#and forces the justice system to do something about it so she can get her daughter back

[gingermintpepper]

So, now that Blood of Zeus has also been given its chance to tell the Demeter/Persephone story (and also, similarly, fundamentally misunderstood the themes of the Hymn to Demeter) can we finally, finally talk about Mother Love?

Because I can scream until I'm blue in the face about how modern, popular interpretations of the myth have become so focused on being 'empowering' to women by fixating on giving power to Persephone in her marriage with Hades and, in turn, disparaging Demeter, another woman, - the mother who grieves her lost daughter - that they've some how spun all the way around and gotten back to being misogynistic and reductive, but I feel like talking nebulously about the fact that it's Demeter and Persephone's story and not Hades and Persephone's story never gets the point across hard enough. So:

Anyone who was upset about Demeter's demonisation in Blood of Zeus S2? Read Mother Love. Anyone who is ever upset that retellings of the Homeric Hymn to Demeter constantly demonise, belittle, accuse and insult Demeter and her grief while making excuses to redeem and forgive her daughter's captor? Read Mother Love. Anyone who likes Hades and Persephone as a romantic tale but yearn for complexity outside of arbitrary romantic antagonists impeding the happiness of the couple? Read Mother Love!! Everyone who has even a passing interest in this tale whether it is for the romance, the mother-daughter connections, the themes of grief and loss and eventual comfort and compromise, the wrath of the mother transgressed, the justice that is served due to a mother's insistence in an unjust society, READ MOTHER LOVE!!!

Because it pains me that such a perfect retelling of Demeter and Persephone's story exists, that it focuses on the mother-daughter relationship by comparing it with the poet's own relationship with her mother and it is nearly obscure in the greek mythology community.

[dcxdpdabbles]

I’ve seen you said you take prompts, so, I had an idea if you’re interested.

So, imagine Danny has an assignment from Clockwork, and as punishment for a prank he pulled where he messed with something and unintentionally pulled CW’s attention away from the timelines for long enough for the Flash to accidentally ruin the timeline, after the timeline was fixed Danny’s forced to go and fix every single broken clock in the solar system. This includes stuff like watches and the batcave clock, maybe a few timed bombs, something on the watchtower, villain bases, etc.. Everyone is extremely confused and concerned as to how and why this eldritch kid with the Mark of Kronos is appearing randomly in their secret bases. Danny isn’t just fixing the clocks, sometimes he pulls Shenanigans depending on where he has to go. If he sees clones in a lab, he’ll call up Dani and they’ll pull off a heist together and she’ll take care of teaching and raising them afterwards. Talons? Danny opens a portal to a section of the infinite realms and gives them their own island after having the yetis go through deprogramming with them and stuff. He sees some stuffy fruitloop batcave? Graffiti and glitter. Lazarus pits? Free smoothie! Of course, he’s respectful to civilians when he bumps into them, giving little unmeltable ice statues to kids, helping people who need it, etc. He fixes a family heirloom watch, bringing tears to a grandson’s eyes. He’s helping people while on his mission, while also messing with any fruitloops he finds. So all of these people around the world are just really confused and being like, what in the world, who/what is this kid?! And sharing stories about him online, painting him as a cryptid or god or whatever. The Justice League and the villains are just Concerned because the kid feels like Kronos, time, and death energy, and have no idea what he’s trying to accomplish. Maybe they think that working clocks give him power, idk, just thinking of the conspiracy boards about Danny as he goes through his punishment and fixes every single clock, including on other planets (Danny practically squealing the whole time as he meets *aliens* in *space*! What cool technology and life!) This is meant to be a punishment but Danny’s living out his dreams. Sure it’s boring at times, but all this traveling is interesting and can help him bond with Dani, so this isn’t much of a punishment for him. He gets to be mischievous and help people out, it’s a win-win. Meanwhile everyone else is thinking that the end of the world is coming and that Kronos has been reborn and is trying to take over the world somehow with clocks. If you’re willing to expand or add to this or make it your own, please do!

I love the idea of Danny just *poof* "Yes, hello, I am the clock-smith" in the middle of, say, the watch tower. Floating up to the clock wall to adjust the time while pulling out a manual on time zones in different parts of space. The watch tower is within Earth's intergalactic waters per se, but which Earth time did he set it to???

Should he anchor it to one place or just place a spell on it to show all the time zones in a cycle? Does Clockwork have a procedure for this?

Meanwhile, all the heroes in the cafeteria are jumping to their feet, some whispering, "A fifth dimension imp!" and others yelling, "It's Kronos!"

Wonder Woman kneeling before the flouting teen does not help these accusations, as she loudly proclaims, "It's an honor to be of service, Lord Kronos."

Danny looked down at her. "Oh hey, an Amazonian."

"Why have you graced us with your presence? Is there anything this lowly servant can help you with?"

".....Can you gather all the watches for me?"

"At once!" And that's how the rest of the heroes almost have heart attacks because Wonder Woman herself is rushing at them at terrifying speed to rip away any form of watch from their bodies. She's on a war path, and no one can stop her. They can see it in her eyes- she'll draw blood if she has to.

They hand over their watches without much of a fight, feeling like they are being mugged. Wonder Woman sprints away to the next few levels- the screams of fellow heroes echoing in her wake.

Batman isn't as willing to cooperate with Kronos until he knows why the god is here, but Danny doesn't give him much of a choice. Mostly because he is uncontainable. Thankfully, he seems fixated on watches (Bruce writes in his notes, "Can gods be autistic???), and he leaves once they are all fixed.

He changes everything to be precisely twenty-nine hours ahead of whatever time they originally were at. Wonder Woman basically barked at everyone to not switch them back, banishing her sword.

From there, Batman does research with his sons and daughters. Tim finds the information of Danny appearing throughout history to fix watches, and Hal finds similar historical text in Oa's archives—usually right before a horrible tragedy. Further investigation shows a horrendous discovery.

Danny adds or subtracts the same number of hours from the told time as before the tragedy.

He was on Mars three hours before the tipping point of the civil war when the tremendous green Martian massacre happened. He added three hours to the green Martian's capital clock tower.

He was there on Krypton twenty-five hours before the planet was swallowed up by a black hole and exploded. Every public area with any form of time telling was changed to twenty-five regardless of whether it matched the planet's time zone.

And now he was here in the clock tower.

Bruce realizes that they have only one hour left, so he commands everyone to rush about and search for what could be the issue. It's only thanks to the Speedsters' quickness that they find the malfunction in the tower's core—the thing keeping them flouting. Had they been one hour too late, it would have caused the Tower to get pulled into Earth's gravitational pull.

Leading to them crashing into Earth- right above the most populated country of the world, possibly killing millions and leaving the world without their heroes.

The tragedy is avoided but now everyone is weary of when or where Kronos will appear.

Meanwhile, Clockwork is watching the timeline, amused that they think Danny is him when, in reality, Danny is just picking a random time and sticking the clocks to match since it's less math.

[saphronethaleph]

“I never wanted you dead,” Sheev said, smiling in a grandfatherly sort of way, which he was terrible at. “I wanted you here… Empress Palpatine.”

He gestured. “You will take the throne. It is your birthright to rule here. It is in your blood. Our blood.”

“I haven’t come to lead the Sith,” Rey replied, then there was a loud doom doom doom sound of someone knocking on a door.

“Who is that?” Palpatine asked.

Then Luke Skywalker entered the room, limned with blue light.

So did his father, Anakin Skywalker, and Leia Organa Solo. And Yoda, hovering along on a spectral hoverchair, and Qui-Gon Jinn, and Obi-Wan Kenobi, and Count Dooku.

“...um,” Rey began. “Master…s?”

“Rey,” Luke replied, with a nod. “You were right, by the way.”

“What is this?” Palpatine asked, his voice hushed and touched with fear. “What are you doing?”

“You never heard the story of Master Qui-Gon the Insightful?” Anakin asked.

“I’m insightful?” Qui-Gon said, sounding pleased.

“You are certainly something,” Dooku said, as Yoda chuckled.

Palpatine looked like he might be about to have an aneurysm.

“It’s not a story the Sith would have told you,” Anakin went on, with a terrible glee in his tone. “You see, the Light Side is a path to many abilities some would consider to be… supernatural.”

“Got that out of your system?” Obi-Wan asked.

“For now,” Anakin shrugged.

“What-” Palpatine sputtered. “What are you – this isn’t possible! You are dead! It is the Sith who can defy death!”

“The evidence suggests otherwise,” Leia smiled, then cleared her throat. “Sheev Palpatine. We are formally accusing you of-”

“Um,” Rey said, a bit hesitantly. “Sorry to interrupt… I recognize most of you as Jedi, but what is Count Dooku doing here?”

“Probation,” Yoda stated. “Very nicely, he has asked.”

“We are formally,” Leia stressed, “accusing you of, among other assorted crimes, thirty-seven thousand, eight hundred and twenty-seven counts of murder by use of a blunt instrument – to whit, a Clone Army – counting only those who were members of the Jedi Order in good standing at the time of their respective deaths, though we acknowledge that the number murdered on your orders is beyond easy counting. You are accused of treason in times of war and peace alike, of enforced disappearances, of enslavement, of wilful torture, of assorted Crimes Against Sapience, and of Consorting With Ye Powers Of Darknesse, which to my surprise was still on the books of the Old Republic.”

“There are, as the Princess says, many other crimes,” Dooku added. “But we believe those should be enough to be getting on with. For a start.”

Palpatine stared, then laughed.

“You – you are trying me?” he asked. “In what court? By what authority? I am authority! I reject your powerless, toothless threats! I am above punishment!”

“I think we’ll consider that a plea of ‘guilty’, then,” Obi-Wan said. “Wouldn’t you say?”

“That sounds reasonable enough to me,” Qui-Gon agreed. “All right. Grandmaster, if you would do the honours?”

Yoda raised his gimmer stick, and a bolt of lightning hit Palpatine on the head.

The Sith half-stood half-fell out of his chair, trying to hide behind it, then scowled at his own reaction and shot lightning at one of the Force Ghosts.

It passed right through Leia without doing anything at all.

Rey raised her hand.

“Am I still needed here?” she asked.

“You know, I think we can handle this ourselves?” Count Dooku said, courteously, then turned to Palpatine. “Know this, Sidious. You destroyed the Jedi Order, and now the Order will destroy you. If you return, you will be destroyed again. And again. Forty thousand angry ghosts cry out for vengeance.”

Qui-Gon coughed.

“Terminology, Master,” he said.

“Forty thousand annoyed ghosts seek justice,” Count Dooku corrected, as more Force Ghosts began to enter the chamber – walking through the walls in ranks, their ghostly lightsabers held high. “Is that better?”

“It’ll do,” Obi-Wan decided. “We appreciate you making the effort.”

Palpatine did not appreciate him making the effort.

[rnelodyy]

The Owl House And Restorative Justice

At the end of Season 1 of The Owl House, it is revealed that Lilith, the main overarching antagonist of that season, was the one to curse her sister Eda, one of the protagonists, to win a tournament when they were teenagers. This information causes Eda to fly into a screaming rage and attack Lilith, and understandably so.

Eda’s curse is essentially a chronic illness, one that, in Eda’s own words, has ruined her life, being the reason she’s considered a social outcast and why, before meeting King and Luz, she hadn’t gotten close to anyone in years. In season 2, it’s revealed that the curse is why she pushed away her partner Raine to the point that they broke it off with her, and that during a particularly bad flareup, she accidentally maimed her own father, leaving him half blind and with permanent nerve damage to his hands, making him unable to continue working as a Palisman carver. The curse has ruled Eda’s life for decades now, so to Eda, this is the ultimate betrayal.

In the first episode of Season 2, Lilith has defected from the Emperor’s Coven, split the curse between Eda and herself to mitigate the symptoms for her sister, and has moved in with Eda at the Owl House. While Lilith herself still feels guilty and feels she has to make it up to Eda, everyone else, Eda included, has seemingly either forgiven her or chosen to look past it. Eda even makes fun of her for feeling bad about cursing her, and Lilith’s guilt is seemingly absent for the rest of the series. 

The response to this was… Less than stellar, shall we say. A lot of people were angry, saying Lilith got away with her crimes without even a slap on the wrist, and that Eda’s forgiveness of her was far too sudden.

This isn’t the first time we’ve seen this kind of critique. Amity spent years bullying Willow after her parents forced her to break off their friendship, and when she began trying to mend that relationship, the response from fans was that Willow should have been a lot more angry at Amity, and that they went back to being besties far too soon. I’ve even seen this criticism leveled at Hunter for the things he did while working for Belos, at Vee for impersonating Luz for months to trick her mother, and at Luz for hiding the fact that she helped Philip find the Collector from her friends. And it does seem strange for the show to keep tripping on this same point again and again.

Except, it’s not really. Because I think that, when viewing this show from a different angle, those supposed flaws are actually symptoms of something very important to understand – The Owl House operates on a system of crime and punishment that is very different from our world’s.

More specifically, our world mostly utilizes retributive justice. The world of The Owl House utilizes restorative justice.

So first, what do those terms mean? Broadly, they’re two different forms of handling interpersonal disputes, or dealing with crime. 

Retributive justice is the one our current justice system uses, where the focus is primarily on punishing the perpetrator. Retributive justice can mean detention, suspension, expulsion, jail time, monetary fines, some kinds of community service, exile, or in more severe cases, corporal punishment or the death penalty. It’s the lens most people view the world through, where if someone hurts you, hurting them back is the correct response.

Restorative justice is a very different approach, where you instead focus on helping the victim recover from what happened, and rehabilitating the perpetrator to prevent this from happening again. Restorative justice can look like verbal or written apologies, monetary compensation for costs and trauma, therapy for both victim and perpetrator, education for the perpetrator, mediation between victim and perpetrator, a restraining order, etc. 

When viewed through a retributive lens, The Owl House lets its characters get away with a lot of shit. Lilith cursing Eda, Hunter rounding up Palismen knowing they’ll be killed, Amity tormenting Willow for years, it’s all stuff that, in a retributive environment, they should be punished for, and they’re just not. Eda is only genuinely angry at Lilith for two scenes, Amity and Willow fix their relationship very quickly once Amity starts making amends, and Hunter isn’t punished at all. 

However, I believe the story of The Owl House is best viewed not through a retributive lens, but through a restorative lens.

Let’s look at the Lilith-example again. Lilith’s offense was cursing Eda, which she did because she wanted to win a spot in the Emperor’s Coven. Knowing Eda was better than her, she cast a curse on her, thinking it would only last for a day. But when the time came, Eda forfeited the match, soon after which she transformed into the Owl Beast and was pelted with rocks until she ran. The curse turned out to be very permanent, and Lilith spent the next 20 years trying to fix her mistake by working for Belos to try to capture Eda, since he promised to heal her curse. 

However, when she finally succeeded, Belos went back on his promise. Instead of healing Eda, he ordered her to be publicly executed. When Lilith protested, Belos essentially told her to shut up, that it was the Titan’s will, and left her there. 

So, having realized her method of fixing her mistake has gone real bad, Lilith sneaks down to the Conformatorium to free Eda herself, but arrives too late and finds Luz instead. After a brief fight they end up teaming up, and Lilith leads Luz to the elevator, but they are captured by Belos and Lilith is thrown into the cage with Eda. There, she restores Eda’s partially petrified body, and after fleeing with her, Luz and King, uses a spell to split Eda’s curse evenly between their two bodies.

From a restorative justice point of view, Lilith has done pretty much everything she reasonably could do to fix things. She’s denounced the Emperor’s Coven, returned Owlbert to Luz, helped Luz find the elevator to the execution platform, saved Eda from petrification, apologized to Eda, and while there’s no way for her to cure Eda’s curse entirely, she took on half of the curse at great expense to her own health, in order to ease Eda’s symptoms. 

Eda isn’t angry anymore because in her eyes, Lilith has already fixed things with her. Punishing her more at this point is pointless. What more could Lilith do, really? What other lessons could she learn? The only thing that punishment would bring at this point would be more suffering. 

Let’s look at another example: Amity and Willow.

Amity’s offense was breaking off her friendship with Willow because she was a late-bloomer, bullying her for years, and allowing her friends to do so too. Willow is left with horrible self-esteem issues because of this, and combined with her failing grades, turned her into a horribly shy and withdrawn wallflower (no pun intended). After she’s moved to the plant track she starts actually getting better, but Amity and Boscha especially continue to torment her. While Amity’s bullying of Willow does peter out over time, Willow is clearly still extremely resentful of her. In an attempt to make Willow forget their friendship, Amity accidentally sets most of Willow’s memories on fire, leaving her confused, amnesiac, and unable to grasp basic concepts like that chairs are for sitting in.

Luz pushed Amity into fixing Willow’s brain by going into her mind together and piecing her memories back together. There, the Inner Willow revealed what happened to Luz and the audience.

At this point, Amity shows her that her parents were actually the ones who forced her to end the friendship because they didn’t think Willow was a suitably powerful or influential friend, threatening to make sure Willow would never get accepted into Hexside if Amity didn’t force her to leave. Amity then apologizes to Willow for going along with it, and for the bullying, and vows to make sure her friends never mess with Willow again. 

Willow accepts her apology, but also makes it clear that, while it’s a start, she’s not yet ready to accept Amity in her life again. Restorative justice has not been fully attained, because to Willow, Amity hasn’t fixed everything – Boscha and her squad are still bullying her, and still consider Amity one of them. This changes two episodes later, when Amity tells Boscha to grow the fuck up when she starts bullying Willow again, and joins her and Luz’s Grudgby team despite her personal issues to get Boscha to back off. Willow doesn’t make a grand gesture of forgiveness in this episode, but it is after this point where the two become comfortable around eachother again. 

Did Willow forgive Amity too quickly for years of trauma? Maybe. If she had chosen to continue keeping Amity at a distance I certainly wouldn’t have blamed her. But in the end, Amity fixed the mess she caused as best she could, and has proven herself to want to be a better person, to want to be Willow’s friend again. She worked hard to prove herself to be a person worth trusting, and Willow decided to give that trust a chance again.

And while they did become friends again, that friendship was clearly still affected by what happened, which led to bumps that the two of them had to work through. Like in Labyrinth Runners, where Amity’s overprotectiveness over Willow makes Willow feel like Amity thinks she’s incompetent, and still only sees her as the helpless person she used to be. 

Willow continuing to be mad at Amity and punishing her for what she did wouldn’t be an unreasonable reaction, but it wouldn’t have fixed anything. It would certainly have an impact on Amity, seeing her former best friend rejecting her attempts to make up for what she did, but the hurt on both sides would have continued festering, because deep down, Willow missed Amity too. 

In Hunter’s case, there’s the question of whether he can even be held responsible for his actions. The Palisman-kidnapping in specific was explicitly done under duress – if he failed he would face verbal and physical abuse, and be threatened with his nightmare scenario: getting thrown out of the Emperor’s Coven. 

And that’s not an empty threat either. Hunter has no magic, and Belos has drilled it into him that witches without magic have no future. Without the Emperor’s Coven, his only future prospects would be starving to death on the streets or wasting away in prison. Either way, Hunter would be alone, without family or friends, without a job or job prospects, without anyone to turn to for help. Any child would be terrified of that. Hunter wasn’t always acting on direct orders – in fact he defied direct orders to stay in his room in Eclipse Lake to go look for Titan’s Blood, and then again in Hollow Mind to arrest the rebels. But he made those choices based on the idea that Belos wouldn’t want him if he was a failure, and that he needed a chance to prove that he could still be useful.

And contrary to popular belief, Hunter does know right from wrong. He has a very strong moral compass, he’s just been forced to ignore it in favor of doing whatever the Emperor wants. To shut up that little voice telling him he’s doing the wrong thing, he uses what’s called a thought-terminating cliche, a statement that feels so fundamentally true that the argument need not continue. In Hunter’s case, that statement is “It’s for the greater good.” Sure, kidnapping his new friends and abducting Palismen to feed to the Emperor and threatening someone who’s been nothing but kind to him to take the portal key from her girlfriend and justifying terrorism makes his stomach feel like he swallowed a cactus and saying it out loud makes him sound like a horrible person – but it’s for the greater good. He’s doing it to serve Belos, and Belos knows what’s best. 

So by the time Hunter is out of active danger and able to rest and recover from what happened to him… what would further punishment accomplish? He already knows that he did fucked up shit while working for the EC, and he’s proven time and time again that while he’s not fighting for Belos’s approval, he’s actually a genuinely kind-hearted kid. Punishing him now would likely cause him to react very poorly, because he’s been at the wrong end of that stick so often that he’s developed severe PTSD because of it.

And if you think restorative justice is still in order – Hunter is currently hyperfixated on making sure Belos can never hurt anyone again, and for the long term, he has expressed that he wants to become a Palisman carver when he grows up. While it won’t bring back the Palismen that were killed, it will help the current Palisman population recover and reintroduce Palismen to witches who may have had to give up theirs. 

When viewed through this lens, the writing of The Owl House starts to make more sense. As a show, it is extremely forgiving towards its characters – they’re still held accountable for their actions, but as long as they’re willing to grow and learn and fix the damage they caused, they are very quickly forgiven. 

However, I do understand why these writing choices can be… controversial, so to say. Because it doesn’t feel very satisfying, does it? When someone hurts you on purpose, your first impulse would be to try to hurt them back, that’s just how people work. 

That’s the hardest thing to come to terms with when you become an advocate for prison abolition for example – you’re not just arguing for freeing a guy who got 5 years because a cop found weed in his pockets, you’re arguing for the release, and most importantly, the humanity of some of the most vile, disgusting people this planet has ever produced. Even now, when someone commits a truly awful crime and gets sent to prison for life, my first thought is “Good, I hope they rot in there.” But that’s not justice. That’s just revenge. And revenge is not something we as a society should want to build our justice system on.

It’s not satisfying to see Lilith go from using Luz as a human shield in her fight against Eda to sleeping on the couch in Eda’s house within 2 episodes. It’s not satisfying to see Willow let Amity back into her life when Amity has hurt her so badly before, or to see Hunter become romantically involved with Willow after he literally abducted her the first time they met. But that satisfaction isn’t really the point. Revenge is satisfying in the moment, but an eye for an eye makes the whole world blind, and if someone shows a genuine willingness to change, it’s often better to give them a chance to.

However, my final point is about what happens when this approach fails. Because not everyone is willing to change. Some people, when faced with the consequences of their actions, decide to dig their heels in and refuse to admit fault, or blame the victim(s), or use those same thought-terminating cliches that Hunter used to justify their actions, “I was just following orders” being a big one.

And thus, we come to Belos.

If Belos showed a willingness to change, a genuine one, not an attempt at manipulation, should he be given the chance to? That vengeful part of me is VERY empathetically saying no. But logically, reasonably, he should be given that chance, if only because he’s a human being and no human being deserves to be mistreated. That doesn’t mean his victims are obligated to forgive him or be around him again, in fact I think that, for the sake of Hunter’s mental health, Belos should stay as far away from him as humanly possible. But he should be given the chance to start over, to truly better himself and do something good with the rest of his life.

But Belos isn’t willing to change. 

Belos is a product of a bad environment and grew up with a cult-like mentality and hatred for witches that he had to adopt for his own safety. It’s hard to break out of that mentality, but not impossible. Case in point: Caleb. The tragedy of Belos’s character to me is that he had so many chances to change, so many people to help him make that leap, but all of the people who offered him that help ended up dead by his hands because he couldn’t handle the idea that he may have been wrong.

At this point, Belos is stuck. Changing would mean not only giving up on his life’s work, but acknowledging to himself that everything he’s done, mutilating his body, killing his brother, slaughtering thousands and installing himself as God-Emperor of a population he despises more than anything in order to facilitate a genocide, was completely pointless.

He can’t admit that to himself. Especially the thing about Caleb’s death. He’s sunk-cost-fallacied himself so far into a corner that all he can really do when faced with opposing viewpoints is dig his heels in even deeper and lash out in a rage at anyone who challenges him. Even now, when his body is literally falling apart at the seams, he’s still trying to commit witch-genocide, because it’s all he has. 

Restorative justice doesn’t work in this case, because the perpetrator needs to be receptive to it. Logically you would assume the show would default to retributive justice, and characters like Willow and Camila do take a very vengeful glee in imagining themselves beating the snot out of Belos. But right now, the primary motivation of the Hexsquad and Hunter in particular when it comes to Belos is to end the threat he poses. As long as Belos is alive and free, he will continue to hurt and kill people, and if he can’t be talked down, he needs to be either contained or killed to prevent him from causing more harm.

The Owl House provides, in my opinion, a very nuanced take on restorative justice. It shows how it works in action, how different situations impact what it looks like, and what happens when it’s simply not an option. It’s not the most satisfying story to tell your audience, because when someone hurts our babies we want them to suffer, no matter how sorry they say they are. But in this case, I think that sacrificing that bit of audience comfort is worth it to tell the story like this.

[disniq]

heyyy it's the tropes jason anon again back at it with a new question! what quotes from the comic books would you say describe jason & his philosophy well? thank you so, so much for helping me out ❤

Hi again Anon!

Full disclosure here; I don't think Jason has been written consistently enough over the years to necessarily have one set, inarguable philosophy. But I do think there are certain themes that carry through.

So;

Red Hood: Lost Days #3

This is, notably, the first time Jason kills. (I'm not including Garzonas, which is debatable, or the Cheer incident, which is a retcon) He finds out his hand-to-hand teacher has a barn full of drugged children about to be sex trafficked. The cops and politicians are in on it, making lawful justice extremely unlikely, but taking out one man takes out the system. Jason crosses that line for the first time because nobody else is there to stop it, and this is the most practical route.

He does not see it as "murder" because he feels it was deserved.

Red Hood: Lost Days #4

After that line has been crossed - as Talia points out here - a pattern emerges. It's notable that Jason does not kill all his dubiously skilled teachers, only the ones he deems the worst of the worst - people deliberately and repeatedly harming everyday people, especially children.

Jason reiterates this in his famous utrh speech. He's not talking about killing every rogue, every criminal. He's talking about killing the worst of the worst, the people who can finagle their way out of the system, the people the system fails to catch.

Under the Red Hood

It would be remiss of me not to include that one time Jason killed a nazi. Good for her dot gif.

To Jason, these people are beyond the regular means of justice, so he provides his own. He stops them from hurting anybody else.

This is not an exclusively post-resurrection opinion of his, either. Jason expressed similar thoughts during his Robin run.

Batman #422 (thank you @benbamboozled 😘)

This woman, Judy, baited her sister's murderer into attacking her too and then slits his throat. She's unrepentant, and Jason agrees with her decision. (Bruce, for the record, gives a speech on how "nobody is above the law" which is. An interesting stance for an illegally operating vigilante to take lmao)

It makes sense to me that Jason, as someone who has seen the system fail repeatedly (both as a civilian and as a hero), would have those kinds of doubts. The system doesn't always work. The system often fails the most vulnerable people.

When Bruce was failed by the Gotham justice system, he became his own extra-judicial system. When Jason is failed by both the justice system *and* Bruce's own vigilante system? Why wouldn't he do the same.

Unfortunately, this thread is mostly dropped for a while with the wave of writers who either actively hate Jason and try to make him capital E Evil or who are playing shameless self insert with him, but there are two more recent panels that I want to include too;

Task Force Z #12

So, in TFZ, Jason pushes who he thinks is Bane off a roof for killing Alfred. It... is not actually Bane, but instead the brainwashed former corpse of Gotham re-reanimated via comicbook science and. You know what, it doesn't matter. What does matter is that Jason regrets killing Gotham because he didn't deserve it, but reiterates that he will kill the real Bane if he gets a chance.

Jason sees killing as something he can do that others can't, that others maybe *shouldn't* have to do.

The Joker: The Man Who Stopped Laughing #8

And finally, I adore this little beat in JTMWSL. This is something Jason thinks about. He's not just some brute that doesn't understand that "killing is bad". He thinks about it, reads theory about it. He sees that between the black and white, there are many, many shades of gray.

He understands that people who don't kill with their own hands aren't necessarily good people - like these cops here, gleefully waiting for him to be killed in prison. And that the people who *do* get their hands dirty aren't necessarily the bad guys - like poor Judy.

And I think he probably varies where he places himself on that scale at any given moment.

[xjulixred45x]

Hey, I saw an higuruma post in your master list and thought this was long overdue. Can I please get a general relationship headcanon for Higuruma.

Okay! Thanks for the Request

Hiromi Higuruma x Reader: Headcanons

Genre: Headcanons

Reader: neutral

Warnings: BIG SPOILERS FROM THE MANGA!! ITS POST SHIBUYA!! Higuruma is kind of Depressed and very regretfull of His past:(, mainly fluff.

WELL, LET'S START AT THE BEGINNING. If the reader met Higuruma before or after he became a sorcerer. And how.

SCENARIO 1: Reader is a lawyer like him, a non-sorcerer.

If we follow this route, it is most likely that Hiromi and the reader have been in several cases together.

sometimes both defending the same client, other times on completely opposite sides of the court.

Think of it like the meetings of Law and Order lawyers.

or even having a certain relationship of rivalry thanks to this. The reader is aware that Higuruma is a good lawyer and that he is almost a prodigy in the law, so he constantly tries to surpass him.

while Higuruma takes it in a more friendly way, and thanks to that they end up becoming closer friends/colleagues.

Probably while Hiromi has this more empathetic view of her job (and feels bad when she fails her clients), reader@ is more pragmatic@, she just does her job and makes sure the trial is fair, but doesn't promise anything.

They are like Yin and Yang.

For this reason, when they make more friends, Higuruma ends up telling him several of his existential doubts about the judicial system and justice in general.

He will basically be with them.

and reader tries to appease him as best they can, but there really is no concrete answer to his questions.

but at least they get closer.

If you're already in a relationship by the time Higuruma becomes a sorcerer and has his existential crisis, your partner will be SO WORRIED.

They, out of the question, would report him missing and try to look for him on their own.

Higuruma doesn't want to scare the reader like that but really after the games start he doesn't want to involve them in something so dangerous :(

SCENARIO 2: reader is a sorcerer and they meet AFTER/DURING the games.

Oh definitely that would be something peculiar.

Let's say that the reader is, like Hiromi, one of the sorcerers who used to be normal humans who awakened a cursed technique out of nowhere.

and that they were forced to participate in the hunger games---I mean in the Kenjaku games.

Regardless of the type of technique the reader has, he may or may not end up running into Higuruma after entering the theater (you know, where he was taking a depressive bath)

and honestly depending on how the reader acts, his relationship with Higuruma can go in one direction or another.

If the reader gives up and makes it clear that she only wants to survive, not fight, she and Higuruma may just spend the time talking, asking what brought them there, what techniques they have, how many people they have killed, etc.

It's a little awkward at first, but the guy is a bit philosophical, so it's interesting to talk to him.

taking into account that they are both in the same situation, but reader (presumably) quite unfairly, makes Hiromi's heartstrings pull a little, clearly reader is not made to kill and yet they make him compete with death. It's cruel.

You could say that it is the friendliest scenario, reader and Higuruma become friends and help each other when Yuji arrives to do his thing and they join together in the plan to destroy Sukuna.

NOW, if reader had decided to fight, it probably would have been a different story.

Let's say Reader's CT can SOMEHOW overturn Higuruma's verdict, so there's no risk of death, so they fight bare-knuckle with their other techniques.

and it is a LONG fight.

and it's probably not until they're both exhausted and on the floor (too beat up and out of damn energy to finish each other off) that they say TALK.

What I said above happens, they tell their reasons, but in a much more aggressive way.

Let's say this is the equivalent of the first scenario of Rivals to lovers lol.

Higuruma and reader constantly compute by points and rub it in each other's faces.

but at least the hostility is gradually being lost.

They talk more openly about their lives, they don't bother each other as much, they PROTECT themselves when they need it.

It's almost nice.

They don't mind being together anymore.

so when Yuji comes they go together, I mean what else do they have at this point?

Regardless of how the reader has met Higuruma, you realize that there are several aspects in common. but here are some extra ones.

Higuruma, whether before or after being a sorcerer, is quite cautious with his partner, I wouldn't say protective, but he does want his partner to be cautious.

It's the type of partner who asks you to text them when you return home safely, to let them know when you arrive somewhere or when you leave. The practical man has memorized the amount of time it takes the reader to get from one place to another.

Japan is dangerous even without curses, he just wants the reader to be alert.

Also, despite seeming very distant or in his own world, he is a very good listener. Reader could mention that he wanted something a couple of weeks ago and on some important date he got it as a gift.

although in general their gifts are more from the heart or even somewhat sentimental.

reader has this man's heart in his hand, what can I say.

I think his greatest love language would be quality time, words of affirmation and physical contact.

He's a lawyer, he OBVIOUSLY knows how to use words ;)

especially with how much your partner helps you leave your shyness behind. once he does it he is UNSTOPPABLE.

quality time is self-explanatory, if he's not away from home for a case, it's to save the fucking world, which is why he greatly appreciates the small moments of tranquility with his partner.

Physical contact is ESSENTIAL, he likes it a lot.

Most of all he likes it when he is stressed about work and URGENTLY needs something soft to lie down on.

which used to be the bed, but now that's changed to DING DING DING READER

and can stay hugged for HOURS. let the poor man sleep, he needs it :,)

I think that in general he would like someone who is his opposite but at the same time they will complement each other, as you could see.

someone with a strong, determined character and who believes in their work.

especially if his partner is a non-sorcerer, he is brutally honest about what he does.

He is scared by the idea of one day dying in combat and them not knowing what happened to him :,(

In general, honesty is a very important factor for Higuruma, along with fairness in the relationship.

Higuruma is aware that the type of relationship he has with the reader is difficult to maintain, precisely because he is away a good part of the time and he fears that this will affect how they see him.

That's why you will NEVER be seen lying to your partner, not even when you SHOULD lie to them by orders. he can not.

Also thanks to this he is worried that his enemies will try to use the reader as bait, so he has several contingency and defense plans in cases of emergency.

Like I said, it's not protective, IT'S PRECARED.

Sometimes it is still difficult to read due to its lack of expressiveness, but one finds ways to detect what he feels without the need for his face to give it away (his voice, it is his voice that gives him away).

I think he generally likes the idea of having a traditional family, working like a normal man, married to a reader, a child, a pet, the complete package.

The man just wants to feel happy and share that with the reader :,)

In general, a man who demands a lot from himself, but with the necessary help and love, he is a loving person.

Shares, reblogs and comments are very welcome!

[breadraccoon]

I know this will never happen, but I really wish Btsv alluded to the fact that part of the reason Peter turns himself into the lizard is because Gwen reject his romantic feelings. Just think of the layers!

Stay with me here. I promise I have an interesting take.

It’s made clear to us that she never saw her Peter romantically. Peter was family. That scene at the dinner table at the beginning of atsv is proof enough of that. Gwen already feels guilty about how that fight with Peter’s lizard self went down. She watched her best friend die. But if she also rejected his feelings, then Gwen would probably feel guilty for not giving him a chance. (That statement felt so gross to write. Hold on, let me cook real quick).

Gwen’s an empathic person. She tries to see the best in people. Like how her Dad is a cop in a corrupt system trying to do good. She can see that all he wants to do is protect people and serve justice. I can see her seeing Peter’s intentions of getting super powers as a desperate plead for attention. He was a kid bullied in school and had few good friends. Gwen was probably the only girl who gave him any attention. No matter how easily Gwen let him down, it probably made Peter feel like he was undesirable. And in Peter’s twisted mind, he thought becoming a hero like Spider-woman would make him feel desired. Tragic, but this is by no means an excuse for he did to himself. Peter turned himself into a monster and attacked his high school. Take away the superpower and Peter was a- well you know. You can try to defend him and say well he didn’t mean to turn himself into a monster. But intention can’t mean everything. Sometime you do something with good intentions and people still get hurt. That still means you did a bad thing.

The public opinion of spider-woman only turned mostly negative after Peter’s death. So now Gwen is forced to carry this wound while the public keeps stabbing in to it by barging in with their opinions. This teenage boy managed to screw Gwen over both superhero-wise and in her personal life. She was his friend. Her father talks about him like a son. The public is probably well aware of who Gwen is and her relationship to him. And all of this unwanted attention is forced on to Gwen because he couldn’t handle rejection. This screams girls who are bullied or called the b-word for rejecting guy who the public see as shy or award. The guy doesn’t not inherently deserve the girls attention. Girl have feeling and are not object to be give too.

Peter’s death makes Gwen carry around a guilt that she doesn’t deserve to have forced on to her. And this affects how she interacts with other spider-folk. She can’t help but feel a little scared of what would happen if she fully rejects an alternate dimension Peter’s attention. So she plays coy with them. She pleasant when she really wants to run for the hills. Not every Peter is in the same stage of grief. Gwen is forced to be around all these men and teenage who all have different views on their old relationship. I bet a bunch of them project their Gwen on to Spider-Gwen. She hates when they do that. Spider-Gwen is constantly made to feel like a cheap copy because she isn’t their Gwen.

Looping around to Miles, this can be another reason why she starts becoming interested in him. He respected her boundaries. She said she just wanted to be friends and he said okay. And in Atsv, on the clocktower, he stop inching his hand towards her when she shows her discomfort. He let Gwen set the pace. This is very traumatized teen. He wait for her to get comfortable. It just show how Miles see her as her own person. Someone with equal say in a relationship. And one of the few people who can see Gwen is her fullest form. She isn’t the typical book smart Gwen, but she has this love for music and gymnastics/ballet. She is artist not a scientist. Gwen may be friend with a lot of other spider-men but none treat wholly like her own. Miles see her and doesn’t see her as a victim of dying young. This is what makes their bond so much more special to her.

Adding this can add so many more layers to Gwen. Also what’s more the female experience than having to be constantly worrying about how men perceive you. It’s awful, but that just how the world works. I think if btsv could nail this, then this could be a nice way to support is own theme. Everyone has these views of Miles and who he should be. Miles decide to push forward and do his own thing. Everyone has these views of Gwen and how her life will end, but Gwen is going to keep living on and being herself.

[herbofgraceandpeace]

Spoilers for A Deadly Education below:

(I haven’t discovered how to do the read more link on mobile yet, sorry for being a tech loser.)

So I really, really, REALLY enjoyed A Deadly Education! It was such a deeply, richly imagined world, and the exposition of it was done wonderfully through El’s grumpy, sarcastic inner dialogue. I don’t think you could actually justify it as complaining, but it sort of works as an explanation for her breaking the fourth wall.

The characters were so deliciously real and believable all around, not just El! Side note: I love, love, love books with many women characters; they are just like life, which ALSO HAS MANY WOMEN CHARACTERS. I don’t think it has to be just women authors who do this, but it’s telling that they’re usually the ones to do so. Anyway, the boys and girls of this book were such people very teenagers, and it heightened the drama naturally as a result! A lot of the book relies on hierarchies of the kind usually found in school stories, but that wasn’t just a cool gimmick or means to enliven the stakes. It meant that the morality of their actions was much more obvious and undeniably relevant, and that’s such a powerful truth about suffering on its own! It strips back the fripperies of life and requires us to make very real decisions about what our relationship to the people around us. What will we do to survive? Can we survive alone? And what counts as survival? If we sacrifice others to save ourselves, what will be left of us at the end?

I loved the way that El’s internal dilemma centers around her ability to harm others easily and her desire to not do so—and sometimes, painfully but so realistically, her battle with her desire to harm them in retaliation for how she’s been treated. One of my favorite parts of the book was El’s moment of decision on whether or not to fight the maw-mouth; it reminded me strongly of the moment from Victor Hugo’s Les Miserables when Valjean has to decide whether to turn up at the trial of the man who has been misidentified as Valjean himself. In both cases, the protagonist is forced to make an utterly self-sacrificing choice—to choose something which will most likely destroy their life completely in order to save someone in many respects undeserving. The freshmen El was attempting were young, innocent, and helpless, but they had done her no favors, and she knew she would gain little to no benefit from saving them. But she did it anyway!! Just as Valjean has to realize that he can’t keep his position as mayor and do good if it’s built on the unjust suffering of this man. (I’ve no idea if that connection makes sense to anyone but me, but I’m tired and can’t explain better.)

I couldn’t help contrasting this book with Spinning Silver since I just read it, and I have to say I was delighted by how much more open discussion of morality (see the paragraph above lol) there was in this book! Spinning Silver was so action-focused that I’ll have to look deeper to get at its themes, whereas El’s narration AND her character arc brought it all to the surface in A Deadly Education. Another of my favorite moments was El’s thoughts on her own anger with Magnus; there was lots of real, convicting truth there. You cannot fight the cycle of violence, of fear, of hatred with the very same weapons—you can only break it through choosing mercy and justice (paradoxically) and giving of yourself. Which brings me to the delightful Orion Lake! Ladies and gentlemen, a certified Boy. I’m not sure if he could be called a narrative foil to El (I’m so tired help), but it’s interesting to observe the difference in how they go about caring for others. El is jaded; she sees the brokenness of the world and all of its cruelty, and she chooses to help others (by denying herself at all times!) anyway. Orion sees much less of the evil in people and in the systems of the world—but! fascinatingly! he sees the evil in the scholomance system in a way that El doesn’t (or at least isn’t prepared to deal with yet). He can’t be bothered to think about the consequences of saving everyone, but he’s darned well willing to die doing it. I was amused and frustrated with El for not seeing him as a kindred spirit earlier on in the book because they both recognize the fundamental principle that might does not make right, that the strong should not prey on the weak. Yet while El refuses to acknowledge how deep her loyalty to this principle really is, Orion’s thoughtlessness means that he’s blind to the ways he himself is perpetuating the abuse of the weak through the enclave. Delightful stuff, and realistic character conflict born of different perspectives and experiences!

also, did I mention we get sisterhood?? I don’t care if they’re just friends, El and Aadyah and Liu are sisters now. To me.

Basically, it’s a great book, and I can’t wait to read the next ones

[laylajeffany]

hello, me again.

I finished Chaos for the Fly yesterday and I’m still recovering. It was absolutely incredible. I already know watching season 2 of Wednesday will be weird because I’ll be expecting to see all your amazing OCs.

In the sequel, are we going to see more of Wednesday exploring her mimic abilities?

Thank you again for writing such an incredible story!

Thank you so much :3 It is the first time I’ve managed to finish a million word plus story, and I’m so glad I posted this one, otherwise I would have probably stopped writing back in about September of last year and it would have been one of my many abandoned, epic-length WIPs in my Cloud. I’m pretty proud of this story. I learned so much about myself writing (and finishing) it; I’ll forever be grateful I spent a year pouring all of my free time into a silly little fanfic project for what I got out of it.

If you loved OC Dr. Holly Gallor, check out Lovely Thorns for the love story of her and Larissa. There’s an update to that one coming this week! I also have a prompted Emiliana one-shot that will be here coming in the next week as well. 

SPOILERS and a TINY sneak peak for the Chaos sequel, Karma in Glorious Splendor, below the cut ;)

Spoilers: We will absolutely be exploring Wednesday’s Mimic abilities in the sequel. In fact, it’s a point of contention. Within the first 10k or so of Chapter 1 we see they’re not always as simple (or consequence-free) as simply copying someone else’s power as she might’ve thought and anticipated in the first installment. We’re going to dive into more of the Raven lore as well. 

There will also be a more heavy focus on the ‘homespun magic.’ Writing parts of the Frump family history made me fall in love with the idea of witchcraft again - reclaiming what’s been appropriated and sold to a mass market and making it all about intentions and what has meaning to the user…it’s certainly gotten me more in touch with my own sense of spirituality over the last year and I’ve appreciated it. I intend on having at least the same amount of time with Morticia as I did in Chaos. She doesn’t always understand what Wednesday’s experiencing, but just like Wednesday learned about intentions - it’s what you make of something that can change the outcome.

I think just by the nature of how Wednesday is growing, the Wenclair pairing will absolutely be more of a focal point in the sequel. Enid was critical to her journey, but she had to learn a lot of skills and history from others to be on the ride at all. Moving forward, she gets to pick her own path a little bit more, and with roadblocks in every single direction - she will be turning to Enid for what to do about it, rather than so many of the adults around her. 

There will still be heavy themes of Wednesday’s idea of justice differing from what the reality of living in a system and the real world. An era of reconstruction is that - it doesn’t happen overnight, and we’re going to have to see Wednesday mature to make it through the slow-moving wheel of bureaucracy (even in the Outcast world). That ‘gift of time’ that she received for her birthday at the end is as much a curse as it is a blessing.

Her relationship with Larissa Weems has also changed so much. It isn’t the driving force behind any of Wednesday’s motivations in the sequel, and it’s going to take her remembering what they went through to keep stability between them.

As for OCs, Josie/Dr. Zypher will for sure have more of a backseat role in Karma - but Emiliana is going to be going through it, in terms of her Raven abilities and other struggles, even by the first 30k of chapter one that I’ve written so far. I have no intention of creating any more aside from any who are needed for the Werewolf Council.

Speaking of, we’ll be seeing tremendous growth from Enid through Wednesday’s POV as she faces her future and makes peace with her past. So much so, that it might just be a point of angst and contention for the girls as it seems like she’s moving so much farther ahead of Wednesday, who feels traps by a myriad of forces against her will. 

Does this sound enticing? I hope so ;) I’ve enjoyed getting back into it - I’ve got very strict rules about when I’m allowed to work on writing it and I’ve been following them very well as not to let this one take over my life.

SNEAK PEAK (1,300 words) Featuring Morticia, Wednesday in the ether - bumping into Goody Addams Morticia obviously sensed that Wednesday was stewing in thoughts that day as she suggested, “A detaching meditation, to help you focus more on the present and less up here.” She tapped her own head and Wednesday scowled but didn’t disagree. “The midsummer solstice is just a few days away – so I am grateful you are dwelling on things that require extensive thought. However, it is possible the earth isn’t quite balanced enough and ready for you to explore them so deeply without the shift in the cosmos that the season will bring.”

Not sure entirely how much she subscribed to that, Wednesday also recognized that it wasn’t safe to spend so much time in her head, and agreed to a unique meditation with her mother. Morticia tried not to look too eager as she brought Wednesday out to the back porch closest to her study; the evening sun still had plenty of time to bathe her in the brightness that her nature tried to defy.

Morticia tucked a black string of beads over Wednesday’s shoulders, and she lifted a sunflower charm at the middle to examine it. “Holly says that Larissa is like a Sunflower.”

That made her mother give a knowing smile. “Tall, radiant, and always looking towards the sun, the light. I suppose that’s an accurate simile. Sunflowers are an old symbol for our solstice, as you know – though the perennials here won’t be in bloom for us until late July. Still, as we recognize the light of the season, I believe the symbol is appropriate.” She tucked herself beside Wednesday, her hands in her lap, her shoulders back – posture always immaculate. Wednesday tried to mimic her, shaking her head as she even thought about that word. “You spoke a powerful piece during supper, darling. But I know that’s not all that is on your mind. Would you like to release it, before you attempt to clear it?”

Wednesday moved the sunflower around on the string of beads, refusing to let out the heave of a sigh that threatened her. She really didn’t want to discuss physical intimacy with her mother on the back porch of their family home on a warm night in June…or, really – ever, if she could avoid it. There had surely been a few necessary conversations that had been had after her traumatic visions that past year regarding the topic, but that was a little bit different. She knew that Morticia would do her best not to gross her out with personal anecdotes – she’d gotten so much better at figuring out how to talk to her daughter…

“No,” She finally decided, seeing just the faintest twinge of disappointment in her mother’s still-gentle, mostly understanding smile. “I’m grateful you recognize what I need. I’m simply not ready to vocalize it. But – if I want to enjoy the next few days and try not to give into melancholy after the inevitable loss of time with Enid, I do need to let these thoughts go.” She let out the breath, finally, squaring her shoulders a little more to match the Dove beside her. “Teach me how?”

Morticia reached into a prepared basket, pulling out a small bundle of wildflowers. She placed three, five-sided thimbleweed plants in front of her, explaining, “Thimbleweeds are long since said to ward off negative energy. You are going to follow your usual light seeking breath work. Just before you slip into formal meditation to enter the ether, you are going to pluck each petal, and release your thoughts as you do so – three times. After you achieve peace in the ether, bring me your petals. We will steep them overnight, and then pour that negative energy down the drain in the morning.”

Wednesday wanted to merely accept what she’d said – but her always looming desire to be ornery won out as she corrected, “Sure, but – thimbleweed plants don’t have petals, they’re technically sepals.”

At that, her mother let out a throaty laugh that ended with a half a groan and a kiss to the top of Wednesday’s head as she stood up, squeezing her shoulders in a hug. “Release yourself of the burden of overthinking, my darling girl.”

Agreeing, Wednesday began her usual sequence of deep breathing, her eyes closed, doing nothing but counting, holding in air and letting it go. It was nearly ten minutes before she was almost at the point of visualizing her light and entering the ether. With enough pluck, mentally and physically, she tugged each of the sepals off the thimbleweeds, letting them fall into her lap as she thought to herself: release the hesitation of physical intimacy, release the fear of Enid being alone, release the sensation of inadequacy. 

Repeating it as directed, Wednesday disassembled the final plant before picturing a sunflower, searching out the sun, finding herself tumbling pleasantly into a field full of them. 

She stood up, feeling small as she wove through rows, trying to discern meaning from being there – why the universe brought her to such a place alone –

Except as she turned a corner, Wednesday crossed her arms, recognizing she wasn’t alone. 

“I didn’t anticipate running into you outside of Jericho, particularly, in the light end of the ether,” She spoke with a little bit more cockiness than probably necessary. 

Goody Addams looked her up and down with a bit of the same attitude. “I might not have much concept of time here, but even I feel a pull when it is nearly a solstice in your realm.” She ran her fingers over a fuzzy stem. “You shall soon be welcoming back the darkening days after the longest time of sun.”

Giving a dumb nod, Wednesday stared hard, wanting to be combative. She hadn’t sensed Goody in Jericho after putting up her monument, and certainly hadn’t tried seeking her out. It was their first interaction since she’d released the remnants of Quinton’s evil into the nether. Taking her in, she noticed. “You still have the Beanie Baby,” She said with the faintest twitch of her lips up, as Caw the blackbird stuck out of Goody’s apron pocket.

Her ancestor lifted it out, holding it in both hands, like it was as precious and fragile as a newborn baby. “I confess, this seemingly innocuous tchotchke has become meaningful to me,” She said in a confession that Wednesday didn’t anticipate. “I have not been able to access a place like this in what I assume to be hundreds of years. Yet, since our last interaction, since you gave me this children’s toy of comfort – I have found myself able to once again visualize places that have been long cutoff from my former psyche.”

“I suppose that’s encouraging,” Wednesday chided. “I told you it was not as silly as you wanted to think it was. Being comforted by someone or something we love is a very powerful magic. I am sorry that opportunity was taken away from you.”

Goody lifted her shoulders, stroking the yellow-orange beak of the bird. “If I was allowed to give into light without hiding it in the dark, you would not be here, Wednesday Addams.”

“I guess that’s something I share with my mentor, then,” Wednesday muttered, thinking about Imogen and Josie for a moment. She shook her head. “I recognize the privileges I have. But that doesn’t mean my life is easy simply because I’m not at risk of being burned at a literal stake every time I leave the house. Believe me, there are plenty of modern problems we face that I have yet to find solutions for.”

Goody tucked Caw to her chest with one hand, the other resuming the journey of feeling the different sunflower stems. “Yet – that was not what troubled you to bring you here.” Wednesday glared, wondering how she knew that. “Your face may be blank, but I can read you easily. You are troubled by personal demons, not societal ones.”

[quetzii]

Heiii, hahaha, redesign Alador again

And also, some headcanons I had bc yes

—Redesign heavily inspired on Leone Abbacchio from JJBA!!

—Doing it justice and at least giving it a decent story. Alador comes from a family that was in its own world. His parents' neglect, manipulation, and blackmail towards him were normal. Although he didn't like that. All that resentment and trauma led him to what he is now.

We can say that Alador applied the "I suffered this, and now I want my children to suffer what I suffered." We can say that it is a chain of family abuse. Making Alador victim and victimizer; "the abused becomes the abuser"

—By spending time with himself, she was able to get to know himself well and also see beyond how he identified himself. getting a taste for makeup, feminine things, and so on; but also feeling like a boy or nothing

roll, roll: genderfluid jackpot

but Alador is more aligned with the feminine, always wanting compliments of these or being treated with feminine pronouns, sharing that with Darius and Odalia. This is where Odalia comes in.

—I handle the marriage of Odalia and Alador here as something forced and already planned by their families.

Alador has preferences for boys, but the family didn't care about that and made her get engaged to Odalia. Of course, manipulation by Odalia towards Alador is carried out; blackmail and everything

although, their relationship was strange; codependency on the part of Alador, Odalia only complying with compliments, praise and more sweet words for Alador, and having her like a dog paying attention to her and that he is on his own was part of the negligence and so on towards her children (first point)

—Alador's personality is still the same as it is in the series, only that I liked to base it more on how it was shown in the Reaching Out storyboards; someone harsher, arrogant, selfish and showing that without Odalia's own account, he could be worse than her, believing that what she did was fair and at least putting into practice her dilemma of "I suffered, let them suffer now."

At work, he is careless and someone, questionably perfectionist and obsessed. His arms, part of his legs and shoulders are full of cuts; part of self-harm and work accidents, deep scars, which for her is a good thing and bears fruit for his work.

Neglecting a lot about hygiene, appearance and so on. (little bathing, makeup always ruined because he cries a lot; the dress he wears is totally destroyed and stained, etc.)

—After the event of the Collector and Belos, Alador has a calmer and more positive attitude, taking care of his appearance and well-being, recovering from self-harm and correcting his mistakes; working on himself for his children and having a good relationship with them (also adding that she is now Darius' partner)

During the Collector's incident, he suffered a wound to his head, leaving a scar that reaches part of his forehead, leaving him unconscious and turned into a puppet. At the moment, this has not affected his health/his brain brrr-

—Short stature! His children and his wife are taller than him

Alador - 170 cm

Odalia - 190 cm

Emira - 183 cm

Edric - 185cm

Amity - 180cm

(the heights of his children are from the timeskip) And the entire Blight family has a magnificent athletic build

Although-he is most notable for having prominent, well-built pectorals (big tiddy dilf/milf lol)

—Which of the two had the twins and Amity?

Alador

All of the Boiling Isles are intersex/have double genitalia. They can make one appear, have both or remove (although they can make it appear again, it is not permanently) both internal and external reproductive system, combine both or have only one.

In this case, Alador conceived the twins and Amity, making the womb, uterus and that appear (yes, Odalia and Alador have both genitalia and combined reproductive system|one way or the other. I no longer remember my biology classes)

[livseses]

It baffles me the offense taken at @sophieinwonderland 's plural trinity theory (that many others, including us, have come to independently) because she's checks notes using it to push an agenda.

Like, do y'all not understand how xtianity works? Have y'all listened to a preacher before? Have y'all ever been inside of a church after a big controversy has hit the news and heard a message relating to that from the pulpit?

Most scripture we see quoted is to push an agenda. Most sermons are backed by an agenda. Even earnest spiritual explorations of the Bible are informed by one's preexisting beliefs and biases (and those of the teacher if there is one). It's not wrong to push an agenda through theological interpretation. That's just what theological interpretation is.

The specific agenda may be harmful yes. But the problem is that they're pushing a harmful agenda, not that they're pushing an agenda.

Is it deeply offensive to make jokes/theories about Jesus being ace? Hell we've seen articulate discussions in xtian and ex-xtian circles about if Paul was ace or gay and doing a whole bunch of moralizing to justify his queerness. Would it be wrong to point out to a transphobe that Jesus (only having the XX chromosomes of Mary) would have therefore been either trans or intersex? How about to quote passages that seem to be Jesus specifically preaching that transition is holy?

Shit, when we had aspirations of becoming a pastor we worked on a sermon about how the early church in Acts was straight up communism. We wrote one on that meme where Jesus says "Did i fucking stutter?" We tried to get our church to start a queer ministry program. We tried to build it into a mutual aid org. Cause I'm a queer xtian anarchist and I have an agenda to push.

And I'm predicting a response out there. "Oh Faye! But that's not what social justice preachers or televangelists are doing. They're interpreting the True Word of God and building their agenda from that!" Which would be worthwhile to entertain and discuss. Except that the disdain at God being viewed as an endogenic median system is coming from non-xtians.

And sure, she's an atheist with an ex-christian host. So maybe you can think that it's wrong for her specifically to push an agenda through xtianity. But xtian theology isn't sacrosanct and immune to outside interpretation. It fucking lost that privilege when it forcibly tries to convert half the world. You can't tell someone to stop touching a religion when that religion is being forced on everyone.

Anyone who's fighting Sophie's take on the trinity on the grounds that it's wrong to interpret doctrine to push an agenda is doing christofascist colonialist's work for them. Christofascists are the ones that have a vested interest in xtianity having one true doctrine free of politics or agendas. It's those people that want to say that the xtian Bible simply agrees with their bigotry and any interpretation otherwise is blasphemous and degenerate. They want xtian doctrine to be a settle issue that lands squarely affirming their death cult of heteropatriarchial, xenophobic, antisemitic violence. Not something open for interpretations in ways that further equality or justice (exactly the goal that Sophie clearly states).

-Faye

[the-solver-system]

give us the rest... /nf

GIGGLE YAYAYAYAYY

OKAY SOOOOO

Cantor, Uzi, R, and B hung out. And made plans to hang out more. The next time they came over though, Thad was also there. Cantor started fighting Thad because THERE CAN ONLY BE ONE GREEN!!!! But Uzi managed to shut it down

Cantor, B, R, Uzi, and sometimes Thad continued to hang out. Though eventually B and R confessed they felt forced to do it to Cantor. He was upset but didn't pressure them to come hang out.

Uzi asked R to hang out though, and R decided to go along with it. The two actually had a lot of fun, and wanted to hang out more. Eventually they had walks. They would just walk around while holding hands. One day Lizzy spotted them, and asked if they were dating. They both panicked, glanced at each other with blush covering their faces, and decided right then and there they were dating.

THE MEETING WITH THE SQUAD

Before this though, the contents of "Your Name Is Something Worth Remembering" happens. Uzi finds out R was apart of the squad consisting of V, N, and J. Uzi comforts R and says she won't force them to be known by the other DDs unless they're comfortable.

Eventually the three visit, oh and yes J is redeemed<3 (JUSTICE FOR HER, she's more like.. not working against them though. not working with them.). Uzi was gone for a bit, so it was just B, Cantor, and R who met them. Immediately B and Cantor guarded R. Eventually it turned into Cantor attacking the other DDs, and B having to physically restrain them so they didn't frickin' kill the three. Uzi came back, and managed to settle everything down. V, J, and N apologized to R and she accepted, but B and Cantor were still on guard around them.

Uzi started having "Girl Nights", involving V, Lizzy, J, B, and Uzi (along with Cyn ig lol). This is where B started lowering her guard with the other DDs, slowly learning to trust them. Especially J, since she actually knew J back at the manor.

J and B grew closer. Despite their opposite sleep schedules, the two always made time for each other. One day, J just.. woke up in B's bed with kiss marks. Neither remember what happened, but they decided they would be dating.

Then there's Cantor. He started being more cooped up in his lab more than usual, and Uzi had to use the key she had to force Cantor to take care of themselves.

The reason Cantor had been so cooped up was because they were once again trying to bring Cryp back. But were struggling.

One day Uzi couldn't check up on Cantor, so tasked N with doing it for her. Being the good friend he is, N listened. He came into Cantors lab, only to find Cantor passed out at his desk and a scared drone not knowing what's going on.

N walks over to the drone.

After a while Cantor awakens, he hears N and gets ready to attack.

He turns around.

And sees N comforting and playing with Cryp.

Cantor sees this and absolutely breaks down, full on sobbing.

Cantor walks over to N and Cryp, hugs N and cries into his shoulder. N comforts Cantor, and eventually Cantor calms down enough to hang out with the two.

Cantor tells B and R about Cryp being back, and the two are basically immediately in the lab.

Though eventually Cantor realizes something.

Cryp's visor isn't on, and.. neither are their systems. No one knows why, but it doesn't matter as long as Cryp is okay and here.

Cryp does struggle with vision though. Along with motor skills. Cantor often carries her around and holds stuff for her.

Anyways, N helping Cryp got Cantor to trust him more. and the two hung out a bit. along with this Cantor and Thad grew closer. Thad and N were already dating, and eventually the three became close enough where Cantor would tag along with dates. A while later, Cantor joined the relationship (I just want to say that Cantor is in a queerplatonic relationship with N and Thad<3).

One day V and Lizzy say they're going to go adventuring. They'll be harder to contact and such, but will try to come and hang out every now and then. So yeah! Lizzy and V go around to different outposts and DD squads :3

Cantor and Uzi hang out a lot, so it would be eventual that Cantor meets Khan and Nori. Nori is still just her core, but Cantor offers to build her another body. She accepts and Cantor eventually builds her a body, it does take quite a few months though. As Nori is trying out her new body, Nori mentions Alice, which gets a "you knew my mom?" from Cantor.

Thats when Nori starts panicking.

She confesses to Cantor that she and Alice had a kid together before Nori left. Which causes Cantor to freak, and immediately text Uzi "WE'RE HALF SIBLINGS". Uzi and Cantor are very excited about it. and are happy to know they're siblings.

Everything seems to be okay, hell better than okay, now! Everyone is happy and content.

But Cantor's solver gets worse, which like.. confuses everyone. But they soon figure out the AS is trying to use Cantor as a new host. It abandoned Cyn and is using whatever it has left to force Cantor to be a host. This obviously terrifies everyone, and leads Cantor to want to try and figure out how to stop it from happening.

Annndd I think thats all the Code and Bones lore, well theres some "future" stuff (Such as U and I coming back. Also Cyn getting a new body, and Yeva, Doll, Alice, and Beau being revived.) but I don't have any of that figured out for the most part so :3

[seariii]

i know everyone is really mad at kotoko, but i’ve been thinking a bit about why she ended up like this

I have a friend who has a really similar mindset to kotoko, so i'm kinda familiarized with how it works. as i've said before, she really sees everything in black and white, and while she originally said she would forgive those who did the same as her (basically amane, and fuuta to some extent), after her t1 inno verdict, her ideals got reinforced, well, more like radicalized and pushed them a step further, losing her original self/mindset in the process

every time i talk to this friend about kotoko, they really do see themselves in kotoko, and with everything currently going on (and them going to therapy and trying to be a better person, and just getting bad looks from others when they talk) has made them notice how some stuff isn't that good or how it's frowned upon. my friend has a black and white sense of justice, and when i told them about how kotoko would’ve harm amane, they went “it's good to know she wouldn't spare the child” (i know, messed up). their context to that is, we all know how children can be some of the most horrible people in earth, innocence can be seen as beautiful, but it can also be terrifying. their argument is that when children commit a crime, they're not trial respectively to what they committed, a child who killed someone doesn't get the same repercussions as an adult who killed someone. 

having said that, that mindset comes from a place of black and white morals, of difficulties during childhood, of seeing how people arent brought to justice and of how one suffers so much but no one cares. this friend struggles with empathy and struggles to understand others in general. the main difference they have with kotoko is that they try, that they were put in situations where they had to face reality and other people 

i believe kotoko must’ve went through something that in the end pushed her to this belief system. “it doesnt excuse what she did” i know, but i still think if she have had someone to guide her towards the right path, someone who she actually connected with and showed her why her actions and beliefs were harmful, this wouldn't have ended like this… 

now here, im not asking people to forgive her, i actually think that a guilty verdict this trial would be really good for her and hopefully would force her to face reality in some way

[beautifulterriblequeen]

Multiple Choice - a Callum and Aaravos theory

Not to be all Han Solo or anything, but when it comes to Aaravos and magic in Xadia, I Have A Bad Feeling About This.

If there's one thing I love more than corrupt systems, it's breaking them, so let's get to it: please enjoy yet another way that Callum's pursuit of magic could potentially go very wrong for him - and how he can still fix it.

The system, in this case, isn't a monarchy (on either side of the border), wartime tensions reaching forward from the cycle, or a Xadia-wide racial hierarchy.

It's magic itself.

We don't know where it came from, magic. Was deep magic always here? Did one of the Star Touch elves create it, or perhaps choose to make it his bailiwick while others chose things like Justice and Mercy?

Aaravos, I mean Aaravos. If he's basically the god of magic (feel free to view him through a Loki-esque lens here, I am), then of course he's an archmage, and of course he's the only one among the Star Touch elves. Magic is His Thing.

And according to Zubeia, the Dragon Queen, its mages are his prey. We don't know yet what his full intent has been. We only have her millennia-long view from the surface of the planet. There's definitely more to the story, but which direction that story takes us is anyone's guess at this point. However, it seems clear that Aaravos's history during his time in Xadia does show a pattern of him targeting and influencing mages. He certainly has been during the years the show has covered.

What all he did with these mages, besides the manipulation, is also still unknown. But even if all he ever did was pull their strings, he's still choosing magic-imbued beings as his favorite puppets. The most likely explanation for this is that mages and Aaravos have something in common, making them easier for him to work with. Is it just magic? Does their ambition count too? Is there more to it?

I think there's more. I feel there is some deep dangerous secret Aaravos has managed to hide from everyone so far - including us. But just because it's dangerous doesn't mean it's evil, or even ill-intentioned. Do we consider the threat to anthills when we begin construction on a new apartment complex? Usually no. We're busy doing human-level tasks. The ants' welfare is truly not our concern. And most of them will probably be fine... right?

So. What's Aaravos really up to, and what does it have to do with Callum?

Something Rayla believes about Callum made me wonder: in the short story Chasing Shadows, she believes that he, and all humans, can change their destiny (and it's super annoying!). Why is that a human thing only, though?

Arcanums, perhaps. We've all seen the elven peoples get uptight about their own rules and the options they can choose for themselves. It's not just the Moonshadows. Sunfire elves can absolutely be sticklers for tradition - look at my disaster boy Karim over here, willing to go to war against his own people because his sister wants to marry a human.

Bruh.

So here's part one of the theory:

Having an arcanum in you forces your destiny into a certain path.

If you're born with it, you know the path of your whole life - and I don't just mean "serve your people" or "be a warrior" or "be one with nature." There is a very dark side to being locked into your destiny. It means you cannot escape it even if you desperately want to.

*wordlessly points to Runaan and his overly honorbound decisions*

*wordlessly points to Rayla and her overly sacrificial decisions*

*wordlessly points to Finnegrin and his overly fear-driven decisions*

*wordlessly points to Janai and her overly dutybound decisions*

*wordlessly points to Karim and his overly traditional decisions*

I don't need to say anything here, do I? Thought not.

But it's one thing to be born with an arcanum - maybe they know and accept this part of their destiny already. Maybe it's just a subconscious thing they... know.

It's another thing entirely to opt into an arcanum as a free choice. And here's where we get to part two:

Callum thinks he chose his destiny. He doesn't know he just gave it away.

If he just handed his fate to Aaravos by embracing an arcanum (and then one more), his destiny isn't currently in his hands at all. It's in Aaravos's. And the archmage has proven that he, at least, knows that, since he's been pulling at Callum's strings and toying with him for a while now. He wouldn't flex like that unless he was supremely confident - which he is, he always is - he wouldn't show that hand early on like this unless he knew Callum didn't understand what he'd done or how to reverse it.

This theory is about more than dark magic. It's about all magic. Even if Callum could cleanse himself from dark magic and never let Aaravos puppet him again, is he really free? He still has an arcanum. Where did that come from? He's walking around with a couple of magical bona fides stamped on his brain, and I just want to know...

Who crafted the stamps?

If all Xadian magic is some kind of... creation, or spill, or experiment... and Aaravos needs that power back for himself in order to be who he used to be and/or re-ascend to the stars, he's got more than one way to harness it again:

dark magic consumes primal magic - but matter and energy are never destroyed, so... where does that power go? Aaravos has a very convenient black hole symbol right on his chest. Maybe every spell dark mages have ever cast sends him some of his precious primal magic again. It would be a very convenient way of getting desperate humans to do his cleanup for him. And he has all the time in the world.

primal magic won't save anyone from his will - it just harnesses the elves to Aaravos's magic rules and binds their destiny to a predetermined outcome. They've become, in a word... predictable.

There's no way to beat a Star Touch Archmage at his own game. He literally wrote its rules. So what's a bright young kid like Callum to do?

To quote War Games, "the only way to win is not to play."

Callum's in a unique position, in that he knows who he was before he had an arcanum. Back when he could choose his destiny every day, without binding him to some powerful force he doesn't fully understand yet. This might lead him to a very difficult and dangerous choice, and it could break the game, and the world, wide open.

If Callum can choose to learn an arcanum, maybe he can choose to forget one.

If he can un-know the things that bound him to that magic destiny, he'd be free again, of Aaravos's reach and of his influence.

And that's just for him, but if everyone else is trapped too, how can he help them and hurt Aaravos's power grab at the same time? No idea, beyond "someone hand him a powerful magical artifact and wait," at this point, but I'm sure he'll find a way to break something important eventually! Something vital to the structure and distribution of magic itself, preferably.

If he manages to find a way to destroy magic itself, then everyone would be free. There would be no rules binding anyone to Aaravos. There would be no dark magic feeding off its fumes, either. It's theoretically possible that destroying primal magic would undo the taint of dark magic, all in one go.

And we all know how Callum loves to go around ruining ancient and powerful magical objects. Kid's got quite a track record by now!

Maybe he's not done yet. Maybe Callum's true destiny will be both Savior and Destroyer. But he'll have to play his own game to do it - he can't play Aaravos's game and win. He'll have to fight outside of magic itself. And if he's going to put down his most powerful weapon, forged by someone else - by the mastermind himself - and try without it, then he'll need help, just like always.

[that-ari-blogger]

Chekhov's Gattling Gun, Part 2

Usually, the climax of a story is the climax of someone's life. Right? There will be moments afterwards, but this is the main thing to happen to the protagonist, and they will spend the rest of their time winding down.

And yet, life doesn't work that way. Happily ever after can happen, but its usually more complex. New problems come into being and old ones might fade without every really being addressed. So, what if there was a climax to a story that mirrored this? How would that happen?

It would probably be about how to move forwards. It might suggest that there will be more trouble ahead, you just need to bear this with a smile and move on with your life. Push through to a greater tomorrow.

Maybe the antagonistic force is centred around regression? Maybe they want to preserve the past at any cost, even killing those whom they claim they want to protect.

You might end up with something like The Trial, from Stray Gods: The Role Playing Musical.

Let me explain.

SPOILERS AHEAD

Stray Gods pays homage to a ton of Ancient Greek stories. The Odyssey is a notable one, as Adrift is a reference to Odysseus and his journey. But this moment is, at least in my eyes, reminiscent of the Orestia.

The Oresteia details the death of Agamemnon after the Iliad (because he was a wanker), and the consequences thereof. You can see the theme of choice and consequences pretty boldly there. The story is named after Orestes, the exiled son (it's complicated) of Agamemnon, and the murder spiral that leads to the invention of the Athenian justice system at the hands of Athena. Overly Sarcastic Productions has a fantastic video on the subject.

In any case, the story's climax decides how Orestes will go forwards, specifically alive, because of a murder he committed in revenge, because its technically a tragedy. This is reflected in Stray Gods, with the climax featuring a trial, with Athena serving as a judge, over a murder that the protagonist "committed".

The difference here is Athena's position in this. Because Calliope was killed on Athena's orders, in an attempt to preserve the past. This is a complete heel face turn from the Oresteia. Now instead of changing the world for the better, Athena is trying to keep it the same. But I would argue this isn't out of character.

There is another theme at work here, and I will get there in a moment.

Before that, however, the callbacks. My favourite is Freddie's moment, because it is Freddie, not Grace, that is Athena's antithesis. Grace falls in the middle of themes, unable to choose, unable to decide. She gets swept up in a murder plot, in which everyone is thinking grand scale, and wrapped in complex relationships with the past and future. Athena wants to control the future to hang on to the past, for example.

And Freddie doesn't care about that. Freddie is there for Grace, that's it, she's concerned with the little things. She believes that life will find a way, and you just have to ride the waves. It is notable that this is a version of the song where you, as Grace, have very little say in the events. Grace has relinquished control and will do as Freddie says. She will make her move, and await the result.

"Only, if only you knew

that you can't force the future"

I also love that little look at Grace as she says that, I take it as acceptance and forgiveness, momentarily, for the revival against her will.

But I also find the wording fascinating. Athena is the goddess of wisdom, and yet the response to her is "if only you knew." Wisdom should have gotten her this far, but something is holding her back.

Look at Apollo's body language here. This is the tune of Phantom Pains, a song notable for its deeply morose atmosphere, and now Apollo sings the tune with a bit more oomph, but his posture is... relaxed? He stands there, chest bare, heart open, holding out a hand to Athena.

And look at Athena's response to it. She's expecting a fight, something to stop her. But instead, Apollo is calm, and quiet. He's reassuring in posture, in contrast to what he's saying. Apollo means no harm here, there's a care for the enemy there that I really like.

"You're lost, little boy.

You've lost all perspective

You're ready to throw this away,

You call that wise."

For a woman who's whole thing is reason and debate, Athena's response to Apollo's question is fascinating. She doesn't answer it at all. Apollo asks if she is still a voice of wisdom, and Athena's response is an insult.

I think she knows she's losing it, and like Apollo does earlier in the musical, she is lashing out. "The best defence is a good offence" is a sentiment with debatable success in war, but in conversations like this, it is foolish.

Pan represents living in the moment. He is a smooth talker, here for the dancing type of character. But if you linger around a beach long enough, you will probably get an idea of what the waves are like, and what might happen when the wind changes.

"I'm here for the dance,

But I don't want to dance

with blood on my hands."

Athena is trying to keep everything the same, to crystalise a singular moment in time, and while all the other idols are suffering, so the obviously don't want to stay motionless, Pan is the truest embodiment of what Athena is trying to protect. Athena wants the carefree life of dancing, and that moment personified looks back at her and calls her out for destroying it. The dance isn't fun when people are being killed.

"Lost little girls, they dream up a future.

They're sure how they feel, sure their vision's true"

Who, exactly, is Persephone talking about here? Because it could fit Grace, as a compliment, to say Grace is sure of herself. Or it could be directed at herself and Athena.

Persephone was a character who saw everything as a threat and a weapon to be used against her, she tried to get back a past that was lost. But here is Athena, dressed in armour for a trial, ready to fight at the slightest hint of trouble, trying to hold on to a moment that has long passed, if it ever existed at all.

This reading is made even more apparent by Persephone's words in a different version of the song.

"A great shiny throne, but still in the darkness.

Kill her today, and Athena... that's you too."

The fact that they're standing in front of Hades' empty throne is poignant, because its a symbol of an empty ambition. Persephone has brought Athena to a baren kingdom and effectively said "this is what I wanted, you are the same as me."

I mentioned another theme in effect here, and that would be trauma. Athena has repeatedly taken the fall for the idols, over and over again, for hundreds of years. And she may be an idol, but she is very human. Of course, she is going to slip up from time to time, but she has internalised it in a martyr complex.

When Athena is challenged on her views, the screen goes red to mimic her blind rage in possibly the least subtle metaphor in the entire musical.

I wouldn't exactly call this a cycle of abuse, but it's not spontaneous either. Athena is lashing out at those closest to her, because she is scared, and she can't get through to them. Athena is lost, and the rest of the idols are getting caught in the crossfire of her own mind falling apart on itself.

"This lost little girl,

she's got a few tricks now.

She's taken some punches,

she's made some friends."

Once again, this melody comes back, now accompanied by a drum to hammer home the anger and the betrayal. The power of the muse has always been to empathise, not merely to make people sing. The music is a gimmick, this is what a muse does, and this is why Grace was chosen. Grace takes all of the pain and fear and throws it back at Athena, calling her out for it.

But the repeated wording here is important. Grace knows Athena is lost, and is trying to talk to her, maybe to help her, maybe not. But there is that recognition there. Grace has empathised with Athena, and is weaponizing that.

This is backed up here, in another version of this segment. It's a call back to The Ritual.

"I won't have you dying for me.

That's not how this should work,

I need you to see,

That you're lost in a moment, lost in a song"

I love that Athena is represented in the same way Ares was. All red (Ares had a bit of orange, but you get the point), and where Ares held Aphrodite in his hands, under his control, Athena now holds all of the idols. Their fate is up to her, and they're begging her to not destroy them.

The moments when everyone comforts Grace is cathartic for a number of reasons. First, up, it is a relief from all of the red and horror movie soundtrack of Athena's delusions. But more importantly, this is the moment in which you realise what you have achieved here.

You have saved Aphrodite and Eros from self-destruction. You have brought Asterion and Hecate together. You have made Apollo and Persephone get over themselves. And, maybe, just maybe, you have reconciled with your oldest friend.

You have made everyone in the trial room a better person by your actions, and now they stand up to help her in return. And this fading reveal that they are all still there, still behind Athena is empowering.

It doesn't matter how much the matron of the idols can posture, they have all changed. And now they are offering that aid, that chance to change and be better, to Athena. This is not a story in which everyone gets a good hit in on the villain before they are dramatically killed by the hero or fall from a great hight; this is a story about healing, and it would be callous to not extend that healing to Athena.

I love all the little callbacks in this one scene, the eye is Medusa's thing, the lighthouse for Apollo. I don't need to point them all out. What I want to talk about is the general mis en scene. There is a distinctly storybook aesthetic that these characters are holding onto. In contrast to Athena.

You would think that Athena, the person trying to get back to the past, would be associated with this aesthetic, but no. Athena has been cast out of this idyllic world by her own hand, and everyone else is trying to get her to see that.

"My Olympus is gone,

And you're all looking on,

At a stranger wearing my face.

My Olympus is gone,

now I'm some other one.

Just how long has she been in place?"

This is the Adrift tune again. I think that's so cool. This is Athena in the same place Grace was at the beginning of the musical. She's lost, and she knows it, and she doesn't know what to do.

Athena is in a rut of her own actions, and it's heartbreaking.

Look at the scale of Athena here. She is dwarfed by her own statue, and her own helmet. She is fragile, and small, next to the enormity of her image. And that image is covered in enough blood to drown someone. All of this serves as a fantastic metaphor to show just how crushed Athena is by her own guilt.

"I was wrong and now I don't know what the right thing is.

I leave it up to you what to do with this."

"I forgive you, Athena"

Final Thoughts

Bloody hell, this was long. Thank you for reading this far.

I really love this song, and while I think The Ritual is my favourite, The Trial definitely wins my award for being the most technically impressive, both on a musical level, and on a storytelling and visual level. There is so much cool stuff going on here that I didn't have the brain capacity to talk about in full.

Which brings me to my final thing. I would like to know what you think of Stray Gods, and I would like to create a little collage of opinions other than my own. So, send me a message or comment on this post your analysis, or even reblog this. It could be of a single line, or an entire song, or the entire story. And in two weeks time, when I put up my own final thoughts on the musical as a whole, I will show some other views as well, as a kind of collaborative discussion.

I'm going to be using It's Time to frame my analysis next week, so stick around if that interests you.

Previous - Next

[cursedvibes]

Hi..... Can I ask your top 5 (or top 3) favorite characters from JJK? And why you loved them? And your top 5 favorite moments from the series (until now)? Thanks....

No problem. It gives me a great excuse to whip out this image of my top 9 jjk faves

They're not in order here, but compared to other categories, I don't actually have such a hard time ranking characters.

Kenjaku

I've talked about them a bunch, most recently on the last ask about my favourite characters, so I'll just summarize what I love about them: mad scientist + family drama + trans + chill & genre-savvy + Japanese history + body snatcher

2. Yuuji

Also like him for how he's a pretty unusual shonen protagonist. He's not overpowered, he doesn't want to become the jujutsu king/kage/president and almost every shonen mc trope he does exhibit gets punished or beaten out of him. He nontheless doesn't lose his base compassion for people. That compassion is also what will drive him to kill if he has to, something for the few people he actually hates. He's selfless to the point of suicidal. His whole character arc(s) revolves around him finding a satisfying way to die and now being forced to also find a satisfying reason to live (with how jjk is going, I don't think he'll find that but he's not able to die either). His conflicts with the villains are deeply personal, he doesn't just challenge them on the basis of them breaking the law or being some nebulous depiction of a bad person. That's how it starts out, but he can't beat them on that basis alone. He was only able to really hurt Mahito and defeat him after he accepted their personal connection and similarities.

3. Tengen

Problematic conservative grandma. She's really the root of all of the problems in jujutsu society, she's the one who build up the entire basis of the series from world building to the antagonists. Without her Kenjaku wouldn't be who they are right now, they would likely not try to challenge the system and forcefully advance humanity in the way they do and might even be dead for hundreds of years. Gojo wouldn't exist without her either. Riko wouldn't either and she also wouldn't have died the way she did. Same for Yuki. Sukuna might largely be influenced by her as well. She's responsible for so much of what's happening in the series, but gets all too easily overlooked both in-universe and outside. Her whole backstory is so fascinating, her relationship to Kenjaku drives me crazy and I do find her stubborn, kinda grumpy personality quite charming. Also gnc as fuck.

4. Uraume

While in Sukuna's case I really care more about his backstory than him as a person and find his personality not that exciting, it's the opposite for Uraume. I do want that Heian flashback and also see where Uraume came from and how they met Sukuna, but what I really like about them is their personality. At first glance they appear so calm and collected, just a loyal servant without much autonomy, but they're actually so much more. There's so much passion in them, they are so easy to tick off and always ready for violence. Especially in combination with Kenjaku they are so entertaining. I need to see them cook more often. Preferably human. That brief glimpse we got when they prepared Sukuna's bath was so good. The way they pinned down and sliced up those curses without destroying them...I want to see them do the same with humans.

5. Angel

Heian era's craziest paladin. I just love how hypocritical and bloodthirsty she is. She has her sense of justice and right and wrong, she doesn't pretend like everyone has to agree with it, but she will still mercilessly kill everyone in her way or who she just doesn't like for one reason or another. If Kenjaku is a social butterfly, she's a social caterpillar. I miss her just blatently telling the protagonists that she doesn't care about their goals or innocent people dying. She must have been wonderful to witness in politics. I'm really curious how her relationship to the Abe clan looked liked. It's such a shame that all that got toned down, so Sukuna didn't get one-shotted and Gojo could be freed. The volume 24 extra show though that Gege does care about her or at least her technique, giving me some hope that she will actually get something to do again soon. Once we get her backstory, she could easily rank above Uraume. Btw, I want more panels where Angel is just a mouth. No Hana, just that mouth with a monotone background and overly detailed teeth. It looks so fantastically creepy.

Favourite Moments

1. Kenjaku talking to Kogane

It's just such a good moment that does a lot for Kenjaku's characterization, their goals and relationship to Tengen (and arguably also Yuuji). Still feeling pretty ambivalent about ch222, but this was undeniably a highlight. It has had a tight grip on my mind ever since. I could write whole essays about it, starting with the scenary of it all. Kenjaku sitting alone, the only one in focus and the only one in the light, while being in front of a game console with two controllers that remain untouched and without a game running while talking to someone/something that/who can't hear them or can't understand them. Kogane is basically just a computer. It can't give insightful answers or challenge Kenjaku's beliefs, while Tengen has also lost all autonomy and most of her personality I assume. She also can't talk back, probably can't hear them and isn't even there, but Kenjaku still directs their musings at her, knowing she won't/can't answer, but still asking for her input, challenging her and leaving space for what would be her own words. They hate her, but also want her to do better and this scene really shows that while Kenjaku's plans my succeed, they probably won't get what they really want.

2. Yuuji chasing Mahito

Pretty easy pick. I'm really looking forward to seeing this animated soon. It's not just the beautiful imagery or how their roles have now reversed, but also what leads up to it. Yuuji accepts who he is, how he is not so different from Mahito. He discards any pretence of high and mighty reasons for why Mahito should die and embraces his hate. He's not pretending to be any better than Mahito, no "I'm not gonna kill you because I'm not like you", he says with absolute senserity that he will kill Mahito as many times as it takes. He's gonna hunt him down just like Mahito did. It's also the start of Yuuji giving into the role jujutsu society has put him in and starts thinking of himself as a cog, a mere object that serves others and blindly obeys its function (killing curses). I think getting Sukuna out of his body was the start to him evolving past that thinking, but this was a very necessary step. He needs to be broken down before being build back up. It was a great end for Mahito as a character as well.

3. Kenjaku & Tengen get Sukuna's body

This whole scene is so interesting. Like in the first moment it's basically just Kenjaku talking to their hand puppets again, but this time there's a bit more outside input. Ngl, the mere fact that Kenjaku and Tengen are together, talking to each other and working with each other excites me already. There's not much of Tengen's consciousness left and she can't actually refuse anything Kenjaku does, but their interactions were still very fascinating. What's also interesting is how they (both of them) treat Sukuna's corpse. They stroll up to it so casually, as if they have done it in the past. Kenjaku asks Tengen if they can take it and she says yes, but neither of them consider Sukuna and his wishes in all this. Kenjaku even jokes that it's their souvenir for him. It makes me so curious about how they are connected to him and what kind of relationship the three used to have. It gets even better now that we know that Tengen was the one who prepared his corpse (without his knowledge) and Kenjaku was the one who turned Sukuna into a cursed object. These two have clearly passed around Sukuna's corpse between them before. "Do you mind if I take his fingers?" "No, go ahead, I don't need them" This scene gets better and better as the story progresses.

4. MCs meeting Tengen

Speaking of scenes that get better with time, ch145 and 146 have been one of my favourites for a long time. They have to be on this list for how many times I've reread them alone. The more information and backstory we get, the more interesting this whole info dump becomes. There are always little phrases and moments that become a lot more meaning full on a reread. We also got so many hints. Tengen's connection to the Star Plasma Vessels and Six Eyes, Yuki being able to hear the other SPVs, Tengen and Kenjaku's relationship (many hcs were spawned by Tengen casually calling Kenjaku a child and I'm happy to see that many of them are turning out to be true), the first hints at Kenjaku's plan, even though a lot of depth was missing of course and Tengen underestimates some of their reasoning and end goals, and Tengen's utter failure to understand Kenjaku as a person (they aren't even that shy to talk about their reasons, especially to her! grandma please...).

5. Noritoshi preparing to die/visiting his mother

It's this scene of Noritoshi finding his mother again plus the context of her side of the story at the end of the Sakurajima colony and Maki's advice re matricide that really moves me. Probably Noritoshi's best scene so far. I really hope the reason he isn't with the others is because he went back to his mother to finally talk to her openly. I swear, these two are so horrible at communicating. It's so heartbreaking to see Noritoshi lose all will to live and being ready to die in battle to do at least something useful with his life. He dedicated everything to changing the Kamo from within for his mother, only to get kicked out of the clan and find out that his mother has moved on. Everything he has done so far becomes meaningless. However, it is what comes afterwards that makes it even more clear how toxic his mindset was. Noritoshi thinks poetic words about how he's gonna die for his friends, only to be interrupted by Daido and Miyo. It shows that this way of thinking is entirely unnecessary and something he has to break out of. It's what sets him on the right path to reunite with his mother. Kenjaku forced him out of the clan and gave him no way to return. His mother showed him that there is a way to live a happy life despite the abuse both of them suffered from the Kamo clan, it is possible to move on. Daido & Miyo disrupted his suicidal thoughts and took over the fight for him aka he has to rely on others and accept their "help" without giving anythign in return. Maki taught him that there might be a way to reconnect with his mother and that he should ask all the questions he has for her regarding his purpose and name openly. I really didn't care much for Noritoshi before, but this whole arc elevated him so much for me.