sacrificed Oghren's entire family to the darkspawn, intentionally creating broodmothers so she'd have a never ending supply of darkspawn pawns to throw at the anvil defences.

It's not really given the full focus it deserves, because Oghren isn't the kind of person who just lets out absolutely everything, but this moment, this revelation destroys Oghren.

It's the moment where he pretty much just gives up on life, and only follows the Warden around to find a place to die.

In the end, regardless of what you do, his relationship with Branka is over at this point, wheter you save or spare her, leaving him with the knowledge that his entire family is dead and gone, and he's the last one.

At this point he becomes what is seemingly nothing more than comic relief, and due to the unfortunate way Orzammar is struxtured, its usually done last before the landsmeet, meanjng most players won't see most of the deeper parts of Oghren, as they require some prodding to see.

Most notably of these is what happens if you bring him to the guardian at the temple, where the old man wants everyone to relay their sins and regrets, only for Oghren to cut him off when his time comes, and say this:

Why don’t I save you some time? Yes, I wish I could have saved my family from Branka. I wish I’d been a better mate. Maybe she’d have stayed at home with a belly full of baby Oghren and never gone for the anvil. Maybe I failed her. Yes, I came to the surface because I’m barely a dwarf anymore. My family is dead. My honor as a warrior is long gone. I’ve lost my caste and my house and I have nothing else to lose.

This display is really, really sad for a number of reasons, not only because of how far down Oghren has fallen at this point, but also because frankly speaking, Oghren did nothing wrong with Branka. He was the victim here, and yet despite that, he still lays all the blame on himself. It was his fault his family died. It was his fault for being a shitty husband. Not Branka's. His.

Beyond this, Oghren has other interesting observations that shows he is quite a bit more impressive than the sorry, alcoholic cassanova wannabe that he acts as.

He's the only character who figures out that Shale actually remembers killing her master, and that she regrets killing him, as rather than a conscious choice, it was a moment of her completely losing control, just like he did in the proving match so long ago.

He also proves himself a bizarrely good brewmaster, impressing Wynne and the warden withouth the proper facilities to make proper alchohol, and he's the only one who offers any plausible counter explanation for the powers of the temple of sacred ashes other than the power of god(which may or may not be on the money.).

He is also learned in history, and knows the andrastian religion and it's historical players very well for a dwarf, even seemingly having a personal disdain for Hessarionz who he calls a pompous prat.

At this point, where he goes from there is up to the PC's choices, but regardless, there is a lot more to Oghren than meets the eye, far more than the stupidly stereotypical dnd dwarf he presents himself as, in a setting where the dwarves are not all the same as Tolkien's.

[thelaithlyworm]

Daomu Biji Watcher’s Guide, May 2024

A few new entries have been popping up lately, and I’m always hopeful new fans will stumble into the pits and never leave so I thought I’d paste up a rough map.

(Obviously the best watching order, like the best reading order of Discworld or the Aubrey-Maturin books, is ‘whatever first comes to your hand’ but for the people who don’t like that…)

tl;dr:

Daomu Biji is a series about tomb raiding. Think Indiana Jones or Lara Croft but much, much longer. The protagonist Wu Xie is deeply in love with BFF1 Zhang Qiling, a hundred-year-old cryptid, and BFF2 Wang Pangzi, who was stolen in a raid from another book series. It’s comic, tragic, horrific, zany, prone to musings on life, love, desire, attachment, and has many, many piss jokes. (‘Journey to the West but modern’ is maybe the other comparison I’d make.)

Notes:

– This guide is not talking about “quality”. All of the adaptations have their own strengths and weaknesses and tone can vary a great deal, which is to say, if one of them doesn’t suit you it’s likely something else will.

– Wacky endings, and plot threads that disappear unfinished and get picked up a long time later, are as inherent to the franchise as the piss jokes.

– It’s common for the dramas to introduce characters and subplots a lot earlier than the books do. Sometimes we’ll see a character introduced ‘for the first time’ on multiple occasions and strangely familiar scenes. I’ll try to point out the biggest continuity clashes as I go.

The Soft Entry:

There are a few movies that are entertaining as standalones but will introduce various characters and background. I would recommend:

Escape from the Monstrous Snake + Mystery/Grave of the Abyss – two monster movies featuring Hei Xiazi, a supporting character. He’s a pragmatical mercenary who’s going blind in kind of a weird way, and goofy as hell when he isn’t tiptoeing over a vast abyss of existential dread. So many fun action scenes.

Time Raiders (2015) – so there are some textual clues that late in his career Wu Xie wrote this story as a memory-jogger for an amnesiac friend. The plot is a freewheeling wild ride which doesn’t directly match any book plot but introduces some major characters and how they relate to each other. It’s colourful and fast-moving. Enjoy, enjoy.

Conjuring Curse and Misty Creed are… theoretically set late in the series even if the actors look about twelve. Both work as stand-alone adventures, though Misty Creed is maybe a little deep in the lore. Again, colourful and fast-moving.

The Chronological Order

You could honestly start with most of these – they tend to come with a ‘what has gone before’ at the start or a newbie character that things get explained to. The only one I wouldn’t start with is Heavenly Palace in the Clouds, which is lovely but also the second half of a set and things won’t make sense if you haven’t seen Lost Tomb 2 first.

Lost Tomb 1 – a highly digestible 10-12 episode version of the Seven Star Lu Palace arc, ie. Baby’s First Adventure. Introduces A-Ning, Xie Yuchen, and Huo Xiuxiu early and a couple of og characters for Wu Xie to talk to instead of monologuing to himself. The restaurant scene at the end was raided from a later arc and you’ll see it again in Ultimate Note. A book character, Da Kui, was cut which is a small problem because how he died is a minor plot point discussed in Lost Tomb 2. 

Lost Tomb 2 – covers Raging Sea, Hidden Sands (underwater tomb) and Qinling God-Tree (weird bronze tree in the mountains) plus a whole lotta side stories and original content exploring the world and foreshadowing later plots. Mooostly in continuity with Lost Tomb 1 (see Da Kui above) and made as a set with Heavenly Palace in the Clouds – they share resources and a lot of actors, and some threads begun here are finished in Heavenly Palace.

Heavenly Palace in the Clouds – covers the Mt Changbai arc, a journey up a mountain to find a very old, very grand tomb. This was made so close to Lost Tomb 2 that LT2 borrows shots from Heavenly Palace and not the other way around, which is fascinating because it pointedly contradicts the last five episodes of LT2. It also brings forward some plotlines originally from the Tamutuo and Zhang Family Old Pavilion arcs (San-shu’s past in the underwater tomb, and the Huo Family videotapes) dragging some characters on-screen and forcing them to talk about their feelings, which they would clearly rather die than do. Given those plot-tweaks and the early, deliberate continuity clash, I’m tempted to call this a Canon Parallel Universe. Got some interestingly chewy character dynamics and luverly, luverly set design.

Mystic Nine – This is a prequel about Zhang Qishan – Fo-ye – and his peers, but later dramas expect us to know who Fo-ye was so I’m sticking it here. Kinda… picaresque? Lots of action scenes and Republican-era flavour and various factions jostling for power – kinda feels like an old-school wuxia story, only set in the 1930s with all that glorious Republican-era styling. Has some unfortunate cut scenes – the details of how Fo-ye recovered at his family’s house don’t make a lot of sense in the aired version, and there are a couple of missing fights in the penultimate episode. Shrug. Still a lot of fun. Comes with four side movies about supporting characters.

Ultimate Note – Covers the Tamutuo arc (a trip through the jungle) and two-thirds of the Zhang Family Old Pavilion arc (investigating Zhang Qiling’s past is like kicking a hornet’s nest). Very, very flirty and has some zippy-zip action choreography. Politely ignores Lost Tomb 1–Heavenly Palace continuity (Xie Yuchen is, once more, introduced for the first time, now with a romantically coded friendship arc) and brings in a lot of cameos from Mystic Nine and Sand Sea, which it was filmed after. Kinda tiptoes around parts of the book plot, which I suspect would be hard for anyone to film, re: Fo-ye’s actions in the 1960s. Fair warning, this ends on a cliffhanger. This is also where the Xinyue Restaurant scene appears again – two cakes!

Tibetan Sea Flower – If Tibetan Sea Flower ever airs, it will go here.

Sand Sea – Based on the Sand Sea novel. After Tibetan Sea Flower, Wu Xie goes into a bit of a decline and makes that the world’s problem. We the audience, plus Li Cu and Liang Wan, EDIT: a lovely doctor, are pretty much dropped in media res into a number of ancient conspiracies and complicated plots coming to a head in the manner of a boil. It’s weird; it’s messy; it’s mad fun. Like Mystic Nine, has a lot of factions jostling for power and colourful jianghu characters. We will, once more, see the Xinyue Restaurant scene. Also has some side movies.

Time Raiders – The textual hints that suggest Wu Xie wrote this, suggest he wrote it around Sand Sea-era, when his life was a bit complicated. I’m putting it after Sand Sea because I believe it caps a conversation that, ah, doesn’t quite make it into the drama. But notionally this is where it should go. Ah…. at one point, someone tells a story about an ancient ruler, King Mu of Zhou, who sought immortality from the Queen of the West in Tamutuo. The longer book conversation suggests that a) King Mu of Zhou engineered a “trap” for someone like Wu Xie to fall into in the future, and b) that Iron Mask Scholar, a villain from Lost Tomb 1, was an alias that King Mu of Zhou used in the Warring States Era. Which makes some of Iron Mask Scholar’s appearances in Time Raiders… interesting.

Reunion: Sound of Providence – sometimes known as Reboot. Having peaked in badassery in Sand Sea, Wu Xie has to consider what his life is going to be now, and also, he would like to track down a missing family member. So this was tweaked to make it more accessible to new viewers (so some parts of the back-story are not mentioned or conflated for simplicity) and that mostly works but I did find watching this first and then picking up the earlier dramas a bit of a mindscrew. Zhu Yilong is, however, a powerful draw and the rest of the cast sparkles. Probably best to think of Season 1 as two short seasons jammed together, which is to say, once the Warehouse 11 arc starts there are a number of characters who won’t reappear until Season 2. It’s a fun arc even so. Season 2 ends with a badass action scene and then a big party, which I think is a great way to end a story.

Escape from the Monstrous Snake, Mystery/Grave of the Abyss, Conjuring Curse, Misty Creed – these are all theoretically set around or after Reboot-era, though they can certainly be watched as stand-alones.

[lazysublimeengineer]

Reo and Isagi: An Intriguing Line Between Rivalry and Camaraderie

I was in the middle of doing something when I've received a notification from one of my long lost readers who decided to pop up into one of my stories again and left a feedback.

To my pleasant surprise it's one of ages ago finished fics of mine from this fandom. It's finished a long time ago and seeing someone reading it and leaving a review makes me think of these two characters again that fascinated me when I was starting to delve more into this franchise:

Reo and Isagi.

I remembered back then on how I was solely focused on Chigiri's character when I was reading the manga and watching the anime because of how mysterious he was and how he got one of the most enthralling yet tragic backstory in the franchise. But my attention was caught between these two during the second selection because probably it's one of the most dramatic things I've seen in the series. A lot of things had been happening in that period that's probably you can see in a normal conflicts of teenage boys.

I do admit at first that I didn't have any favorable impression of Reo and Nagi because of how arrogant they are and so full of themselves. I guess that's the quirks of being a naturally skilled and talented person. But anyway, the characterizations of these characters are being driven and push over the edge during the second selection. Seeing Reo displayed a multitude of warring emotions and thoughts when Nagi left to join Isagi's team is an interesting concept.

Because you have here is a rich, confident, smart kid who always makes strategic decisions in life except for his treasured friend and he loses his rationality and a storm of emotions has influenced his actions mostly throughout the second selection.

He was brooding and he's a lot more introspective in that period which is fascinating because we were given by the author another side of him which is in stark contrast to his usual affable and charismatic facade with other people.

A lot of things had been bothering him to say the least. But the highlight of his character was how he was conflicted with everything. He was angry with Nagi for leaving him. He developed a misplaced anger towards Isagi because he blamed him for splitting them apart. But most of all he was angry with himself for being weak and was always wondering if he wasn't weak then Nagi wouldn't leave him.

The way that the author had displayed his vulnerability makes him one of the most intriguing character because of how "human" he was. His brooding era became a running joke to the fandom when in reality his reaction is the usual reaction of a teenage, highschool person who felt betrayed by their friend leaving him for another person without any preamble or whatsoever.

The conversation between him and Isagi in the monitor room during chapter 96 has got to be one of the most memorable to me because of how sincere and honest it was but at the same time in the end you were left there wondering if they become friends at that point because as a reader you can't pinpoint it was.

They both have trouble picking a team which opened a can of worms between the two of them and how Reo was serenely downcast in his admission if he can still play alongside Nagi with him because he was getting further away from him in skills and talent inside the program. It was also interesting to note of Isagi's reaction towards it, of how he came to an understanding of him as a person and how he'd come to light with his own predicament and even thanking him in the end.

It was a simple but compelling scene between the two of them because of how it drives their character more towards the realization of each other's motivations and purpose in the program.

But the ambiguity of their relationship remains to be seen because you cannot categorized them as being too close with each other unlike with their other friends such as with Chigiri, Bachira Kunigami, Nagi etc.

And that's what's fascinating about these two.

They still oscillate between the lines of rivalry and camaraderie even now in the recent arc of the franchise.

It was painted in a subtle manner. It's not an overt rivalry or any sort of relationship that the reader can categorized easily and that's what it becomes an interest to a writer like me to explore it a bit more vividly during my early heydays in being an active writer between these two characters.

I remembered this reader asking me if I'm going to write for these two again and who knows?

Only time can tell if my Muse will be inspired enough to go back to their fascinating relationship with each other.

[corazon-calaveras]

The Crow Reboot Rant

NAH NAH NAH, WHOSE IDEA WAS IT TO MAKE ERIC DRAVEN LOOK LIKE A DISCOUNT VERSION OF JARED LETTO'S JOKER?!? IMMA THROW HANDS!!! 💀🔪

There's just so much wrong about this reboot and as a fan of the original crow movie and graphic novel I cannot even begin to express how much this disappoints me.

More to rant ahead, just know it's hella long.

I recently saw and heard more news about the crow reboot and upon seeing what to expect I no longer have any interest in watching the reboot, in fact I wish the fans continue to roast the hell out of it to show the people in charge of this reboot that this is NOT what the people want or need.

Now I just want to go on and say that I have no problems with Bill Skarsgard as Eric Draven. I think he's a hella great actor with lots of potential of doing a great job at being the next crow actor, but my issue is with the writers and the people who made the overall decision to make this cult classic "appeal to modern audiences" which that quote alone was enough for me to completely abandon all hope of this movie being any good. I was already skeptical enough about the reboot and my expectations were low but THIS...this definitely made my expectations drop even lower than they already were and that's surprising to me. Honestly at this point the three crow sequels were a lot better and that's saying a lot because if y'all have seen those you'll know they weren't that good either but at least they were entertaining. 😭 (In my opinion at least, feel free to disagree on that).

It gets even better when you find out that the inspiration for reboot crow was Post Malone and Lil Peep. 💀

Like...is that what appeals to modern audiences nowadays? Was that really necessary for modern day Eric Draven? Absolutely not! The original movie and comic took place in the 90's so LEAVE IT IN THE 90's! Not everything has to be modernized for the sake of appealing to modern audiences. What modern audiences need right now are original stories with good and compelling writing (which probably won't happen any time soon since Hollywood proved to be in the middle of an imagination drought).

Sure, one can argue that the original movie wasn't completely faithful to the source material, that being the graphic novel. However, Due to the unfortunate passing of Brandon Lee during the making of the film, James O 'Barr has stated that he had finished the film as a tribute to Brandon who was a sweet and caring man and so decided to write Eric Draven to have some resemblance to Brandon in the film as a way to honor him. With that in mind, it's no wonder people are much harsher about the reboot, myself included, and find that this reboot would be an insult to not only James O 'Barr but also to Brandon. (Those who know the tragic history of The Crow graphic novel would understand why that's the case but in short it was a way for James to deal with grief).

In my opinion, the original crow film does not need a reboot or a remake. It may not be the best or perfect movie in the world but it is a cult classic and is one of the most beloved movies that holds a dear place in people's hearts. Mine included. Which is why instead of making another movie based on Brandon Lee's crow, that the other crow characters get a shot at the big screen since Eric Draven isn't the only one who gets brought back to life by a crow. I can understand how this might potentially not gain enough traction because it's not the iconic Eric Draven, but I do believe that with good writing and loyalty to the source materials, that it can be very possible to make a good and fresh crow movie without piggy backing off of an already beloved and successful film with the help of the fans who most likely have read the other comics.

In my opinion, I don't think this reboot is worth anyone's time (at least for those who are hardcore fans of the Crow franchise) and I have no hope for this whatsoever. In fact, I'm gonna go rewatch the original movie for the millionth time and reread the original graphic novel because I've already accepted the fact that any potential of getting a good crow movie is officially out the window. Not only that but the book and film are my comfort watch and reads so there's that.

For anyone who wants to hear more details about the reboot I recommend looking up articles or watch videos about it on youtube since that's where I heard the majority of the news.

Brandon Lee will forever be the best Eric Draven out there, may he rest in peace.

[mdhwrites]

Just putting forth this ask: why is it that compared with Amphibia's All In and The Hardest Thing, that TOH's finale and "final fight" (if we can even call it out that) just felt so underwhelming? Even especially Luz's "death" which felt so much of a fakeout and copying from Amphibia's. Granted, I wonder if a part of that is some of us already watching Amphibia at that point tho.

The fight feeling more underwhelming is easy actually. See, 90% of what people remember of Luz fighting Belos isn't her fighting Belos. It's just dancing around fighting moss. That is... Lame. To put it mildly. Meanwhile, you have three magical girls flying into space to fight the moon and his army of robots. That is awesome.

However.

What I really want to talk about is why their deaths actually play into the feeling of these two fights and the finales as a whole. It lets me talk about shock deaths versus heroic sacrificed because TL:DR: Anne heroically sacrifices herself for Amphibia as a final culmination of the growth she has had as a character. Meanwhile, Luz is given a shock death to sell how dangerous Belos is (which I will get into a bit) while also essentially being fridged for the sake of the Collector's arc. One of those is hype as hell and satisfying. The other is a complete stumble before we finally get the actual confrontation.

However, I'm going to go away from The Owl House and Amphibia first to talk about the tropes of Heroic Sacrifices and Shock Deaths with one of the easiest franchises to do it with: Dragonball Z.

Let's start with Heroic Sacrifice. A heroic sacrifice is when a character CHOOSES to give up their life so as to attempt to put things right, save lives, etc. like that. This choice element is actually really important. Without it, it's just a tragic death. The villain got the upper hand at a bad moment and killed them. That rarely actually happens in media but it is an option. A heroic sacrifice is just that: A sacrifice.

This is your classic moments of Piccolo sacrificing himself for Gohan against Nappa or Vegeta using all the energy he has in an attempt to defeat Buu. In both cases, these are major defining moments in their arcs. Arguably, the climaxes of them. The pinnacle of them changing to be a good person. We also see two classic examples here, one of which I think is commonly much stronger.

Piccolo's death is a split second decision where he decides to take the hit instead of allowing it to reach Gohan. This has a lot of good points for a character, such as showing their inherently good nature, but it does lack one key component: It doesn't feel like the choice weighs as much. Not wanting to see someone else get hurt is pretty basic and can be warped just as much by the bad guys so as to make it a weakness. It says a lot about Zuko when he takes a lightning bolt for Katara... But I wouldn't call it a sacrifice. It's a split second choice to make sure one person stays alive over themselves. This makes the impact revolve a LOT more around thematics over just the weight of the moment. As an example: If Superman dives in front of someone to take a Kryptonite blast, that's an "Oh shit," moment as the fight suddenly takes a turn for the worst. However, it is so ingrained in his nature that it hardly means anything for him to put himself in danger like this. It only hits hard for characters like Piccolo because of the journey they've been on.

Vegeta's hits harder for that reason because it still carries all the same advantages of the split second choice with one MAJOR boon: It's optional. Yes, technically these others are too but protecting an ally is just a part of being on a team. Being in combat. We don't blink at it most of the time unless it leads to a death, in which case it is a tragedy. Vegeta had a different option though. Just... Play along. Or leave. Or do ANYTHING else.

Instead, from his lowest point, he finally sees what he's going to lose from all of this, what he has done, and makes the choice to try and make up for it. Not even to seek forgiveness but just to have a single moment of redemption in his whole life in an attempt to save his family and those he cares about.

This also brings up another point about Heroic sacrifices: They don't need to be successful or permanent. The point is about what it says about the character. Vegeta doesn't manage jack shit in his last moments from an entirely practical purpose. From a character perspective though, this choice will last eternally. It will always be a part of him and his growth. That is powerful, even if it fails.

But what happens when there is no choice and it says nothing about the character? Well, that's when we get into the realm of a shock death, like Yamcha's legendary failure. A shock death is mostly meant to just raise the stakes. To make the audience know that 'shit just got real'. It always happens as a character getting instantly KO'd so as to really sell the "OH SHIT" factor of the moment.

Which is also why everyone always laughs at Yamcha. His death means nothing and as far as trying to up the ante? Good job, you killed the weakest of us in a show of strength. Good job. It is a HARD sell to a lot of audience members at this point because the character is just there to die. Their death doesn't say anything or mean anything for them so why as an audience should we care? It was just a cheap death that accomplished nothing and everyone moves on from.

So am I fair to call Luz's death this? After all, Camila cries over it. Eda goes into a more feral version of her Owl Beast form than she ever has before because of it. The Collector learns what death is due to it!

And in like three minutes, none of that will matter besides the Collector thing. No Eda having to try and bring herself back from the curse, despite claiming it can still eternally take her, a plot point never resolved. Camila has no reason to actually know. Her crying is just to add another octave to the overture "BE SAD NOW!" And the Collector?

He only was in danger because the writers said he was. Even if you believe Belos is immune to his magic (which was shown to be untrue as he flew up to Belos' face), he is still an incredible being of unrivaled power. He can move celestial bodies with a whim for god's sake. Why should he EVER be in danger? Shouldn't he be able to teleport or just shift out of the way faster than Luz can fly up to him?

And what does it say about Luz? You know, the girl who has been trying to abandon the Isles for TWO WHOLE SPECIALS before this and who has no connection with the Collector? They want this to be a heroic sacrifice in the way of Piccolo but it doesn't have the weight. It has no build up and Luz was NEVER going to have a real connection to the Collector. It's even explicitly used as a teaching moment for the Collector. To give him extra motivation to become a good guy... Like you do when you fridge a character. It's also something Luz would have explicitly done from episode 1 so it also has the Superman problem of saying nothing.

And the WORST part for Luz is... It wasn't something she thought was going to kill her. She thought the two would get out of the way. Maybe that was just a line in relief but a heroic sacrifice is an all in play. You don't expect to come back from a SACRIFICE. But Luz appears to have.

As such, it just feels like a way to up the stakes, especially when all it leads to is a power up for Luz. A cheap bit of escalation before the victory lap that is Titan Luz. That's just not that compelling and it feels manipulative, like a lot of shock deaths are.

And how does Amphibia get out of all of this? With one line:

"These stones aren't Amphibia's greatest treasure."

In that moment, we are reminded not only of all that Anne is fighting for but all of the growth she has had in order to lead to this moment. To go from the selfish girl she once was to the unifier of the stones. To someone who can actually care about an entire planet. How in episode 1, she wouldn't have done this but now? Now it's not even a moment of hesitation for her.

And it does have the Vegeta element of being optional. She could have gone home. She could have had Marcy or Sasha make the sacrifice instead. She doesn't though because she will not shrug off the responsibility of all this. This isn't even to do with the prophecy. She was the one to steal the music box. She was complicit, even if more fault lies with Marcy, in leading to the Core being potentially able to ravage worlds again. And then she is told that the prophecy is a plea for help. You don't have to yes to a plea like you do destiny. If not for Anne's experiences, she would have said no.

Instead, she says yes and she wins for it. Her resurrection is even based in this. She expects no resurrection and was ENTIRELY ready to bear the weight of her choice. She won't even accept the Guardian's offer of power because that's not why she did this. It's not what her arc is about. Instead, she gets her resurrection for the same reason she died: Because she has grown and in that growth, become so much more than she ever could have even imagined, so what would happen if given more time to grow? Would she surpass all of ours expectations? Even a god's?

ALL of that helps an audience care. Helps give a true climax to everything. Brings it all together. Even if you want to argue, and I actually probably would, that the Calamity trio fighting is technically worse from an animation standpoint than even Eda, King and Luz against the moss, narrative weight matters more. That sense of climax matters more. It is going to elevate the rest of the fight, and the episode, simply by making sure that ANY audience member is going to have a greater amount of investment in it.

And a heroic sacrifice is a great way to add to that. A shock death is not.

======+++++======

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

A Twitter you can follow too

And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.

[sombersaturn]

I want more characters to be reused in Warrior Cats

Like Shadowsight. Shadowsight is objectively one of the most fascinating cats in the entire franchise. He's a medicine cat that through no fault of his cannot communicate with StarClan any longer. He was groomed and manipulated by Ashfur, dragged down to cat hell to save cat heaven and the rest of the five Clans in the living world as he watched Dark Forest cats get double killed as it shrank with viscous blood-looking goo, was threatened by his own kin and Clan to get exiled or even killed (Lionblaze was mega close to killing Shadowsight and remember, kids, they're related! Familicide is cool according to good ol' Lionblaze!) And on top of that he had Stockholm Syndrome for Ashfur. I'm sorry but why doesn't he have a Super Edition or another series with him as a POV? Erin's, pretty please give me more Shadowsight content... I love Shadowsight sm

Other cats that NEED more content with them as a POV include:

- Squirrelstar (totally not just because she's my favorite other than Shadowsight). She could go on to adventure around like Firestar now that her abusive ass husband isn't in control of her anymore

- Breezepelt. He's interesting, he used to be a Dark Forest trainee and found out his dad had kids with a MEDICINE cat before he was born. I get why he's an angsty ass but I wanna see more of that... also cuz I love WindClan... gimme more WindClan content

- Jayfeather. He's still an ass and he's still cool. Give him another arc. Pretty please. Don't make Lionblaze part of the story though. I can't forgive Lionblaze. Replace Lionblaze with Alderheart, they're cousins/brothers by adoption and I wanna see them bond

- ROOTSPRING OH MY GOD ROOTSPRING PLEASE HE'S SUCH A TRAGIC CHARACTER

- Midnight. Where is she? Give her back, she's gonna give more missions to the cats

- Bro where is Stormfur?????? He should still be alive???? Maybe don't give him an arc but I wanna know how he's doing

- Honestly we should reunite The New Prophecy gang ngl, keep Brambleclaw out of it though

Sure I like the new characters but... them...

[percheduphere]

So...Thoughts on the whole people thinking Sylvie is Aro-Ace? I can kinda see her being Aromantic, but with her mentioning she's more "hedonistic" than Loki and silently hinting that she's Bi too, can't really see her as Asexual. But what do you think?

LET'S TALK ABOUT SYLVIE'S SEXUALITY, HER RELATIONSHIPS WITH LOKI AND MOBIUS, & HER CONTRIBUTIONS TO THE SERIES NARRATIVE

Before I answer this, I think it's important to acknowledge that fictional characters exist for people's comfort and pleasure. I write original fiction, and I would hope that most artists believe in the right of the audience to interpret character to meet their personal needs. To me, canon is a sandbox. Everyone should play with it as they please and not hate on each other. There are more important things in life to worry about. Therefore, if Sylvie reads as Aro-Ace to you and that reading brings you joy, then she is.

This question inherently requires the need to talk about Sylki in this post. I predominantly analyze Lokius, so please, no hate! My number one rule is never yucking someone's yum. Furthermore, Sylvie plays a critical role in Loki's development and the philosophical thrust of the series, of which Mobius also contributes to as the other half of Loki's character arc equation (selflessness and sparing life [Mobius] + free will and revolution [Sylvie]). It would be biased and disingenuous to not acknowledge her contributions to the overarching narrative.

ARO-ACE INTERPRETATION

All right, your question! I can definitely can see Sylvie as being aro-ace. That's a legitimate interpretation based on how she responds to Loki's flirtation and romantic advances. It is also possible that she's an aromantic bisexual. This second possibility is more likely based on the text the audience is given.

THE CANON TEXT

Having said that, I think you're curious about what the source material is trying to say about Sylvie's character and how that influences her sexuality. I believe it's important to remember that external behavior doesn't dictate how someone defines themselves. Closeting and disengagement from intimacy because of trauma are prime examples of this.

The train scene in S1E4 reads as earnest. Loki and Sylvie are both very lonely characters. In this moment, both are trying to connect with someone who finally understands them because they are the same. It's actually a lovely nod to the queer experience.

The dialogue, lighting, and costuming (blue, purple, pink) in this scene communicates they are both queer, specifically bisexual. The lighting and costuming combining to represent the bisexual pride flag is an example of queer subtext in film. The dialogue, while direct, is also written in such a way that it avoids explicitly stating "men and women." Sylvie later comments that the brief flings she indulges in during apocalypses helped her "keep going". She even specifies that apocalypses make people desperate. This suggests that Sylvie likely didn't need to do much wooing or charming like Loki would to obtain a sexual partner. Finally, the way Tom and Sophie play this scene is vulnerable. I therefore believe we can take this on-screen admission at face value.

So the question becomes, why does Sylvie respond to Loki's flirtations the way she does?

SYLVIE'S BACKGROUND

Sylvie was orphaned and forced to run all her life from a very young age. Her backstory is deeply tragic. To live in such a way means that she never had the opportunity to experience adolescence.

NOTE: This is honestly my favorite gif of Sylvie. She's so sweet and cute when she's happy. I can't get over the 5 stars on her employee badge. "Sylvie, can you refill the straws?" "Already did it!" The sweetheart.

Sylvie working at McDonald's accomplishes two things: it allows Disney to fulfill their advertising sponsorship agreement for the fast-food franchise, and it subtly alludes to Sylvie's need to live the adolescence she didn't get to. The TVA forced her into arrested development. She never had the chance to make friends and safely socialize on her own terms. The centuries of trauma have made trust, let alone romance, completely foreign to her.

Which is why, when Loki and Sylvie have romantic scenes, she is often awkward or, if not unreceptive, wary. Her previous flings, as she agrees with Loki, were "never real". Physical intimacy without emotional intimacy is a familiar dynamic for both characters. Their relationship with one another is their first experience of emotional intimacy (or at least attempt at it) outside of their families. The pursuit of this emotional intimacy feels safe to them because they are the same entity and thus they know each other's base nature (versus nurture!) to some degree.

The difference between them is that Sylvie has not experienced social rejection in the way Loki has (nurture!). She recognizes the wrongness with which the TVA has treated her. She knows the absolute atrocities the TVA has committed. She is determined to destroy them to free herself and all timelines. Sylvie is consequently more self-assured, more confident in what she wants and believes in, than Loki. In S2, Sylvie's clarity on desire is what allows her to help Loki articulate what he wants: his friends back, most especially Mobius.

In S1E1, Loki, still posturing before Mobius, describes himself as a "liberator". At this point in the story, we know that isn't true, but it will become true by the finale. This line of dialogue foreshadows Loki's trajectory as well as Sylvie's revealed motivation in S1E4: to liberate.

THE NEXUS EVENT

There are a variety of ways for viewers to interpret what exactly the Nexus Event was. The canon, within the text of Mobius's dialogue and verbal confirmation from the creators, is that Loki and Sylvie fell in love. Now, I'm not going to spend time arguing over other interpretations here, but I will say that regardless of whatever pairing or OT3 a viewer ships, the Nexus Event was ALSO definitively this: two Lokis in the same place, at the same time, not feeling lonely together.

And Sylvie, who had confessed to Loki she has no friends and has never really experienced joy, answers Renslayer with the number of positive memories she has:

Sylvie doesn't state it outright, but the subtext is clear that her one positive memory was her time with Loki on Lamentis. Indeed, moments later, Sylvie prunes herself in an effort to find and rescue him.

SYLVIE & MOBIUS

But being the harshly pragmatic individual she is, upon arrival and encountering Alioth, Sylvie assumes Loki didn't make it. I don't think Sylvie means what she says in a cruel way. I think she believes this because she is accustomed to disappointment and accordingly guards herself with cynicism. Sylvie's traumas, her difficulty with trust, her inexperience with intimate relationships, and her cynicism all combine to create an individual who may appear aro-ace when that may not necessarily be the case. Please note, however, that Sylvie being aro-ace or aro-bisexual may still be a possibility. My analysis here is based on what the text and subtext seem to be telling us about her character.

Notably, it is Mobius who is more optimistic about Loki's survival, wondering if Sylvie truly believes that Loki is dead.

This moment is brief, but it is significant because Mobius's optimism implies that not only does he believe in Loki, he also wants Loki to be alive. Sylvie is intelligent. She can read between the lines. We can also assume an off-screen conversation took place between them that confirmed for Sylvie Mobius's genuine care for Loki. When Sylvie informs Loki of this fact, I believe we get this:

Mobius was conservative in how Loki might interpret their relationship, extending a handshake before their goodbyes. Loki, on the heels of his conversation with Sylvie, chooses to hug him instead. The result: Mobius is delighted!

I've long pondered on why Mobius would say, "You're my favorite" to Sylvie. I believe this is why: she helped along their friendship and opened the gates for physical affection between them. This demonstrates that Sylvie cares enough for Loki to ensure he is secure in his bond with Mobius. It likely helped that Mobius did not deny the TVA's evil when she pointed it out to him, and that he did not hesitate to apologize to her for it.

Ironically, it is Mobius's optimism, especially in the potential of broken things to become something better (whether it is Loki himself or the TVA), that creates the fraught philosophical divide between Sylvie and Mobius (and Loki) with regards to the TVA in S2.

THE S1 FINALE

The S2 finale is where the narrative between Loki and Sylvie turns, and the plot pivots to the deepening relationship between Loki and Mobius. Triggering this event is Loki's desire to slow down and think about the consequences of killing HWR in the Citadel at The End of Time.

This may seem out-of-character at first glance. S1E1-E4 have demonstrated that Loki's decision making is sometimes chaotic by virtue of impulse. What was the last impulsive decision he made with heavy consequences?

He ran off after Sylvie. A good decision ultimately, as Loki learns the truth about the TVA through Sylvie, but only by luck. This decision very nearly cost Loki a friendship, one he didn't even realize he had until Mobius called him a "bad friend."

Despite the fallout, Mobius recovers relatively quickly once he confirms Loki's claims and views Ravonna's recording of C-20. He reestablishes trust with Loki as soon as possible to help Loki be with the one he loves. Why? Because Mobius is ultimately selfless and wants Loki's happiness regardless of his own feelings of jealousy.

Which circles us back to the theme of trust and Sylvie's challenges with it.

Loki and Sylvie's relationship falls apart not because of lack of mutual interest, but because Sylvie loses trust in Loki and with good reason: HWR (and thus the TVA) is the cause of all her suffering.

It is not Sylvie's fault she is this way. She hasn't had enough time to develop meaningful relationships, and the one relationship that was meaningful to her (Loki's) became, in her eyes, a profound betrayal. This experience only adds to the other traumas Sylvie carries with her, making encounters with Loki in S2 emotionally difficult if not triggering.

The relationships of Loki & Sylvie and Loki & Mobius are intentionally set side-by-side for 3 critical reasons:

1.) To demonstrate Loki's growth by developing trust and thus emotional intimacy with others.

2.) To create the Plot B emotional source of conflict in S2.

3.) To set-up Mobius and Sylvie's individual beliefs and values (selflessness and sparing life [Mobius] + free will and revolution [Sylvie]), which Loki combines into his own system of beliefs and values. This combination gives Loki the strength and wisdom to ascend the throne and become the God of Stories (and Time).

THE S2 FINALE

Loki comes to his final decision after speaking with the two halves of his character arc equation. Loki first seeks out Mobius, who shares with him the distinction between himself and Ravonna. Now, this is brainwashed Mobius. Brainwashed Mobius believed Ravonna could do the impossible while he couldn't. But Loki knows Ravonna's corruption.

Beneath Mobius's wisdom that "most purpose is more burden than glory" is also Mobius's heart: he could not prune children and that instinct was the right decision. His "failure" was not a failure of duty but rather his humanity succeeding despite the brainwashing. It's this same intrinsic compassion that drove Mobius to convince Ravonna to spare Loki. Loki articulates this to Don as such. He therefore takes the message of selflessness and sparing life from Mobius to Sylvie.

Sylvie, in turn, challenges Loki, stating they should have the freedom and right to fight whatever comes on their own terms.

She also stresses that it is all right to destroy things. Upon hearing this, Loki comes to the conclusion that what is destroyed must be replaced with something better. What needs to be destroyed? Not the TVA and the people in it (not Mobius, Verity, OB, and Casey), but the Loom.

Loki sacrificed himself (selflessness + sparing life [Mobius]) in order to save all timelines (free will + revolution [Sylvie]). Loki sparing Sylvie's life is a direct consequence of Mobius having fought to spare his.

Through this sacrifice, Loki gifts Sylvie the chance to get the type of positive experiences she wants and needs, which includes future romance, if she so chooses. That is canon and is a genuinely romantic gesture regardless of anyone's interpretation of mutual reciprocation or lack thereof.

It is also canon that Loki loves Mobius and Mobius loves Loki. Their actions for one another across both seasons demonstrate this to be true. Is it also romantic? Absolutely. Is it sexual? On screen, no, and it doesn't have to be. Romance does not require sex, let alone physical contact, to exist.

Loki loves them both.