#and i think that would be a super interesting transition. where would he land? would he shift to being a more gnostic style Christian? | Explore Tumblr Posts and Blogs

ev-pierce-writes · 3 years

Text

Doll

Pairing: Bucky Barnes (Winter Soldier) x F!Reader

Words: 7.7K

Rating: Very much 18+

Warnings: P in V, oral (fem receiving), light (consensual) choking, praise, James Buchanan Barnes is a sad boy and only you can make him happy, mutual therapy over past trauma, a couple light spanks, and some sexy sparring

Note: Reader had a run-in with Hydra that gave you invisibility powers. Bucky is tasked with training you. Totally not canon, I just kept the parts I liked. Got the idea from a tiktok but I can't find it anymore oops. I'm thinking of turning it into a series of all the places you can fuck Bucky Barnes at Avengers HQ. Enjoyyyyyy....

---

"Alright, so I'm thinking absolutely the first thing you need is a suit. Because we can't have you sneaking around in clothes that give you away."

Tony Stark and Peter Parker stand before you at Avengers HQ, furiously tossing ideas back and forth, trying to come up with ways to build you the best possible suit. Last night had been...interesting, to say the least.

"Who's that?" Stark had said when you appeared all of a sudden from your room. "Come on Agent Hill, don't tell me you're taking in lost kids nowadays."

Your mother had only laughed, slightly inebriated and feeling loose because of all the drinking that was going on in your penthouse apartment. She was hosting one of those parties where too many superpowers drank too much alcohol and got a little too rowdy. "That's my daughter."

Usually, you stay away from such events, go out with friends, and avoid the house until it's all over. For the past four years, you hadn't even been in the house to need to avoid it. But now you're 22 and a recent college graduate and something about the party was drawing you in so you had emerged from your hideaway to join in the fun.

"Alright, Maria, how'd you manage to keep that one a secret?" Romanov spoke up.

Until this point, you'd remained silent, in shock at the sudden attention a group of superheroes had focused onto you. But you couldn't help yourself from responding now. You'd managed to hide away long enough. It was time to come into the open.

"I'm a ghost," you said jokingly, approaching the couch and stealing the drink your mother had been drinking to take a sip. It was strong and burned on the way down. The group laughed at your words, unaware of how true they really were.

It was then that you'd performed your little trick, the one that only a few of your closest friends had ever seen. You became invisible.

The laughter had immediately stopped. The girl who suddenly appeared out of thin air had disappeared right back into it. They could still tell where you were of course. The glass in your hand remained visible, floating in mid-air, giving away your position. And your clothes were still perceptible, not being able to change with you. But your features were otherwise undetectable, not even a shimmer revealing your face. You took another sip of the drink, liquid disappearing into an invisible mouth.

"I want her. On the team," Stark had said.

And that was it. The start of your superhero career.

"Explain again exactly how this works?" Parker asks.

You sigh and start from the beginning, again. "I can distort the absorption wavelengths of my cells so that the reflected light is in the invisible range, usually infrared."

"And how long can you hold it for?"

"About seven minutes now," you explain. "It's sort of like holding your breath. You can go underwater for a while, and you can practice holding your breath longer and longer, but eventually, you need to come up for air. Eventually, I have to 'recharge.' But I've been working on extending it."

Stark turns to one of the many holograms of his supercomputer, working with Friday to design a brand new suit to accommodate your skills. You're so engrossed in watching his process you don't even notice the shadowy figure appear in the doorway that leads to the training facilities.

"How'd you get these powers? Agent Hill isn't lacking in skill but it certainly isn't supernatural."

You knew Stark's question would come up eventually. It always did. Over time, it became easier to tell the story, but now you really don't feel like explaining fully, so you tell the short version.

"Hydra. When I was seventeen. They used me as a bargaining chip against my mom in a mission gone wrong and decided to experiment on me in the process. Left me with a lot of scars and a lot of therapy. Almost dropped out of school."

You don't remember much from the experience. But enough for it to leave lasting damage.

"Hydra?" a familiar voice asks behind you. Only now do you notice that Barnes is behind you. How long has he been watching?

You remain silent, just like you did the night before when he'd arrived late to the party, unable to speak under his gaze.

You had planned to leave not long after you joined the festivities. But when the elevator doors opened, a pair of blue eyes halted you in your path. James Buchanan Barnes, the Winter Soldier. You'd recognize those eyes anywhere. Crystal clear and icy, freezing you under their gaze. He wore a leather jacket and leather gloves, concealing his metal arm, but you knew it was there, hiding behind the layers.

Barnes had always been the one that caught your eye during your mother's briefings. His transition from the greatest warrior Hydra had to offer, and thus S.H.I.E.L.D.'s greatest enemy, to the trusted companion of Captain America and official Avengers member intrigued you. At first, he had been more of a schoolgirl crush, the little girl grappling with her new powers seeking guidance in someone who didn't even know she existed. But age had not reduced your admiration of him. Barnes' face was hard set in serious determination and his glance barely grazed over you before turning to the rest of the group. He paid you not a single ounce of attention, yet you felt dumbstruck in his presence.

But Bucky had noticed you that night. Noticed you in a way he wanted desperately to hide, so he disallowed his eyes from lingering on you. Who were you and why were you wearing pajamas at a party and how did you make them actually look good?

And not only did he notice you, but he recognized you. He wasn't sure how, but something at the back of his head buried beneath decades of blurred half-memories told him he knew you. It was a stupid thought, though. How could he know you?

From the doorway, his eyes narrow in concern, making you feel smaller than ever beneath him. How is that 5 o'clock shadow so enticing? You just want to run your fingers across--

Stark gestures at Barnes, completely ignoring his comment. "Good, you're here. Our young Agent Hill needs to get started with her training immediately. I want her in the field but she can't be going in inexperienced. Teach her the works."

It's rather bold of Stark to assume you have no combat skills. And to assume you even want to go into the field. But you follow behind Barnes in silence anyway toward the training facilities. It doesn't matter what you know and don't know. He's going to kick your ass anyway.

"Feet wider," he says, coaching you on your swing. His blue eyes have somehow darkened, and along with the faint beard, he looks positively dangerous. "Not too wide."

"I know how to punch, Barnes," you whisper under your breath. He's not meant to hear your words, but he does anyway.

"Oh yeah? Punch me then. Go for it." His voice is challenging in the way that reveals he knows he could block any swing that comes at him. But he wants to see what will happen. Your mention of Hydra loosened a memory in his brain somewhere, and though he can't quite place his finger on it, the memory told him you're anything but the kid he's treating you like. He wants to know what you really have inside you.

Your annoyance gets the best of you. You aim for his face, the way your mother taught you. And she taught you well, teaching you all the self-defense skills you might need moving through the world as a woman. But she did not teach you how to fight super soldiers. That's an entirely different world.

Unsurprisingly, Barnes predicts your move and his metal arm comes up to meet your human one, halting your punch mid-swing. His palm fully engulfs your fist, your knuckles slamming into the metal with a ringing sound.

"Fuck, that hurt," you seethe through your teeth, gripping your hand in pain. And yet, you still smile. You mean for your words to sound irritated, but they betray how much you enjoy getting a swing in. "Didn't have to do me like that, Barnes."

He ignores your pain, though secretly it pleases him to find how much force is truly behind your punch. Nothing, of course, his metal arm can't take, but strong enough. "Language, kid. Go again. And this time, try not to be so obvious."

Despite his advice, it's impossible. He predicts every one of your strikes and counters them with four times as much strength as you possess. You give him everything you have, and nothing lands.

"This would be a lot easier if you let me use my powers."

So far, Barnes has refused to let you fight invisible, not that it would have done you much good without a proper suit. But you're tired and sweaty, your hair falling from its ponytail and sticking to your face, your muscles aching and your heart beating fast. Barnes hasn't even broken a sweat.

"Unless you learn to fight without your powers, they'll do nothing more than level the playing field. You need to be at an advantage if you're going to survive."

Survive. You've done plenty of that already. You want better than survival. Barnes recognizes the look on your face, the one that expresses the desire plainly. He knows the feeling, drifting from one day to the next and wanting more than that.

His voice softens a bit. "We can call it quits for the day. Get some rest. We'll go again tomorrow."

He didn't intend to be so kind. It just sort of happened, drawn out of him by the not-so-innocent girl who still has a lot to learn but can hold her own better than most.

---

Tomorrow. Tomorrow's8 like the day before, 9 am at HQ, wait for Parker to get his ass up the elevator so Stark can begin, get sidetracked by coffee, and then finally return to the task at hand.

"Give this a shot," Stark says, handing you what looks like nothing more than a vaguely human-shaped paper suit. "Not exactly protective, but it's a new technology. Should conform to your abilities."

"You did this overnight?"

"Of course. Get changed."

The suit has little support and definitely no protection. You feel like a fingernail could rip a hole through it if you pull on it wrong, let alone a knife coming at you from an angry enemy. But it's a start. An impressive start. You stare at yourself in the mirror of the bathroom as you shift, the suit shifting along with you.

Back in the training facilities, where you know Stark and Parker will be waiting, you remain in your shifted form. They don't look up as you enter, somehow having not heard you, and instead are engaged in a heated discussion with Barnes about something you don't understand. So you creep up behind Parker, lean in, and whisper into his ear.

"I think it works."

You feel a little bad, but only for a moment. Parker jumps straight out of his skin, screaming a scream you didn't know was possible from the kid. Stark lets out a laugh as you rematerialize, and Barnes even cracks a smile at your prank.

"Yeah, yeah, I'd say so." Parker's voice quivers.

"Well, what do you think?" Stark asks.

"Very thin," you say, aware that much more is visible than you really want. "I feel like it's going to rip at any moment. And there's not a whole lot of support in this area."

You gesture vaguely at your chest, not knowing how best to explain to a group of men that a sports bra is a necessity for fighting, but knowing you have to make them aware all the same. You can feel Barnes' eyes on you, a little less polite than the others, and you find you like the way he eyes you up, a bit like a puzzle to be solved or a strategy to be devised.

"Right, right, I'll get on that. Only a prototype anyway," Stark responds nervously. "Back to work, Parker. Hill, Barnes, back to training."

Bucky tries his best not to picture what you might look like without that suit, but it leaves little to the imagination as you saunter away to change again.

And so the days move forward. You've never before been so busy or exhausted in your life. You just graduated college, which is a feat in itself, but all the training, all the work, keeps you on your toes so that by the end of the day, both your brain and your body are tired.

Still, you improve and get better at sparring Barnes, even taking him down a couple of times on your own, though you suspect he's going easy on you.

"Again." Barnes is already on his feet and helping you to yours. Today the sparring room is particularly warm, and you've long forgone your sweats for shorts and a sports bra. Barnes has lost the shirt as well, and his chest glistens with sweat beneath the fluorescent lights. Maybe it's the heat or maybe it's him, but the whole thing feels a bit dreamlike. Here you are, sparring with a man who could take you to the ground with one arm alone, and he's letting you kick his ass every once in a while.

But there's no way you can do it again. You feel destroyed by all the slamming onto the mat.

Barnes is doing his best not to be distracted as well, but those tight shorts and the top that reveals your midriff have to be on purpose. It's easy to admit to himself that he likes you, might even be attracted to you. You fight hard and relentlessly, rising to every one of his challenges and not backing down even when you're tired. You've already come a long way since that first encounter, and Barnes has come to look forward to the two hours a day you spend together in the gym. He had tried to tell himself it was the fun of having a new sparring partner, but in truth, he knows it's the determined glint in your eyes, the way you bounce on your feet in excited anticipation of the fight, the way you collapse on the mat after a hard session, chest heaving deep breaths in and out. But what he likes most is your heated gaze when he pins you to the ground, or even better, you pin him.

"Knock me down one more time and you can be done," he challenges. The familiar determination returns, though a flicker of doubt remains behind your eyes. He can tell you need encouragement. "Remember to use your size to your advantage. Don't let me get ahead of you. Keep me guessing."

You do your best. You really do. You hold your own for almost two minutes, but it's obvious you're only barely staying ahead of him. As soon as you falter, Barnes has you flat on your back on the mat without much resistance, immobilized by a knee on your thighs and his metal arm trapping your hands over your head. His free hand plants by your head and holds him up to prevent him from actually hurting you.

You gasp underneath him, trying to disguise the weird flicker of desire with breathlessness. He looks good from down here, all sweaty and dark and serious. But you're also a bit too tired to care. "I'm out, Barnes. Let me go."

Let me go. Please.

And that's when the memory returns. The full, real memory, the one that has been tickling the edges of his brain since he first saw you. You, a kid, his mission. Kidnap, don't kill. A small voice, your voice, begging. Please, let me go. What has he done?

"Fuck," he curses under his breath, standing up quickly.

"Language, Barnes," you say teasingly. But he doesn't laugh, simply exits the sparring room, abruptly leaving you, speechless and alone on the floor. What just happened?

After a moment of confused silence on the mat, you brush it off and stand, heading to your room for a shower. Stark offered you a place to stay at HQ, and you happily agreed. Though you loved being back with your mother after four years away at college, you cherish your independence. A room at HQ offered you just that.

A nice shower would certainly make you feel better after that confusing interaction. You pull on your robe and shower shoes, leaving your clothes behind so as to carry one less thing. But as you pass down the hall toward the showers, you can hear Barnes' voice drift through the slightly open door to his room.

"I remembered," he says. "It was her. I'm the reason she's--" He cuts off, appearing to be interrupted by whoever he's talking to on the phone. You pause by the open door.

"I know that's not me anymore but I'm still responsible," he continues. "I have to tell her."

Again a pause. By now it's apparent he's talking about you.

"No, Steve, we aren't a team. We aren't partners. I'm helping Tony out. I don't care if she doesn't want to work with me anymore, this is part of my redemption. I have to tell her."

The conversation seems over. You rush to the showers, not wanting Barnes to realize you were listening the whole time. Apologize, he said. Apologize for what? You've known him for a whole of four days and he's been nothing but polite to you. Cold, at first, but he warms upon acquaintance. And then he's downright sweet.

So sweet, you realize, for someone so damaged. He has every right to hate the world, and though he walks through it with a healthy dose of cynicism, he never lets that cynicism touch you. If anything, he's outright positive around you, an undeserving brat. A kid, really, though you don't like when he calls you that. You know you can be naive, positive on the verge of artificiality, and yet he never tries to burst your bubble. In fact, he seems to relish it.

The shower feels nice, but it does nothing to assuage your fears. Maybe it's you who has done something wrong? Now you're spiraling. You have to find out what's going on or it's going to drive you crazy.

You know what you have to do. You have just about seven minutes of invisibility before your shifting gives out. In those seven minutes, you can duck from the showers, sneak into Barnes' room, snoop around, and make it back to the showers unseen. Plenty of time. But you have to go nude. Now would be a great time for the suit, but no such luck. Naked it is.

Out in the hallway, all is quiet. Barnes' door is still ajar, but when you peek your head in, the room is empty.

Easy.

Where to start? His phone is a dead end, being one of those ancient flipping kinds rather than a new, high-tech smartphone. He has few personal belongings, the bed is made perfectly, and his closet contains only clothes.

The drawers of the nightstand are empty. Or nearly empty. At the back of the top drawer is unceremoniously shoved a small booklet with a pen stuck between the pages. It's worn and supple, as though held a thousand times and read a thousand more. You flip through, finding a list of names, some crossed out, others not. Your name does not appear, but something about the list tells you these are not ordinary names. These are the names of his victims, people Barnes hurt as the Winter Soldier. Your heart aches and your stomach clenches, the reminder of his past jarring against the kind demeanor you've come to know. But deep down, you know this isn't him, know he's a good man, despite it all.

You know better than most the first-hand horrors of Hydra's super-soldier experiments. Of anyone, you can relate best to the experience Barnes has been through. Your memories of that long week are blurry, but the pain remains, forever seared into your mind. You can only imagine a lifetime of that pain.

The sound of the door opening jolts you from your reverie and you close the drawer quickly. But you soon realize your mistake. Barnes would know he left the door open, would know exactly how he placed his book in the drawer, would recognize something was off. Unfortunately, you're right.

"Hello?" he calls into the darkening room. The evening is coming on fast and the sun dims to barely glimmer, casting the space in shadow despite the large windows on the south wall.

Bucky knows something is off the moment he finds your room unoccupied, having gone there with the express purpose of confronting you about his actions earlier in the afternoon. And though he has no way of truly knowing, he suspects you are now here, in this room with him, invisible to his gaze. Bucky shuts the door behind him and waits.

You're trapped. You don't have long before your powers give out; already the suffocating feeling that begs you to take a breath is coming on. And Barnes has closed the door, effectively sealing you in, as you can't open it without him knowing for sure that you're here. On top of that, you're clothingless. You've run out of options and Barnes seems to sense this. So, he waits, drawing out the moment of tension, building the suspense.

"I know you're here," he says finally, his voice soft and barely audible. "You can't hide that well. Next time, dry your feet off before you go leaving wet footprints all over the place."

Oops.

"I--" you begin, and immediately Barnes' eyes snap to where your voice originates from. "I'm sorry. I overheard your conversation with Rogers. I shouldn't have but I know it was about me."

Barnes sighs, shoving his hands in his pockets. "Yeah, you're right. I have some things to explain. Though I'd much prefer talking to you if I could see you."

You hesitate. "Only a slight problem there. I'm not wearing any clothes."

If it had been any lighter in the room you would have seen Barnes blush. Instead, you watch him pull his shirt over his head. He hands it to you blindly, the shirt off his own back, soft with wear and long enough to cover the tops of your thighs. It smells of him, salty with sweat and sweet with the scent you've come to recognize only as him. You shrug it on and shift back.

"I'm sorry," you say again, having trouble concentrating with Barnes' bare chest at your eye level. Is that an old bullet wound on his shoulder? The reminder of a knife across his stomach? You can't look away, even at the seam where man meets metal.

Barnes shakes his head. "No, I should be the one apologizing."

He pauses for a moment and tries to begin several times before finally forming a complete sentence.

"It's my fault you're like this, that Hydra tested on you. It was me who kidnapped you, it was me who followed orders, it was me who completed the mission and got you hurt. And I'm so sorry."

You're so frozen in shock that the absurdity of the situation doesn't even register. There's nothing under this shirt, no underwear, no pants, no bra. And here you are standing in the bedroom of your greatest inspiration, listening to him apologize for being the one that facilitated your kidnapping, for being responsible for all the injury, the pain, the nightmares, the isolation, the...

It all comes flooding back, the things you had forgotten, or simply chose to not remember, and one of those things is his face.

You thought you'd dealt with impact. So many hours with a therapist, and you realize all you did was suppress the feelings, not confront them. And then you break, all the anger and sadness and frustration flowing from you at once.

"You piece of shit." Your voice begins as a whisper but soon amplifies nearly to a shout. "You monster, you bastard, how could you? How could you?"

All this time you forgave him for the damage he'd done, excused it as brainwashing and manipulation from Hydra. But now that it's you he's involved, you have somewhere to direct your anger, and you take it out as a shove straight to his chest.

He didn't expect that one. The words he understood. He accepted those, accepted that you would hate him forever. But then you're pushing and hitting him with all your force. Barnes could fight back, could hold his ground. But you need this, so he lets you shove him into the wall with a newfound strength. Finally against the wall, with nowhere left to go, you turn to pummelling his chest with your fists, repeating the words over and over, how could you, how could you, how could you.

For a moment, he lets it happen. But eventually, Barnes reacts, grabbing your wrists and holding them to his chest in an attempt to calm the fury that rages inside you. Surprisingly, at his touch, you still, slumping against him once the anger is replaced with nothing but sadness. That anger, one you never truly realized you'd harbored since your capture, bled from you all at once, leaving you exhausted.

You don't notice you're crying until a soft thumb wipes a tear from your cheek. Barnes releases your hands and wraps his arms around your sobbing body, pulling you close. "I'm so sorry," he repeats in your ear, his words a whisper against the rage inside your head.

Is it hours, or only minutes, standing like that, wrapped up in him, his skin so soft against your cheek? Time has ceased to exist, melting into the nighttime that encompasses the room in near pitch-black darkness. Your breath calms, your heart rate slows, the tears dry. He's only a man, a broken, misplaced, lost man. But he's also impossibly kind to you, caring enough to train you day after day, to pick you up when you fall down, to ensure you're happy here at all times. That's the man you know and rest your cheek against and seek out for comfort in this moment, despite him being the reason for your anger. But he's not truly the reason for your anger, only an easy outlet standing right before you.

This is not how Bucky had expected this to go. Perhaps to never see you again, yes. But to hold you in his arms, certainly not. And not just hold you, but comfort you. It surprises him how much he finds he likes it. And he can't ignore the fact that you're here in his room, wearing his shirt and only his shirt. He doesn't try anything improprietous, just wraps his arms around your waist, but it's not lost on him that your supple chest is pressed against him and the delicious scent from your still wet hair is filling his brain with a flowery cloud. His stomach clenches at the thought of burying his face in that smell for the rest of the night but he pushes it aside. That's not why you're here. That's not what you want.

But your next words surprise him. You pull slightly away, tilting your splotchy face upward towards his to look him in the eye. You take a ragged breath and speak.

"I forgive you."

Bucky is taken aback. That's not why he made this confession, not to seek your forgiveness. "You don't have to do that."

"I know. But I do. And I know you think I'm just a kid--"

Barnes lets out a short laugh, cutting you off immediately. "Jesus Christ, that's not true. You're not a kid. You're smart and strong and capable. And you've seen the ugly world for its true self and choose to remain good and happy all the same. I'm not like that and that makes you wiser than I'll ever be."

He takes a deep breath, unsure if he should admit to the feelings he desperately wants to express to you. The way you're looking at him, with a mixture of hesitation and admiration, makes the words tumble from his mouth without a second thought.

"But somehow being around you makes me want to be good again. Not for my sake, but for yours."

"James, I--" You've never used his first name before, but it falls deliciously from your lips, the sound of it nearly distracting him from the finger you run across the stubble on the cleft of his chin. Nearly. He captures that hand in his own, holding it there against his face.

"You don't have to forgive me. I don't deserve it," he repeats, eyes falling shut to the feeling of your thumb pressed to the corner of his lips. He still holds you close, the other arm wrapping tight around you, and though verbally he rejected the comfort your warmth offered, his body says otherwise, desperate for the acceptance his brain refuses to give into.

"Stop punishing yourself," you whisper. For a moment, he almost feels that he could.

And when your lips find his, soft and delicate, he forgets why you're even here in the first place, forgets his guilt and your anger, forgets even to react.

His lack of response has you pulling away, worried you've done something wrong, but then he's chasing your lips with his own, leaning forward to meet you halfway, gathering you impossibly tighter to his chest. He pauses, mouth mere centimeters from yours, eyes still shut, a deep breath heaving from his chest. He wants more, wants to kiss you again in all the places that count, but he can't quite yet.

"What was that for?" The question's not an accusatory one but simply curious. Have you always looked at him in this light since day one? Has he just not noticed?

"Are you blind, Barnes?"

He laughs and shakes his head. "None of that last name shit, doll, we've moved on to a first-name basis."

But your words are enough to surge him forward, this time capturing your lips in a dominating kiss that leaves you gasping for air. He takes advantage of your open mouth and presses his tongue to yours, seeking to fill his soul with your all-consuming warmth, to wrap it around him like a cocoon of your scent. His fingers slide down your back and slip under the shirt you wear, his shirt, grasping at the bare skin of your ass, filling his hands with your supple flesh.

You moan softly under his touch, relishing in the feeling of being encompassed by someone so large and so strong. The vibranium arm, which you expected to be harshly indelicate against your relative fragility, caresses you with the same gentility of the other. The intense contact sends your heart racing like it did all the times you were pinned below him on the sparring mat. Will he pin you like that in bed? Hold you down while he fucks you within an inch of your life?

The thought rouses a heat between your legs and stirs butterflies in your tummy. You don't even know if that's where this is going, but it invades your brain anyways. You're sure Barnes can feel your racing pulse beneath his lips when he kisses your neck, sending your nerves haywire as he creeps toward the neckline of your shirt. He inhales your scent, the hot air of his breath fanning your cool skin.

Everything about this is sloppy, the wet kisses dragged across your skin, his tongue tangled with yours, your fingers tugging at the hair that brushes the nape of his neck. Even his hips against yours are messy and rough, the heat of him leaving your core feeling slick, the wetness of it rubbing between your naked thighs. And then Barnes is sliding his hands back up your body, this time under your shirt, and tugging it over your head, his lips leaving your skin just long enough to toss the item to the ground.

You expect him to keep surging forward, to lift you in his arms and take you to bed like you want him to. But he pauses instead, hands cradling the back of your head, his eyes staring intensely into yours. Or you think he's staring into your eyes.

"Are you okay? Is this okay?" His voice is full of concern but raspy with arousal all the same.

"Yes, James, yes, I need more."

"Well, I would, it's just that you've disappeared on me again." One look at your hands and you know he was looking right through you, not at you. The swirl of emotions--pleasure, arousal, timidity even--sent you shifting without your knowledge. You can't help but laugh.

"Let me see you, doll," he groans, sounding exasperated that he can't rake his gaze across your naked flesh or find all the places he wants to touch you because they're invisible.

"You first."

A heated understanding lights up his eyes, still vibrant in the darkness of the room. Slowly, he releases his grip on you, relenting to not knowing where you are in space. You take an invisible step back to get a better view of the specimen before you. With one hand, he unbuckles his belt, sliding the leather from his pants and dropping it to the floor with a thunk. And then his pants are gone and he's left in his boxers, tight against the bulging muscles of his thighs.

And other bulging things. He doesn't hide his attraction to you. But still, you do not reappear.

Bucky begins to worry you're never going to, that maybe he's taken things too for. But then, a soft finger trails across his neck and he jerks in surprise. You're tracing the plain of his chest with a feather-light touch, dipping into the indent between his collarbones, feeling along the puckered scar of a bullet wound and the long slice of a knife. He feels healed beneath your touch, but it's not enough to satisfy the insatiable hunger building in the tightness of his groin. This entire evening has been a long, drawn-out, build-up of tension, and if he doesn't release it soon, it will snap like an overstretched rubber band.

He makes his move.

Apparently, Bucky's senses are just as perceptive here as they are on the sparring mat. His metal hand shoots up and wraps around the wrist of the hand on his chest, despite being unable to see it. The other reaches out and grapples at your invisible body in the dark, somehow finding your waist. He doesn't need to see you to manage to flip you around and press your back against his chest. In your surprise, your invisibility falters, and you flicker out of your shifted form with a flustered squeak, one hand suddenly pinned between your back and Bucky's rock-hard chest.

He holds on with an iron grip and walks you toward the bed, holding you up to prevent you from tripping in your ruffled state.

"You're taking too long, doll," he mumbles into your ear, and you feel his chest rumble with the vibrations. Your free hand flies to the one around your waist, which is slowly creeping upward toward your breast to twist at the sensitive nipple. "I know you like it when I pin you on the sparring floor. I can see it in your eyes. I'll take you like that right now if you give me the word."

Fuck, you want nothing more but you can't breathe enough to get the words out, opting for nodding vigorously instead. But Bucky wants words, gently prodding you forward to get a verbal commitment out of you. He will never take you against your will again. So you manage a long, drawn-out please and suddenly you're face-first in the sheets, bent halfway at the waist, your ass grinding against the delicious bulge pressed against your aching cunt. It pleases you that he has been thinking the same wicked thoughts as you when he slams you to the mat over and over again in training.

Bucky pulls your arm out from underneath you, joining it with the other and holding them together with his metal fist at your lower back, forcing your chest further into the mattress and your ass higher in the air. There's no way for you to move, no matter how hard you try. But you don't try, won't try. Bucky has you right where you want to be.

"Tell me if it's too much," he murmurs in your ear and you breathe an affirmation. His teeth nibble suddenly at your ear lobe and you squirm, the sensation of his breath fanning your skin sending goosebumps along the trail of kisses he leaves down your spine. Somehow, you know this is only the calm before the storm, the gentle caresses of a man who's about to rearrange every organ in your body, all the way up to your heart if you aren't careful.

It doesn't matter to you that it's pitch black in the room; you wouldn't have been able to see anything with your face shoved into the comforter, even if the lights were on. But Bucky's starting to regret having left the lights off, wishing he could better see the curve of your hips, the swell of your thighs, or the bloom of his handprint on your ass when his hand comes down with a smack. He resigns to being satisfied by the mewling gasp that escapes your lips and your soft pleas to Do it again, harder.

So he does. Smack.

And then he's sinking to his knees and you can tell because he leaves a wet stripe of skin with his tongue over the globe of your ass and blows a shock of cool air across the rawness of your skin. He replaces the sting of his hand with the bite of his teeth and then a kiss to soothe you again. The rollercoaster of sensations has you moaning against the mattress and rocking your hips toward his face and Barnes chuckles at your movement, your actions giving away the desperation you feel to have his tongue move to more sensitive places.

He is happy to oblige. You hadn't even noticed you'd been squeezing your thighs together until he slid a hand up between them, forcing them apart. It's a blessing your legs aren't doing any work to keep you up anymore because they feel like jelly under his touch. The hand between your thighs moves higher still until you feel his thumb pressed to your sensitive clit, warm and twitching with anticipation, desire coursing through your veins and dripping from your wet cunt. Your ears barely register that he's speaking, the blood is pumping so hard in your ears, but his words are exalting.

"Look at you, so wet for me." The hand around your wrists tightens just slightly. You are surprised by the extreme control he has over the cool metal fingers, and you almost wish he'd use those on you instead. And then he says, "you like it, don't you, doll, being at my mercy," and you forget all about the arm and decide it doesn't matter what hand presses down with a gentle strength on your clit as long as he doesn't stop. And he doesn't. Doesn't move, doesn't flinch or twitch or falter, just holds steady until your gasping mewls die down just enough for you to say, "yes, all for you, all for you, all..."

With those words, his thumb slips, between your slick folds into your pussy, finding the soft spongy flesh and pressing down again and you cry out with a careening moan that tapers off into a silent sob. He's taking his time, picking you apart, pulling at the laces that bind you together, and undoing them to release the tension he knows you harbor. But what about him? Is it not torture for him?

You breathe in a rough gasp, enough to squeak out a few more words. "I thought we were going too slow for you."

He laughs, he actually laughs, at your words, but relents.

"I hear you, doll."

I hear you. Oh wow. His tongue replaces his finger and you lose all coherence, able only to blubber some iteration of his name as the smooth muscle traces circles around your clit, finally allowing your orgasm to build with a steady contraction in your pelvis. Barnes moans between your legs like he's never tasted chocolate or buttercream or any of those other wondrous flavors and there's only you. And that moan sends you overboard, the vibrations diffusing down your legs and you tremble into your first orgasm. Your first orgasm.

He keeps going, riding out the waves of your high until you're crying that it's too much, James, too much and he pulls his tongue away from your oversensitized clit only to move down your legs. He's working you up again, teasing the smooth skin of your inner thigh with gentle nips and kisses until your body is craving release again, your cunt clenching around nothing but the memory of his mouth. He is deliberate in his ministrations, methodical in the way he must be with his missions. The flood of your first orgasm has dripped steadily down your thigh and he cleans you with his tongue, dragging upward along the sticky trail of your musky release until his tongue makes contact again and he pulls an orgasm from your desperate body once more.

He still hasn't released your arms.

"You know how long I've wanted to do this?" he groans, as you shudder again into the pleasure of his touch. He kisses back up the length of your spine while you twitch under him, his free hand dragging shock wave after shock wave from your cunt. It strikes you that this man is truly 106, not 26 like his body suggests, and you absentmindedly wonder if that's why he's so good at it, that he's had years to practice. And then his cock is pressing against your folds and you forget the notion halfway through thinking it. "You're so good to me doll, so good for opening up for me. Wanna feel your tight pussy around me."

You push backward, or do your best to without the employment of your arms, wanting desperately to feel him inside you. He is warm and all-encompassing and part of you thinks his cock spilling his seed inside of you would complete you like nothing else. But you know that's a bad idea and you can hear him already unwrapping a condom (where did he get that from?) and your body trembles with the anticipation. You haven't even seen him yet but you know he must be big, the way he grunts when the tip of his erection teases your entrance.

When he enters you it isn't gentle like the stroke of his tongue. It splits you open with a rough thrust, the laces of your heart fully undone and releasing you from their confinement. You choke on your own air.

And then he's releasing your arms, and before you can react, Barnes has you lifted, your back to his chest, your knees shoved roughly into the mattress so he can stand and fuck you from behind. The metal arm finds your neck and forces your head back, his lips dragging hot against your soft skin and muttering filthy praise into your ear, his hand gently on your throat to hold you there. Your hands fly to his, not to pull him away, but to convince him to squeeze, just a little bit harder. The pressure is grounding, and then the hand around your waist is trailing toward the bud of your clit and rubbing in urgent circles and you let out a silent gasp as he thrusts into you at a pace astounding for the position you're in.

You come hard, over his hand, around his cock, and for the first time Barnes falters, stunned by the intensity with which you clamp around him and if he hadn't made you come two times already he might have held out a bit longer to pull another one of those stunning orgasms from your slick cunt. But you're sagging, using him to hold you up against the exhaustion of repeated abuse so he releases, riding the wave of pleasure you started. Bucky groans out your name, surprising you with the gentleness of it on his tongue despite the rough hand around your neck.

When he releases you softly back onto the bed, you sink heavily into the mattress, feeling high on pleasure and drunk on his hands. He pulls away and shuffles around the room, and if you had had any energy left you might have complained at the loss of him but as it sits nothing will rouse you from the intense desire to simply fall asleep.

He continues to move about and then... the lights go on? You groan at the harsh treatment of your eyes as they adjust. But Barnes returns and pulls you against him and apologizes for the rude awakening.

"Sorry, doll," he mutters. "Wanted to get a better look at you." His fingers glide along your back and his face nuzzles into the top of your head, breathing into your hair as you press your forehead into his chest. Despite being exhausted himself he trails his hands all over your body, exploring the side of you that has been shoved into the sheets for the better part of the evening. You let him, although your nerves feel fried and oversensitive to touch.

"Watch what you do with those hands," you giggle as his fingertips brush over a nipple, "unless you're ready to go again."

"Already looking forward to next time?"

"You wish," you tease, but already you know for certain that there will be a next time.

#bucky barns x reader #bucky barnes #winter solider fanfiction #bucky barnes smut #winter solider smut #definitely not canon #i refuse to believe steve went back in time for some 1940s kitty kat and left his best friend behind #tony and nat are alive bc they are the only truly valuable characters #sebastian stan #also youre the daughter of agent hill #bucky fanfic #bucky x reader #winter soldier #wEiNeR sOlDiEr

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astro-rain · 3 years

Text

delicate; b.barnes

chapter twenty - “collateral damage”

delicate masterlist

word count: 2k

synopsis: bucky and y/n deal with the emotional fallout of her departure from wakanda.

pairings: bucky barnes x fem!reader

warnings: mildly suggestive content, nothing explicit, 18+ readers please.

The flight home was wretched. Sleeping on the jet was impossible. Every time she shut her eyes she saw his face. If her mind did somehow manage to drift off to sleep, Y/N dreamed of him and woke up trying not to rip her hair out.

"We can still stay in contact, right?" Bucky asked as they were walking back from the waterfall.

They had left their catharsis by the water, still upset, but now calmer and more logical.

"I don't think so..."

"What? Why? It's not like we don't have the technology to do it."

"I know, but.." Y/N trailed off, trying to think of a sensible excuse.

Obviously they could stay in contact if they wanted. But any kind of phone call would be able to be tracked or recorded. That, and she didn't want him to hang on to someone who betrayed him. She couldn't imagine the guilt she'd have hearing Bucky's "I miss you's" or "Baby doll's" from miles away, knowing she lied to him.

"You don't even have a phone..."

"That's an easy problem to fix."

"I know... I just think you should focus on the rest of your healing, and... you know, I'll have a lot of work once I get back...." she took a breath. "I don't know if it's super healthy for us to cling on to each other when it... may be better to move on..."

"Move on?"

"Yeah..."

Bucky stopped walking and turned to face her. They both stood still and he stared at her, confused, as if he was trying to figure something out. He knew her well. She was scared he'd see right through her.

"So let me get this straight. When you're here we can talk all the time and... plenty of other things. But when you're away we can't even call each other?"

"Bucky..."

"That's not all, is it?"

She sighed. "I'm just... worried... about- like-... getting in trouble. If someone overhears or tracks a phone call...What if someone finds out where the 'Winter Soldier' is and comes here to exact revenge?"

That was partly true. She'd never want anyone bad to find out where he was. But no one was tracking her phone calls; she wasn't really a person of interest. In all likelihood, it probably wasn't something she'd have to be terribly worried about.

However, if anyone overheard or saw Bucky on the phone, they'd know it was her, and she doubted anything she could say would convince them that she didn't tell him about the arm.

Or maybe no one would find out. She just didn't want to take the chance. The last time she took a chance, this happened. She wasn't willing to do it again.

He stared at her with dejected eyes. "You know you don't have to worry about me. I'll be okay."

She rested her hands on his forearms and laughed sadly. "Bucky, I don't think I'm ever not gonna worry about you."

He was already in her heart. She didn't think he could leave now.

He let his eyelids fall shut. "I really don't want you to go."

She closed her eyes as well and let her forehead rest against the top of his chest.

"I know. I'm sorry. I don't want to leave you either. But you're gonna do so well, even without me. And every day I'll wake up and think 'wow this man is sexy and has good coping mechanisms! I wish I was him!'"

In the midst of his sadness, she made him laugh. It was a despondent, quiet laugh, but she managed to lift his mood all the same - even if just a little bit. She'd always make everything better.

He gazed down at her, eyes heavy, and without even thinking about it... "I love you."

She looked down at the grass below her feet. "Buck..."

"I do. I'm sorry but I do."

She wrapped her arms around the middle of his back, pressing her face into the crook of his neck. He grabbed her shoulders and pulled her in tight, one arm up her back and the other cradling her head.

In the tiniest whisper, she let the truth flow out from her chest. "I love you, too."

The clouds provoked her, so peaceful and quiet, while her head was a big, loud mess. Y/N leaned her head on the window, glaring at them and wondering if she should've said what she did. That she loved him. Internally, she debated whether or not it would make things worse. But she wasn't going to see him again; she might as well have left him with the truth.

Time was lost to her. She thought she would be landing soon, but she couldn't be sure. She couldn't be sure of anything anymore.

Bucky sat at the lake - their lake - and just stared into the water. It felt so strange to him, that she was gone. One minute she was here and now he was just... alone.

It was so quiet. Too quiet. Of course being alone was quiet, but after Y/N left, the air just felt empty.

He wished he could talk to her. Whenever he was upset, all he wanted to do was talk to her.

"So, is this... d-do we say goodbye now?" he asked when they got back to his hut.

"Yeah..." she sighed. "yeah."

"Are you going back to Europe?"

"Yes. Belgium. Haven't been in my apartment in forever."

"Belgium," he wondered. "It's nice there. Safe. What are you gonna do for work?"

"Probably just continue where I left off on my research. Fancy brain stuff, ya'know?"

He grinned, proud. "My smart girl."

She looked around her, as if watching for something. Or someone.

"Buck, I think I have to go now."

"Just one more minute? Please. I wanna remember you like this. Not sad and crying."

Y/N smiled, grabbed his hands, and kissed his knuckles. Both flesh and metal. Because they were both part of him and she loved him. All of him.

Then, she placed both his hands on either side of her face. Softly she said, "remember me like this," before bringing their lips together.

He looked down at his vibranium arm, twisting his wrist to watch how the plates whirred.

Since the first moment he put it on, he had been using it to be gentle, loving, and affectionate. This arm was good. This arm wasn't used for death and destruction and violence.

With this arm he held her, kissed her, loved her. And now she was gone. And now it felt like dead weight.

— ONE WEEK LATER —

Whenever Bucky looked at his bionic arm he saw her. It began to make him sad.

His hair had been getting longer and longer. He could cut it now, now that he had two arms. But every time he tried, all he could do was stare at the arm and hear her voice in his head.

"That's your heart. That's you. You're all heart, Buck. You're so deeply, wonderfully human. All the way to your bones."

That was the first time he expressed real distress about missing a limb, he recalled. That was the first time they kissed. Funny how that transition was made, funny how she could remedy some of his worst emotions.

His days were boring and uneventful and nearly silent. He sat alone a lot. There was no laughter anymore, none of her laughter. There was no more holding, no more kissing, no more loving. The arm just felt... wrong? Like what it was born from had died.

In Belgium, Y/N felt incredibly uncomfortable. She knew she just needed to adjust to the change, after getting to used to life in Wakanda - life with Bucky. Her vacant apartment didn't feel as homey.

It had been, what, a year and a half? About a year and a half since she had been home. About a year and a half spent with Bucky.

Her apartment seemed so... barren. Void of life. And cold. She was used to the Wakandan heat. When she closed and locked the door behind her, she looked at the golden square that the sun cast through her window. It reminded her of that heat.

Y/N sighed, cursing her very own hippocampus for providing her with memory.

"God, I wish you had an AC in here."

She was in his bed. Well, she was on top of him, straddling him, in his bed.

"Is it hot or is it just you?" he joked, poking at her sides and trying to not pout at the loss of her lips.

"Ha. Ha," she rolled her eyes and brought her face back to his.

"Wait," Bucky said and gently pulled her face away to examine it. "You are a little warm."

"It's okay," she quickly tried to resume their previous activity.

"Hold on-" he got cut off as Y/N kept pecking his lips over and over.

"I have-"

Kiss.

"An idea-"

Kiss.

Lightly he pushed her shoulders away, nearly giggling. "Stop it! Just wait a second!"

Bashful, she conceded. "What?"

"Just-" he reached out and put the vibranium hand on her forehead, effectively cooling her down a bit. She closed her eyes and flashed a goofy smile.

"That feels nice."

Then, suddenly, he wrapped both his arms around her back and flipped them over so that he was on top. He smirked.

"Oh yeah, you just wait."

She hung her keys up and took a deep breath, absorbing the emptiness. This was her new normal; she just had to get used to it.

"I just- I don't really... I don't think I need it," Bucky tried to explain.

Want it, he thought. I don't want it. I can't stand to even look at it.

"You don't need it?" Shuri asked.

"Yeah, it-uh it takes a bit of getting used to and I think I just need a break. And I wouldn't want to damage it so... figured it's better with you."

He was better at lying than he gave himself credit for.

"Okay," Shuri accepted his answer and began to detach the bionic arm. "But you let me know if it's uncomfortable or painful anywhere so I can adjust it. Alright?"

"Alright. Thank you."

Finally he was rid of it- that cursed metal weighing down on his soul. Maybe now he could focus on other things. Maybe. It didn't seem likely...

However, as the days drew closer, it did make him slightly - only slightly - less nervous about the trigger word experiment. Now he didn't have a weapon attached to him. Though he reckoned he was the weapon.

No. He wasn't supposed to think like that. He knew Y/N wouldn't want him to. He knew she would say something like, "You aren't what they tried to make you into. You're you and all HYDRA's awfulness can't change the good at your core. My Bucky. You're perfect."

He'd deny to high heavens that he was the farthest thing from perfect. Bucky had no clue how she could say such things. But her conviction never faltered.

Soon enough the day came. The experiment. All he could think about was how she was supposed to be there. He didn't want to do this without her.

But now, he found himself sitting at at a fire on some mountain with one of the Doras. It was dark and it was scary. He was scared.

"It is time," said Ayo.

Nevermind want. He wasn't sure if he could do this without her.

"Are you sure about this?"

"I won't let you hurt anyone."

He was still scared. He still didn't trust himself. But, staring into the fire, he thought back to a past conversation.

"You don't have to trust yourself. That's hard enough as it is and Hydra didn't make it any easier. You just trust me, alright? ... And I will not let anything happen to you."

Bucky didn't have to trust himself. He just had to trust her. Even if she wasn't here, even if she was on another continent, all he had to do was trust her. When Ayo began reciting the trigger words, that was the one thing thing he held onto. The one thing that kept him afloat.

His trust in her.

delicate taglist: @emmojoy @bakugouswh0r3 @thefridgeismybestie @strivingforelegance @ilovespideyyy @xpurpleglitter @bluelakeee @darkacademic2 @eclipsedplanet @paradisedixon @crazy-beautiful @coffee--writes @lilithknight1111 @buckybarnesishot310 @softladyhours @alwayssandy @those-sea-green-eyes @hero-ically @devilswaldorf @cc13723things @small-death-and-codeine @avengersgirllorianna @cataves @thatbitchsposts @talktomeaboutthestars @surrealpsycho @headheartbellarke @bubbly-moonwarrior @bluemoon-icecream @buckeyecreates @augustbucky @itsthemaree @undiadeestos

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rahleeyah · 2 years

Note

Now that we saw the crossover and that it's possibly the last EO interaction in a while I really hope next season we can have an actual crossover. Before I knew about WL's exit I wondered why was he able to deliver 2 very good true crossover cases with Chicago PD. Those were good storylines where both teams had great interactions, they had cases that involved both of their interests and there was follow up on both shows. You would think that would be much harder considering the filming on 2 different states and many other complications. With SVU and OC we'd hardly had a complete crossover, we've seen them work together for cases that don't get follow up, mostly happening in only 1 of the 2 hours and when Fin and Velasco crossed to OC they were kind of a cameo only. Of course WL had no much disposition to work with OC/ Chris as much and that explains things but it really is frustrating when we could see something much more effective. That said we'd have to see if whoever comes to be SVU's showrunner is able to get the show back on track and not only in that capacity but in plenty.

On another note I really like OC but frankly the constant undercover arcs are getting repetitive, I understand that they're trying to do their own thing and I do like it but I'd rather see them exploring a human trafficking operation where Elliot's abilities and SVU experience would shine as we saw with the Rita storyline that gave us Officer Montecristo. Because that's the Elliot we Know and love. If we knew more about El's transition of his SVU days and his liason in Rome, how and why he landed on organized crime cases on those years we would be more on board on his new almost vigilante persona but we barely have that kind of insight and that makes him seem OOC many times. And of course if they went along with that kind of storyline it would make sense to have the SVU squad on board and the potential crossovers would be more organic.

the crossover thing is super weird; like, watching svu on streaming now, you can see where the chicago crossovers were happening and that clearly watching chicago would have provided more context but it flowed well and was easy to follow. i think we all know 💡 could have done a better job, he just didn't want to bc he was being petulant.

i love oc. i think they're doing a great job; they fumbled bringing wheatley back but on the whole the show has been engaging and fun to watch.

and i have seen several people say this but i don't think elliot is ooc at all.

elliot in 1.0 had a flair for going under; he liked it. in wildlife he just jumped and did it and damn near lost his family over it and got shot for his troubles and did not express any remorse. it was fun for him. he wanted to do it. he reveled in every opportunity he got to pretend to be someone else, from the coke salesman to the man desperate to get a baby for his wife - and cheekily saying he'd name the baby oliver. bro he put thought into that.

and he has always been something of a vigilante. this is a man who got in his car and drove to a pedophile's house off the clock and beat the shit out of him. there's an episode where he's out for an injury and he turns up at the station house just long enough to tell olivia to break the law - which she does. he has always been reckless, and he has always been willing to take risks, and he hit people and shot people plenty in 1.0. oc gives him more room to do that but what has he done that is vigilantism, outside wheatley? and why shouldn't he have gone rogue, when a) he's done if before b) his family was involved c) no one was listening to him when he tried to go through proper channels and d) he was right?

and we have seen elliot's svu coming through apart from rita. we saw it with the little girl in the uncle k epi, with navarro - it wasn't his decision to give that man an out and he and bell even talk about how he struggles with it. we saw it when he beat the guy who was abusing his wife - elliot said in season one of svu that he fantasized about beating perps. we saw it in the way he approached angela before he knew what she was, and we see it in how he handles frank's wife.

i think oc has actually done more to honor elliot's character than svu has done for olivia lately - though i'll give them 500. we have seen him struggle with grief - there are moments in s1 of oc that viscerally reminded me of elliot's conversations with rebecca hendrix - and with being there for his family. we've seen him reconcile with his mother, and struggle with the legacy of his father. we've seen him admit that he once dreamed of being an architect, when way back in s10 of svu he was trying too hard to protect himself, to hide away the softest parts of himself, to admit to it. we've seen his humor, his kindness, his compassion, and his recklessness, and his need for justice.

the complete picture of elliot stabler is a complicated one, and that's what makes him feel human.

#anonymous #e.o asks #s.vu

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splendidemendax · 2 years

Text

Classical reception projects I'd do if Star Trek were real and I was living in the 24th century:*

*In this version of reality, everyone in the whole galaxy reads ancient Greco-Roman lit and is ready to talk about it at a moment's notice bc I say so.

Vulcan reception of the Iliad

So like, the most obvious project would be to see how the Vulcans read the Stoics, since Stoic ethics is remarkably similar to Surakian philosophy. But I don't think they'd go for the Stoics I like (mostly Epictetus, who is excellent); I have the feeling they'd be more into, like, Seneca.*

*tl;dr: Epictetus was a freedman and his Stoicism is about keeping your head and preserving your identity and moral core at any cost when everything is really, really hard. Seneca is more, like, high-academic, theoretical Stoicism. I find Epictetus' approach both much more interesting and much more useful; I also personally find Seneca very annoying.

But the Iliad is so emotive and emotion is so explicitly tied to loss and destruction, specifically loss and desctruction through war. If you've never read it, these are the first few lines:

Anger be now your song, immortal one, Akhilleus' anger, doomed and ruinous, that caused the Akhaians loss on bitter loss and crowded brave souls into the undergloom, leaving so many dead men-carrion for dogs and birds; and the will of Zeus was done. —Iliad, 1.1–6, trans. Robert Fitzgerald

I also had a prof in college who studied emotions in Homer and her favorite way of reading the Iliad was to reframe the narrative as being about longing (ποθή) rather than rage (μῆνις), which is a take I'll never forget.

All in all: I think it would remind Vulcans of their own history and make them super uncomfy and I love to see how people deal with texts that make them uncomfy.

Cardassian reception of the Aeneid

So the obvious bits here are the focus on the family and the state and the sacrifice involved in preserving/creating/honoring them.

What's particularly fun is Vergil's ambivalence about the Augustan project.* The classic (ha) argument about the Aeneid is whether it's pro- or anti-Augustan, but it doesn't have to be entirely one or the other and I personally think the ambivalence is the point. When you're living in a state coming off, like, a century of on-and-off civil war, you might have some complicated feelings about an authoritarian's peace. It would be super cool to see whether or not Vergil's ambivalence would come through.

*tl;dr: Augustus wins a civil war and takes control of the Roman government. He plays a delicate balancing game during his lifetime, but will later be recognized as the first Roman emperor. The year he is granted the title Augustus ("venerable, noble; sacred"; his actual name is Octavian) by the Roman Senate is the standard date for Rome's transition from republic to empire.

The Aeneid is also interesting because of how simultaneously hopeful and hopeless it is. Case in point: book six, where Aeneas goes to the underworld to talk to his dead father and he sees the entire future of Rome down there. The future is good, but it's got this awful shadow hanging over it because Aeneas, founder of the Roman people, is seeing this glorious future in the land of the dead.

The person who is described in the most depth is Marcellus, who gets a good thirty lines (note that I've omitted some lines):

At which point Aeneas saw A young man in step with Marcellus, arrayed In glittering arms, exceedingly handsome But with lowered eyes, unhappy looking, so he asked, “Who, father, is that companion at his side? A son, or another of his great descendants? What crowds and clamour follow him! What presence He has! But black night wreathes his brow With dolorous shadow.” Choking back his tears, Anchises answered, “Do not, O my son, Seek foreknowledge of the heavy sorrow Your people will endure. Fate will allow the world Only to glimpse him, then rob it of him quickly... O son of pity! Alas that you cannot strike Fate’s cruel fetters off! For you are to be Marcellus... —Aeneid, 6.1169–1198, trans. Seamus Heaney*

*Seamus Heaney's translation of Aen. VI is the best translation I've ever read of any Latin text. I paid a truly stupid amount of money for it (like $20 or smthg for a 100-ish page book) and it was entirely, 100% worth it. Cannot recommend highly enough.

Marcellus will be Rome's great hope and he'll die before he gets to do anything; he hasn't been born yet and he's already in the underworld. His ancestors grieve the bright future he's already doomed never to have, centuries before he's even born.

I'd love to see what Cardassians would make of all the ambivalence, especially if I could compare approaches before and after the Dominion War.

#i'm sure there'll be more at some point #esp bc i haven't figured out who should be reading ovid yet #and tbh i might write up a more in depth argument abt how i think vulcans would have the wrong takes on the stoics #trek and the classics #classics #homer #vergil #star trek #meta #mea res

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theywontletmebeprincipal · 3 years

Note

can you give me drowsy headcanons, ramble, or anything please, i am so deprived. do not be afraid to make it super long, the more the better, i just love drowsy chaperone and love to hear other people (plus you’re one of the only people i’ve seen who knows a lot abt it)

ASK AND YE SHALL RECIEVE

I’ll divide this into a few different parts, going from least to most excruciatingly sad :)

1. general headcanons

2. in canon things i noticed and think about daily

3. a full analysis of man in chair’s connections with the drowsy chaperone as an in universe show (trigger warning for abuse ment, alcoholism ment, suicide ment)

SECTION ONE: HEADCANONS

- okay the chaperone is trans I don’t make the rules

- also her name is ambrosia :) she forsook her last name :)

- she’s about 12 years older than janet and kinda hung with janet’s family after leaving her own for a while . essentially she’s a big sister to janet

- aldolpho has some lines where he asks if the bride is big and/or burly and while in canon this is supposed to show he’s kind of a womanizer I like to believe it’s because he was fully prepared to fight her if needed

- speaking of which Of Course janet is ripped she does gymnastics

- my batshit crazy headcanon for this show is that dee dee allen from the prom is a descendant of roman bartelli no I will not elaborate

- is aldolpho one of those bitches with pets that definitely shouldn’t be legal? yessir

- post show kitty becomes a star okay I just want her to be happy

- the “pastry chefs” do discover a love of baking post show and now run a shop along with performing in feldzeig’s follies which might maybe be a front for some crime too

- TRIX DROWSY AND ALDOLPHO WORLD TRAVELING POLYCULE CAUSING PROBLEMS ON PURPOSE

- underling’s name is james I will not elaborate on this either

- show never says what trix does so I’ve decided she’s an explorer. she charts maps and punches colonialists and drags her stupid friends along with her, the only bitch in the show with a braincell

- drowsy was a former vaudeville child star pre transition - she left the business but was a mentor to janet

- I do have a headcanon for mic’s name but in the spirit of every actor who’s ever played him I won’t fucking tell

SECTION TWO: SHIT I NOTICED

- robert refers to himself by full name a lot of the time which is v interesting given he’s named after the writer, bob martin (whose wife is also named janet van de graaf). the real bob martin is like five feet away at all times playing mic

- idk how to describe it but the dynamic kitty and feldzeig (VICTOR felgzeig. we have a name from one (1) line) have when talking to each other is so snappy and funny and good

- aldolpho’s lines in spanish are mostly romantic bullshit but his first one hints that he has/had a wife who, if we’re taking the translation literally, refused to touch him. yeah I’ll bring this up in analysis

- the “pastry chefs” provide liquor for the wedding even though it has absolutely no relevance to their mission of stopping it :)

- drowsy is like. SUPER endearing towards janet and despite her bad social skills it’s super clear she cares a lot about her

- robert speaks fluent french apparently

- everyone says “ew” after aldolpho reveals his affair with drowsy despite her being a certified milf

- the body language of drowsy in the end of the show where she takes mic’s hands and breaks the barrier between reality and fiction is just so good. she was iconic the whole show but I honestly think this final bit is what won beth leavel the Tony in the end

SECTION THREE: OH NO

before diving into the way the drowsy chaperone affects his character, we need to understand what exactly it’s playing off of. to fully understand mic’s attachment to the drowsy chaperone, we need to outline what led him to isolating himself and living in fiction to the extent that he does.

mic’s father left his family at an early age and his semi estranged alcoholic mother was the one who began his love for theatre. mic grew up in a broken household and eventually moved on to land in a one sided marriage, which lasted a few months until he slipped up and expressed his discomfort with the situation, after which he and his wife split. nowadays, he lives alone in his apartment surrounded by records he uses to escape to a better life - his favorite of which being the one his mother gave him, the drowsy chaperone.

symbolism in the drowsy chaperone regarding mic’s life can be split into two main categories - mommy issues and internalized homophobia. there isn’t nearly as much mom symbolism as there is the latter, so I’ll cover that first.

drowsy covers both bases, but she definitely has some undeniable mom symbolism going on. drowsy marries aldolpho and mom dreams of being swept off her feet by a latin lover, both feel they’ve wasted their chances at love, both drink to forget, etc. this is where the idea of the drowsy chaperone being mic’s ideal way for things to work out, a positive parallel, comes into play. given that we don’t hear too much about mic’s mom other than her connections to major life events and the record itself, we can assume they grew apart in one way or another. the key difference is that drowsy finds a happy relationship for herself and retains her bond with janet, unlike what we’re led to assume mom was like.

further elaborating on the drowsy chaperone representing mic’s ideal fantasy version of events is the wedding the drowsy chaperone’s plot centers around. here’s a list of the things that didn’t stop that damn wedding:

- a minister not showing up

- the groom cheating on the bride with the bride

- the bride having a complete mental breakdown

- indirect mafia interference

- direct mafia interference

on the flip side, what little mic says about his wedding indicates it sucked absolute ass. he spent the entire ceremony in internal distress as he went through with a life changing event he, at that point, knew at least a bit that he didn’t want. I think he also implies he had severe diarrhea on the wedding day? it gets worse when you realize mic’s relationship before the wedding wasn’t any good for him either - he was playing along the whole time because it would be cruel not to, right?

throughout the show, mic is pretty clearly shown as an extremely repressed gay man. there are five specific instances that point at romantic and/or sexual attraction to men directly and another moment outside of his commentary that pretty much confirms it if you look a little bit deeper. thus, here is what I propose - to mic, the drowsy chaperone’s wedding plot represents a world where he was able to ignore that part of himself and have a happy marriage with his wife despite all the overwhelming obstacles thrown at him. however, bits and pieces of that internalized homophobia manage to show themselves throughout the drowsy chaperone anyway despite its happy ending. here’s a rundown on a few significant instances:

- by the end of the show, the “pastry chefs”, who had literally been planning to kill feldzeig, have left their life of crime to perform with him. this symbolizes how in mic’s ideal world he would have been able to turn away from what he perceived at the time as living wrongly - his homosexuality

- at the same time, the “pastry chefs” have this line, spoken in regards to janet: “if she gets married and leaves the show... there ain’t no show.” this is a take on mic’s subconscious concern that he might lose himself if he goes on with his marriage pretending everything is alright - of course, as we already know, he doesn’t listen

- “cold feets” is a pretty obvious instance of mic’s hesitation

- aldolpho’s line in spanish regarding the wife who won’t touch him flips to reflect on mic’s treatment of his own ex wife - she was alien to him as a lover, just as aldolpho was to this woman

- janet recalls her meeting robert at a point in the show and states “we spooned, briefly, then he proposed.” though mic’s relationship pre marriage was much longer than that, it must have felt that way to him - just as quick and nonsensical as janet describes

- just as janet is caught in showbiz but has a toxic love for it, so does mic with his own repressed life

- janet has a line in “show off” that alludes to her experiencing harassment/assault: “I don’t wanna be cheered no more/ praised no more/ grabbed no more/ touched no more/ loved no more” , which I believe represents the way mic perceived his intimacy with his wife - labeled as love yet unenjoyable for him

- “I look into his eyes... I get all woozy. and that’s... love, isn’t it?” is another very clear nod to mic’s misconception of love based off the only thing he’s ever experienced, relationships with women he’s had to fake

- this is the part where I tell you the lyrics to toledo surprise are a metaphor for actively suppressing gay thoughts. I’ll just leave you with “if it tries to rise; don’t let it”. these lyrics are not comprehensive enough to make a dish - trust me, I have tried. it’s also notable that they serve a double entendre as instructions on how to beat the shit out of someone, but several lyrics are also directed towards the singer/audience. for example: “it’s a snap/ try it folks/ whip your whites/ split your yolks” is an easy metaphor for the unhealthy mental gymnastics required to repress oneself so wholeheartedly

it’s also worth noting the obvious just for the sake of it - mic copes with all this by isolating himself in a safe spot where he can use musicals to escape and live his ideal fantasy, even if it’s only for a short time. there are plenty of nods to this throughout the drowsy chaperone as well. in “as we stumble along” drowsy notes that “the best that we can do is hope a bluebird/ will sing a song/ as we stumble along” - to mic, musicals are his bluebird. while mic mostly indulges in these fantasies, he knows to a certain extent the sheer amount of time he’s spending in them is unhealthy. the first line of the show is “I hate theatre” and I think that to an extent? he does. obviously mic loves theatre as a concept, that can’t be denied. what he hates is the way he’s allowed it to confine him.

with all that out of the way, let’s move on to the most important moment of the show. if you’ve ever seen the show, you’ll know exactly which scene I’m talking about immediately. I’m referring to, of course, the infamous “l-ve while you can” scene. as janet stands at the alter she asks drowsy for one final word of advice, which is partially obscured by aldolpho dropping his cane. “l-ve while you can.” it’s a simple moment, but mic reveals to us that he’s been agonizing over it for years - did drowsy say “live” or “leave”? it occurs to everyone eventually, whether a couple days after the show like with me, or years after like with bob martin’s replacement on broadway that the most likely answer is that she had said “love while you can”. it’s this moment, when you realize why mic had never seen that as an option, that the drowsy chaperone’s status as a musical within a comedy within a tragedy is solidified. mic had no love in his life - his parents hated each other and he was forcing himself into relationships in which he felt nothing. to him, living and leaving were options, but loving never was. so he locked himself away.

as the final note on the record is playing, all power in mic’s apartment shuts down and the fantasy is ruined. the superintendent arrives and further invades his space, breaking the private sanctity he had built up for so long. she fixes the power and before mic can stop it from happening, the final note of the record plays. and the super recognizes it as a musical. she makes a remark about how much her wife loves musicals and leaves, completely unaware of what she’s just done.

mic sits in silence for a while. and then he begins to sing. gradually, the cast members begin to echo their songs, dancing around him but never touching him. then drowsy appears and sings harmony to mic. and she takes his hands. the show ends with the entire cast, including mic, taking off on trix’s airplane as the curtain falls, drowsy handing mic his record as the plane takes off.

some people interpret the ending as mic committing suicide, finally deciding between live and leave. I don’t personally believe that and neither does writer and original mic bob martin, but it’s still a valid interpretation. the drowsy chaperone’s ending is ambiguous, yes, but not to that extent. no matter what you believe the ending means, it was brought on not by the interruption of the fantasy, but by whatever realization the super’s remark about her wife triggered. as I see it, there are two main options here.

option one - mic realizes he still has time to live and to love. when he was younger the prospect of living as himself was unthinkable to him, yet now he sees that while he was spending countless years alone the world grew. drowsy offers mic her hand, an invitation to finally become what he had admired in her - someone who isn’t anywhere near perfect, but is damn well trying and living life without regret. he accepts.

option two - mic realizes that while he spent years alone the world moved on without him and he’s isolated himself so much from social interaction that he’d no longer be able to make a meaningful connection with anyone outside. so he stays inside instead, never trying, always trapped between live and leave. drowsy offers mic her hand - at least he’ll have a tune to carry with him.

I really want to believe we got option one. I think option one is the intended, really, given mic ends the show with a joyful goodbye to the audience. but the way that the ending is still left open for interpretation makes it so that we can never really know - we as the audience only get to be privy to a small part of mic’s life, and we don’t get the answers we want because at the end of the day they’re irrelevant to us - all we can do is make our own choice.

#the drowsy chaperone #musical theatre #musicals #broadway #musical meta #man in chair

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twstarchives · 4 years

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Beans Camo・Voice Lines

● Event: Happy Beans Day (April 27 - May 11, 2020) ● Exclusive Cards: Azul, Jack, Jade, Cater

Cater Diamond - R

Unlock Card “Something feels a teensy bit off... Maybe we should go patrol around.”

Groovy “Were you surprised to see how reliable I actually am? Just kidding!!”

Home Setting “Maybe I should show you a senior’s pride.”

Home Transitions “As your senior, I’ll tell you all about Happy Beans Day! Pay close attention, ‘kay~?”

“Prefect, I can’t remember—are you athletic? Maybe we should figure out our roles while we’ve got the time.”

“Just because this is your first school event doesn’t mean you need to be nervous! Remember it’s all a game. Let’s have fun~♪”

Home Transition (Login Greeting) “This is nice! Feels like we’re all set, right? I’m counting on you, Prefect ♪”

Home Taps “This is our team emblem. It’s designed to look like the feathered hats of those peasants who struck down the monster.”

“I heard the magic harp in Happy Valley was shaped like a beautiful girl. I wish I could’ve seen it~!”

“Jade’s really level-headed, isn’t he? He’s got a super mature way of talking too. Doesn’t really feel like he’s my junior.”

“Don’t you think the popping colors on this uniform are just perfect for Magicam?”

“Are you curious which pocket I stashed my beans in? Let’s see, I wonder which one~”

Jade Leech - SR

Unlock Card “What do you say we work together? We are on the same Peasants Team, after all.”

Groovy “Bean shooters have an awful lot of power in them. Do take a look.”

Home Setting “My preparations are complete.”

Home Transitions “I would never normally wear clothes with a print this bold on them... I’m a little uncomfortable.”

“Cater will take any opportunity he can to post pictures onto Magicam. That’s a habit I don’t have.”

“Azul has been eager about this since this morning. I’m curious what sort of battle plan he’s come up with... Heheh.”

Home Transition (Login Greeting) “If you wouldn’t mind, could you come along with me? It’s rather lonely by myself.”

Home Transition (Groovy) “You’re really quite peculiar. I’ve started to realize you’re always playing a key role.”

Home Taps “Magic beans whose stalks reach the heavens... If they really exist, I’d like to try growing them as well. They seem like they’d get Floyd excited too.”

“To prevent bias in fighting power during Happy Beans Day, leaders and vices from the same dorms must be on separate teams.”

“Truth be told, I’ve genuinely been looking forward to Happy Beans Day. Is that a surprise to hear?”

“I take off my earring whenever I’m running around. With all this jumping and jostling... You never know if it might catch on something.”

“You seem to be troubled... I promise I’m not hiding anything. I am very much your ally. ...This time.”

Home Tap (Groovy) “You want to take a photo for the memories? Heheh, has Cater rubbed off on you? Alright, let’s take one.”

Jack Howl - SR

Unlock Card “This is the perfect chance to test your strength. I’m going to win this fight with no one’s power but mine!”

Groovy “I’ll get my revenge no matter what... Get ready!”

Home Setting “I’m gonna capture anyone standing in my path!”

Home Transitions “I’m not going to say that I want a fair match. I want to show off all this massive power I have!”

“Beastmen have a sharp sense of smell. So we’re really good at games like Happy Beans Day, where one of the main focuses is finding the enemy.”

“They said these are magic camouflage jackets, but can the enemy really not see them...? What does it look like to you?”

Home Transition (Login Greeting) “You’re really pumped up about this. ...But us Monsters are gonna be the winners.”

Home Transition (Groovy) “Have you been keeping up with your fitness? In this game, the key is not just your speed, but also your endurance.”

Home Taps “Beastmen usually wear neckband headphones that clasp around our ears. ...What? It’s not that weird.”

“These uniforms are made with really sturdy material. Heh, so this game’s really that intense, huh?”

“Apparently the peasants that killed the monster didn’t have any special abilities at all. I guess when you’re up against a powerful foe, your tactics are more important than your own power.”

“Azul from Octavinelle... He’s really clever, but everything he says and does always seems to have a catch. I don’t trust him.”

“Oi, quit poking at me. I’m not hiding anything under here.”

Home Tap (Groovy) “I’m glad I ended up on the Monsters team. Precise work like aiming beans at a target isn’t really my thing.”

Azul Ashengrotto - SSR

Unlock Card “Happy Beans Day... I will be the one to take home this win.”

“I’ve been very much looking forward to this day. I don’t believe you have anything to lose being my ally.”

Groovy “You’d like to team up with me? I don’t mind. I’m the sort of man who’s very kind to my connections.”

Home Setting “Stay tuned for the battle plan I’ve come up with.”

Home Transitions “It’s refreshing to see me in outfits like this, isn’t it?”

“Running, jumping, throwing... Athletics on land is all just a game in the end.”

“Next Happy Beans Day, I’m thinking of... Huh? You think it’s too early to start getting ready? What are you saying? It almost feels too late.”

Home Transition (Login Greeting) “You can control your power with your wits. I’ll show you what that means.”

Home Transition (Groovy) “I hope we end up on the same team for Happy Beans Day next year. Having you here... seems like it’d come quite in handy.”

Home Taps “The camouflage pattern on our jackets depicts the club the monster was said to have used.”

“The monster that stole the harp possessed exceptional magic power. They say he could instantly transform between a giant and a fly.”

“Some theories suggest that the peasants who killed the monster were in a group of three. Three-man squads do seem to be rather efficient after all.”

“Have you finished all your stretches? You need to warm up before going into battle—er rather, before playing sports.”

“You think I have something in my pockets? Heheh... Some things are better left unknown.”

Home Tap (Groovy) “They don’t have Happy Beans Day where you come from? ...But there’s an event that’s sort of similar? Oh, how interesting.”

Duo Magic Azul: Jack, let’s put our plan into action. Jack: I’ve told you to stop bossin’ me around, Azul!

#cater diamond #jade leech #jack howl #azul ashengrotto #voice lines #happy beans day #events

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florrickandassociates · 3 years

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TGF Thoughts: 5x03-- And the court had a clerk...

Hello again! It’s nice to have this show back. This episode was a bit less of a standout than the previous two, but I’m still happy with the overall direction for this season. More under the cut (or here, because tumblr sucks).

When Robert King tweeted the episode title, I asked him if all the titles this season were adding up to one long sentence/story, hoping he’d confirm it and give a little more information. He did! He said it’s “in the Farmer in the Dell mode” and while I think I get what he’s saying, I’m very curious to see how it plays out. Haven’t been able to track down 5x04′s title yet, but the promo is out. (As of this morning! It’s interesting they’re not putting them after the episode this year; I kind of like it.)

Kurt’s job is up in the air given the new administration. I think this scene exists mostly just to remind us where Kurt works and the stakes.

What month is this supposed to be in? The transition seems recent but no one is wearing masks.

Kurt spots a poster asking for help ID’ing people at the Capitol on January 6th. He thinks he recognizes someone...

And now we’re in case of the week land. This case is about a small business owner whose business went under after someone created fake news articles accusing him of pedophilia.

I think the whole point of this (kind of long) scene is to show that this case is a pretty small deal. Low stakes, inexperienced opposing lawyer. (Not even sure why Liz would be arguing this in court, but whatever.)

Tbh I thought this was going to wind up in 9 ¾ court.

Now that we have junior level characters, we get scenes showing that there are, in fact, people at RBL who are mid-level. Liz asks an associate to work on something, he asks another associate to work on it, she delegates to other associates, and they delegate to Marissa and Carmen. This work seems terrible.

It’s so funny to me how this is probably more realistic than most of the lawyering on the show and yet it only shows up selectively. We only see the hierarchy here to make it clear that Marissa and Carmen are at the bottom.

David Lee interrupts and asks for Carmen. He’s very rude to her. Interestingly, she’s hesitant to leave her grunt work and follow David, even though she must know he outranks the associate who gave her the grunt work.

“Why am I supposed to know you?” David asks her as they walk through the halls. “I don’t know if you are,” Carmen responds. “Why does Benjamin Dafoe know you?” he asks. She doesn’t know who he is.

“Who are you?” Dafoe asks when Carmen enters. She states her name, again. “Why are you important?” he asks. “I don’t think that I am,” Carmen responds.

Then Dafoe says his top client, and it’s a name that the characters all know. I’m glad this scene is free of any “he’s the white OJ” expository lines (that’s from Sweeney’s introduction) -- it’s clear from the reactions and the discussion of police and rape that the top client is a bad guy, probably a rapist. The rapist wants Carmen to represent him.

Putting 2 and 2 together, Carmen asks if the rapist knows Rivi. He’s not, but he’s at the same prison. As soon as Carmen says she’s representing Rivi, David Lee switches gears, understanding the situation and trying to sign the new business. He’s so shameless!

Marissa sorts ALL the papers. There are a LOT of papers. I’m swamped. Look at all this paper.

She catches the associate who assigned her the task leaving for the night just as she finishes up, and cheerfully notes she’s finished the task. Then the associate mentions this was only half of the bills. Marissa does not like that. Since her goal in wanting to be a lawyer is mostly just to give her something exciting to do and earn respect... this hierarchy thing is not going so well.

Marissa decides that after her rough day, she’s going to stop by Wackner’s court. He’s in the middle of a case about Emily in Paris fanfiction and he’s very happy to see Marissa.

Wackner’s night court has a program—it notes the sponsor is Copy Co-op (I thought it was Copy Coop?) and the paper products were also provided by them. And “there will be regular intermissions at the discretion of Judge Wackner.” It’s very theatrical.

Wackner takes a recess and calls Marissa to his “chambers.” He asks for her thoughts on the case. “All they want is attention and to feel like they’ve won,” Marissa notes. Wackner’s on the same wave length and compares it to the Scarecrow’s diploma at the end of The Wizard of Oz. So, he makes copyright certificates and some minor modifications to each of the fanfic books. They say “I respect you and I love you” and that’s that.

Wackner catches Marissa before she leaves and asks her to be his law clerk—part time or full time, 10% of all the legal filings and unlimited use of copy machines. She is hesitant because she “doesn’t even know what this is.”

Wackner says his court is “the future.” Marissa turns him down; notes she wants to pass the bar. “You know why all these people are here? ‘Cause the courts and the lawyers and the appeals have made justice... unattainable. Out of reach. To anyone who doesn’t have a shitload of money to wait it out. That’s why Exxon beats out Mr. Nobody. Read Kafka’s Before the Law.”

I just read it, and you should too! It literally is a page, but tl;dr, there’s a man who wants to get to the law and instead he spends his whole life trying to win over the first of many gatekeepers on the path to the law. He never gets through the gate.

“Justice is only just if it’s available to everyone,” Wackner says. Marissa thinks about that.

As I said last week, it’s smart that Wackner makes so much sense. Hearing him say all this, knowing that it’s true... it makes it very easy to get on board with the thought experiment. Of course there would be huge repercussions to this kind of system, but it makes so much sense it’s compelling TV!

Kurt’s showering when Diane gets home, which gives her time to stumble across the WANTED poster and notice that Kurt has drawn facial hair onto one of the pictures. “Who is this?” she asks him. “No one,” he says. “Well, you drew in a beard and a moustache on him,” Diane notes. Kurt says he was doodling, but Diane calls him out as he is the “exact opposite of a doodler.” Kurt says he thought it was someone he knew, but he’s not sure. Diane pushes him to tell the feds. Kurt reiterates he’s not sure, but it’s someone he went shooting with. “Oh my God, then it’s him,” Diane jumps to (not incorrect) conclusions. Kurt says he didn’t talk that way; he’s a veteran. “Kurt! That’s the profile!” Diane argues. Kurt isn’t convinced and he doesn’t want to be responsible for naming names. He notes he’ll be threatened with indictment for not naming names and then only lawyers will end up benefitting. Diane is not convinced.

I think this is an interesting conflict for Kurt and Diane. I understand why Kurt is hesitant to speak out before he’s sure. And I understand and agree with Diane that it’s important to identify the attackers and prevent anything like that from happening again.

I don’t mean to blame Kurt, exactly, but I feel like all of what happens next could’ve played out differently if Kurt had been just a little clearer with Diane about why he was hesitant to ID the man. Like, the threat of indictment for not naming names sounds like some typical anti-government rambling. Saying you specifically are afraid that this will turn back on you and you need to weigh your options and come up with a plan first would put Diane in a very different mode, in which they’d work together to craft the best strategy. Because this man would’ve been ID’d by someone, sooner or later, and Kurt would’ve needed to be prepared.

Diane stares at the wanted poster at work and asks Jay to find his identity. He’s on the FBI TEN MOST WANTED? Ten!? Ok!

Diane shares the extra information she has—the gun range and that he’s a veteran—and Jay gets to work.

Turns out there’s no money in the case that Liz, a name partner, is working on and Marissa just spent all those hours sorting bills for. I could’ve told you there was no money in that case lol.

Jay IDs the guy very fast. He’s faster than the feds because they didn’t know where he shot. The range had his license on file, and Jay got ahold of it.

“Well, we don’t pay you enough,” Diane says. “Oh, I know that,” Jay laughs.

Diane says she’s going to think about calling the feds—it's definitely the same guy.

Marissa notes someone high profile (David Cord, who I presume is a thinly veiled stand-in for David Koch given the name, his role in the plot, and the fact that he is “David Cord of the Cord Brothers”) in the lobby giving a fake name and goes to tell Liz.

David Cord is performing magic tricks for the receptionists (they don’t recognize him) when Liz and Marissa show up. “I knew your father. I hated your father,” Cord says. “Yes, well, he hated you too,” Liz says. He says he gave a fake name to see what the reception would be like since he’s kinda infamous.

Liz introduces Marissa as one of the law clinic lawyers. Marissa knows what to say in this situation. Specifically, she knows that it is the exact right moment to name drop her father.

“Democrats as far as the eye can see,” Cord notes. At that, Liz asks Marissa to get Julius involved.

More good expository work! (No, editor feature of Word, I do NOT want that to say “Better expository work,” that would change my meaning, go away and please stop grading my recap??? I don’t know how I brought this up but it’s telling me my score is 72%, so a C, and it’s driving me crazy. Oh, now I’m a 71%. It had me at like, 50%, because I had written “Wackner” and “Wackner” is not a word. No shit.)

Anyway, back to the exposition. I like that we don’t get a line like, “Liz! David Cord, the Republican super donor, is here!” We just get to see Liz’s reaction, Cord’s hate of Liz’s father, and the line about democrats. Then it becomes clearer who Cord is.

Just noticed Liz is wearing an Apple Watch.

Liz stands for her meeting with Cord, likely to maintain power. Cord says January 6th changed everything to him and now he’s all about unity and loving America.

Cord has something to say about Liz’s case, the one that’s not making any money, and he seems to know quite a lot about it. That spooks Liz.

Then Cord offers her $12 million to continue the case for another six months (all of these months, seemingly, will play out in the couple of days the rest of this episode takes, but, whatever). He just wants them to go after the social media company that distributed the fake news... and Section 230.

Don’t know what that is? Now you do, because there is a Good Fight short! These work so much better when they’re actually needed (explaining concepts, etc.) than when they’re trying to force one into every episode (remember that Downton Abbey one? What... was that?)

I was talking to @mimeparadox about this short and he pointed out that this short has a VERY clear POV on an issue that actually doesn’t seem to be all that straightforward. If you’re like me and only had a vague sense of what Section 230 was prior to this episode, this short is telling you what to think of it—it isn’t just explaining what it is.

I do tend to agree with the show’s POV on most things, but this is an issue I’d like to read more on. I love how Section 230 was something I hadn’t really read up on prior to this episode and now that it’s been on TGF I realize it’s something that actually, yes, I would’ve been interested in knowing about earlier. Is this because things that are on TGF are interesting to me because they’re on TGF or is it because TGF generally only discusses things that would be interesting to me? Probs a little bit of both.

Diane asks Jay how to make an anonymous phone call and he hands her a burner phone. She calls the FBI with the rioter’s name. She doesn’t leave her name and then she dumps the phone.

Credits! Did you catch there’s a Jordan Boatman in the credits? She plays one of the associates who passes down the grunt work to Marissa, and she’s Michael Boatman’s daughter in real life! She’s also been in one other episode, in season 3.

I never get tired of these credits!

The RL partners (and some associates who are on the case? I think these are the same ones who delegated the work to Marissa?) debate whether or not they should take Cord’s money. Madeline notes that he’s funded a lot of Republican campaigns; Julius notes that both Republicans and Democrats agree that Section 230 is flawed and this is an opportunity for unity.

Diane notes that the right doesn’t want to stop conspiracy theories from spreading, so is this really that bipartisan? “It would help if the boomers would stop falling for those conspiracy theories and sharing it with their friends,” an associate (I believe this is Michael Boatman’s daughter again) notes. That quiets the room and the partners all glare at her. Yeah, that was a kind of stupid thing to say. First of all, it’s just not appropriate to say to the partners, and it’s also, like, missing the point? If it’s easy for conspiracy theories to spread among boomers, maybe just expecting each member of that generation to suddenly have a millennial’s understanding of the internet is the wrong strategy? Maybe there’s some structural issue here? That maybe, just maybe, this case is actually about?

The associate also points out that the internet is currently a place where people can speak out about sexual harassment-- “they repeal section 230, and there would be no #MeToo.”

One of the partners says he doesn’t believe that—if they regulate section 230, then newspapers can actually be competitive and there’s still free speech online.

“We’re not going back to reading newspapers, grandpa,” some associate says. What the actual fuck, dude? Who talks like that to their boss?! It’s so condescending. He’s also wrong! “Newspapers” are not just physical things... reporting by major publications still matters and will continue to matter. Like, is he suggesting that in the future all news will just be random people tweeting things they think are true with no fact checking or curation? Sure, journalism is struggling right now—but I don’t think that’s because there’s a lack of desire for well-reported news.

I am glad the partners call him out on saying “grandpa” and honestly I’m shocked he isn’t asked to leave the discussion after that rude remark. Unless this young looking dude is a partner too? But I don’t think he is.

Julius notes that if they’re going to pursue this case, they need money like Cord’s. At that, Liz starts to leave the meeting. “We haven’t decided if we’re taking this Cord money yet,” Madeline protests. “Of course we are,” Liz says and leaves.

Now that’s more like it! I’m not sure if this is necessarily the best way to handle this, but she’s a) correct, they were always going to take the money because it is $12 million and an issue of interest and b) using her authority. Should Liz be making decisions totally on her own? Maybe not. Does Liz making this decision and then leaving (with everyone accepting that she’s correct) cut through a lot of bullshit and establish Liz as the one in charge? Yup.

Diane says, “Ooh-kay” with a little bit of an eyeroll after Liz exits, but she’s still laying low. I think in a different season Diane might’ve tried to push back.

Is it me or does Baranski get a lot of material this episode we haven’t seen before? Lots of really good reaction shots/tones in this episode I don’t really think we’ve seen from Diane before. I’m impressed there’s still new stuff after 12 years.

At some point maybe I will actually write the essay I’ve been wanting to write for ages about how TGF is still so relevant despite being in a universe that should be showing its age by now. I wish I could find the first time that I called TGW a period piece set in the present day (I know it would’ve been during season five) because I think that’s the key to TGW/TGF’s enduring success. The shows always feel timely because they try to capture the present moment (which is, of course, always changing) and don’t get stuck in any one moment in time. Further, the fact that the writers are always so tuned in to events and skilled at quickly reacting to what happens in the world makes them VERY good in a pinch, which is (I think) why they’re able to make the most of unexpected situations (Josh leaving TGW, the pandemic).

Liz and Julius bring a suit against ChumHum to attack 230. Judge Friend is initially skeptical of their argument that 230 is unconstitutional; then she’s intrigued. I am too. This argument about the press is a very interesting one. I obviously have a lot of reading to do on 230, but my take after this episode is pretty much that social media platforms have to be held responsible in some way, but I don’t think it’s feasible or desirable for them to be responsible for every single one of billions of posts. I think there has to be some way to regulate social media giants that would allow everyday people to share things and speak out but would prevent the curated (even by an algorithm) spread of fake news and make social media giants accountable when there are very public bad actors using their platforms. What that regulation would be I have no idea. I just refuse to believe that our options are to give the social media sites full immunity or to regulate the internet so strongly that no one is able to speak freely because all the platforms are worried about lawsuits.

Over at the VA, people are being fired. When Kurt gets into his office, Madeline Starkey (wait, are there two characters named Madeline in this episode?) is waiting for him. She’s still very quirky and scary.

Starkey says the guy that Diane reported is now saying Kurt trained him on using assault rifles and buying ammunition in bulk. Kurt notes these were topics covered in a group setting, which Starkey knew—and what she’s really after is the names of the others in the group. (She may already know them, since she knows there were five of them.)

Kurt refuses to name names and just stares at her.

Case stuff happens! (I liked the last two episodes a lot but it’s much faster for me to just write, “case stuff happens” for some of the scenes.)

Hey, surprise Aaron Tveit! (Not really a surprise; he is in the credits. But still yay!)

I don’t really know why Liz and Julius are talking about newspapers specifically and not all types of fact-based journalism/press? I feel like their argument is most convincing when it’s about actual newspapers (especially local ones) but still would apply to cable news...

Marissa’s still hard at work sorting papers when the associate comes back in and informs her she can stop; they’ve changed strategies and everything she’s done is now irrelevant. She also says “I forgot to tell you” at the start of that thought, meaning that she neglected to tell Marissa this important information earlier and wasted her time. Marissa is not pleased and so she goes to Wackner’s court, where Wackner now has a deli ticket machine and is wearing super-sized novelty sunglasses. Why not!

He sees Marissa and calls a five-minute recess. In “chambers,” Marissa tells him she’d like to work for him part-time but keep her RL job.

Wackner needs her help processing more copyright certificates. He’s priced them competitively at $20 and found that a lot of writers want these certificates, even though they have no legal value. (Neither do actual copyrights, Wackner notes. And he notes that if anyone plagiarizes, they can sue in HIS court.)

“Marissa, I’m building something here. I want you to join me. I want your advice on cases. I want to bounce legal theories off you,” he says. “What are your legal theories?” she asks. “I don’t know. That’s why I need to bounce them,” he says.

Marissa gives him from noon to 2 and 5-7, which seems awfully ambitious for someone working at a law firm!

“That’s how revolutions are made. Back rooms of copy shops,” he says, accepting her offer.

Kurt is sulking in the dark when Diane arrives home. He lets her know about Starkey’s visit and she immediately goes into lawyer mode. Notably, this scene does not spend much time on how Starkey found out the rioter’s name. Curious if they’re saving that for later or if Diane and Kurt both know what Diane must have done or if Kurt think’s it’s a coincidence.

Kurt SET UP A TOUR OF THE CAPITOL for one of the veterans in his shooting group, and that tour was ON JANUARY 6TH! I really do wish he’d told Diane that upfront.

Maybe the long pause where Kurt refuses to tell Diane which congressperson arranged the tour even after she promises she won’t say is him letting on that he knows that Diane ID’d the guy? Or maybe it’s just Kurt.

I do not like the dead birds in Starkey’s office, mostly because I do not like thinking about dead birds.

Starkey compares Diane and Kurt to the Conways.

And now more case stuff happens.

Julius gets to question a witness for the first time in two years! He’s a little shaky at first but then he does a fantastic job! Yay Julius!

When Diane arrives at the office, reception is filled with around a hundred teddy bears. “What?” she asks. “Build-a-Bears. They were sent to Marissa,” the receptionist explains. “Okay... why?” Diane asks the logical next question. The receptionist does not know.

“This one’s a Marissa bear,” she says, showing Diane a bear wearing boots and a wig. It does not look much like Marissa and it says “Hug me.”

Diane looks confused and furious at the same time. Her look here is, like, a milder version of the death stare she gives Alicia in Outside the Bubble when she learns about Alicia and Cary’s plan to leave.

“Why don’t we, meaning you, take all these stuffed animals and put them in the conference room,” Diane instructs the receptionist. She is NOT! HAPPY! The receptionist seemed to be having fun with the bears, but clearly the right answer was to have done something with them and... not to have put them over every surface in reception. Eeek.

Carmen’s new client, the rapist, arrives at the firm before anyone can hide the bears. “This may not be the firm for you,” his advisor/lawyer (I’m not totally sure what this dude’s job is) warns.

Madeline notices the rapist and glares at the receptionist. “I know. I’m putting them in the conference room,” the receptionist says, thinking Madeline is upset about the bears. She is not upset about the bears.

Diane finds Marissa, who’s working with Carmen again. She asks Carmen to give them a moment.

“Why are there hundreds of teddy bears in our reception?” Diane asks. Marissa is confused. Diane shows her the Marissa bear. Marissa looks horrified and amused. “That doesn’t even look like me,” Marissa notes, completely missing how pissed off Diane is. I don’t think we have seen Diane be this direct/no-nonsense in ages.

“That would seem to be beside the point. What is going on, Marissa?” Diane demands. Marissa suspects this is based on some advice she offered to a client who was buying a Build-a-Bear franchise and thinks this is a thank you gift. “What client? You’re not a lawyer! Why do you have clients?” Diane says exasperatedly.

Marissa gives her a look, and Diane immediately understands that she’s been back to Wackner’s court. “Oh my God, this is about that Copy Coop court?”

“Marissa, no. By participating in that simulacrum of a courtroom, you exposed this firm to malpractice, sanctions, and God knows what,” Diane says. If that were really true, she wouldn’t have sat there and argued. I mean, I don’t know the legality of this all, but I feel like it’s a bigger optics issue than legal issue if Diane and other lawyers are willing to even consider participating?

“If you wish to continue your employment at this firm, you will never do anything like that again. Do you understand?” Diane says. She will not hear any arguments.

I love that Marissa is the thing that keeps Wackner coming back. It’s a good plot for her, but structurally, it also allows the show to keep Wackner around without many contrivances. Wackner sees that Marissa would understand what he’s up to, she sees that he shares some of her frustrations with the law, and they both want to work together again. It’s not like suddenly everyone’s talking about Wackner’s court and all the cases somehow end up there or anything.

The receptionist, who is having a truly terrible day, comes into announce that Kurt and Starkey have arrived. “Don’t put them in the conference room!” Diane commands, knowing that the teddy bears will be there. It’s too late, though, because the receptionist (who previously seemed to be fine at her job if bad at recognizing public figures and understanding that partners might not find teddy bears amusing) has already put them in the conference room. I feel bad for her, and don’t think the other things were her fault, but I feel like she could’ve seen this one coming...

I find the teddy bears HILARIOUS, mostly because the reactions to them are so funny. It’s kind of the same gag as the balloons for Lucca in season two, but I don’t really care, because I’m getting to see Diane Lockhart treat hundreds of Build-a-Bears like they are a real work problem.

Starkey jokes about the bears; Kurt is silent.

The rioter from the poster is now accusing Kurt of coming up with the STRATEGY for January 6th, which Kurt and Diane both dismiss as bullshit.

I could do without Starkey’s musical cues.

I can’t tell if Kurt is in trouble here or if she’s just pressing him to name names. Why wouldn’t she just have rioter guy name names if he’s so eager to blame Kurt? I guess maybe if the others were actually there, he might be less likely to name the names of his actual co-conspirators? Or, Starkey might already know the names (surely the shooting range has logs) and be using this to raise the stakes.

No one (except maybe the partner named Daniel) is happy about the rapist in reception. “Since when are we representing people like Wolfe-Coleman?” Julius asks. Didn’t these people help both Sweeney (though I think Sweeney was in some weird police brutality case and they didn’t actually want to represent him) and Bishop? And Rivi? But they draw the line here? Sure.

Ah, there we go, an expository line-- “he’s the next Jeffrey Epstein”. Almost made it the whole episode without one of these. I’ll forgive it since it’s so late in the episode lol.

“Did you approve this, Liz?!” Madeline demands. Liz did not. Daniel wonders if that means Diane approved it. Liz doesn’t think so and calls Diane (who happens to be walking past) in.

“I know, the teddy bears. I’m working on it,” Diane says when she opens the door. I think the teddy bears are a bigger issue to Diane than to anyone else.

Diane didn’t approve representing Mr. Rapey either. She’s uncomfortable that a meeting was happening without her; Madeline notes that she is standing there specifically because they wanted to involve her.

David Lee pops up out of nowhere with the answer: one of the new associates (not Marissa, “the real one”) pulled in Mr. Rapey. Are there only two associates now even though orientation was for a big group?

Firth is gone, btw. David Lee is the new Mr. Firth. I have no idea why David would want to be STR Laurie’s guy for managing RL but... sure, whatever? David Lee is an effective antagonist, especially in small doses, and this allows the writers to keep him around and continue the STR Laurie plot without a key guest star. If STR Laurie is still a thing, and it seems like it is going to be a thing for a while, then having David Lee take on this role makes sense for plot. Otherwise they’re going to have to shoehorn him in to every plot somehow. At least now he has a reason to be around.

Liz and Diane take a walk to chat. Diane is worried about having David as their boss. Liz says she has a worse worry—David Lee knew exactly when to come downstairs with information, suggesting he know what they were talking about. “Would he do something like that?” Liz asks when Diane wonders if there’s a bug. “Oh, yeah,” Diane replies. Hah, yeah. He absolutely would.

They decide to have Jay search for bugs and Liz is frustrated with how much time they have to spend on things other than lawyering. Yup.

“What is going on with all the teddy bears in the conference room?” Liz asks as they head back to the office. “It’s a long story,” Diane sighs. I also love that the teddy bears link the various pieces of the episode together—it feels like all of these threads are happening simultaneously because of that constant.

I don’t get RL’s approach to clients. Bishop and Rivi are ok, Wolfe-Colman is not (except that actually he is fine). Cord is okay too. Do they draw the line anywhere? I know Liz was right when she said that OF COURSE they were taking the money, but is there really nothing that differentiates that situation from this one? I feel like there should be.

Marissa goes back to see Wackner. Since someone refuses to say “I respect and I love you,” Wackner reverses his ruling. This is part of the “Bad Loser Law of last Wednesday,” so the rules of Wackner’s court are clearly a work in progress.

Marissa explains she can’t be the law clerk because of Diane. She tries to connect him with a real lawyer, still not understanding exactly what Wackner’s after. “You know just enough not to crush what I’m doing here,” Wackner explains. “A real lawyer will look for reasons why not. I need someone to look for reasons why.”

Case stuff happens. I cannot read Cord’s handwriting. Liz and Julius lose the case because Judge Friend says what’s happening isn’t fair, but it is constitutional. (So here we have, at least in the show’s POV, a good and attentive judge who can’t make decisions that make sense because she’s bound by a document written before anyone had ever dreamed of the internet.)

Cord is waiting for Liz in her office. He’s prepared to bankroll an appeal. Did they blow thorough that $12 million already? Impressive; it’s been like a day.

Cord says they are definitely the firm he wants. Interesting.

Now Liz wants a meeting with Carmen, so it’s Marissa who leaves the room. This scene seems like it was meant to be a different day?

Liz wants to talk about Mr. Rapey. Carmen is, yet again, chill about the case. “Carmen, is there anyone that you would not represent?” Liz asks. Funny, Liz, I could ask you the same. Being hesitant about it is not changing the fact that you’re representing bad people. Carmen’s just cutting the bullshit.

“I don’t understand. Is there someone you don’t want me to represent?” I love how Carmen’s incredibly polite responses always seem very pointed. There is absolutely nothing wrong with Carmen’s reply, and yet it puts Liz in a place where she can’t dance around what she’s trying to say.

“I’m just trying to get a sense of who you are,” Liz explains.

Then Liz decides she’s going to help on the Craig Wolfe-Colman (Mr. Rapey) case, and they will keep talking about her career path. Liz, this does not seem like the right solution! You're worried about your associate representing bad people so you’re like, I know, what if I ALSO represented bad people? If your goal is to convince Carmen not to take clients like this, you’re kinda shooting yourself in the foot!

“Are you worried about me?” Carmen says, again turning things on Liz. “I don’t know what I am about you,” Liz replies. Me either. Well, I know I'm intrigued, but beyond that, no clue!

All the bears have ended up in Diane’s office, where Wackner is waiting. He jokes about how his court is always seen as informal, yet this real fancy law office is covered in Build-a-Bears. Then he says he wants to hire RL—he's willing to pay. He wants consultation from Marissa (“consultation on legal issues”) and he’s prepared to spend a lot. And, if there’s one thing we know, it’s that they’re always going to take the money. So, they do.

I love that Wackner’s goal is to “perfect my little clubhouse of the law.” It’s a fun plot, and it also allows for the rules in his court to change (I’m sure we’re going to be treated to/subjected to a lot of whimsical gags around changing and ridiculous rules). It's also a good way to work through the thought experiment over the course of the season. It’s not like Wackner already has a system set up and it’s perfect—I'm sure we’re going to see his system run into issues and explore that more, too.

Wackner monologues a bit here about why he’s running fake court, and he lets us know he’s going to monologue. Basically he thinks people no longer want to help people and are only motivated by their own self interest. He notes that no one talks about the Peace Corps anymore and asks the last time Diane heard anyone say those words. I’m sure I’ve heard a reference more recently but my mind went RIGHT to season one Cary Agos saying “Peace Corps. Belize,” as some kind of smarmy pickup line. This is likely not where my mind was supposed to go.

Wackner wants “A new Peace Corps. For America.” Diane’s sympathetic to that and agrees to take him on as a client.

Wackner asks if he can take a bear. Diane instructs him to take two.

Aaaand Wackner and Cord end up on the elevator together. Wackner hands Cord a bear, the elevator doors close, and the episode ends. Since last episode ended with Marissa and Carmen in the elevator together, I’m hoping this will be how every episode this season ends. I think using the Kings’ favorite liminal space to transition between episodes is kind of fun, and it fits with the ellipses at the end of every episode title.

Speaking of... did you see today’s elevator-themed episode of Evil? It was written by the Kings. Those two have been obsessed with elevators for at least a decade.

#the good fight #tgfthoughts

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dreamersleeps · 3 years

Text

Red Wings of Temperance

A Possible Influence Behind the Color of Hawks’ Wings

A deck of tarot cards is made up of 78 cards, and the first twenty two are known as the Major Arcana. They were created in the 14th or 15th century but were not used for divination purposes until the 18th century. Tarot card readings are not meant to predict the future but to offer spiritual guidance.

The image above (from Oracloo) depicts the 14th Major Arcana card in the tarot deck which is known as: XIV Temperance.

Like me, I’m sure that your mind jumped to a certain pro hero as soon as you saw the figure’s red wings.

What might Temperance have to do with Hawks? Let’s first look at a couple definitions of the word first. According to Merriam-Webster:

Temperance

1. moderation in action, thought, or feeling

2. habitual moderation in the indulgence of the appetites or passions

If Temperance is drawn, it means:

Balance, patience, and moderation in life.

To think before we act. To look at both sides of an issue, to walk in another’s shoes or their path before we pass judgement. To be compassionate, considerate and fair in our dealings with others (bluestartarot).

That you have a clear, long-term vision of what you want to achieve. You are not rushing things along; instead, you are taking your time to ensuer that you do the best job you can. You know you need a moderate, guided appraoch to reach your goals (biddytarot).

Other Red-Winged Figures

Before we begin I’m going to point out that there are a couple other Red-Winged figures amongst the Major Arcana.

I’m not aware if nudity in art is allowed on Tumblr so just to be safe, I cut the bottom half of both these cards because they depict nude individuals.

The tarot card on the right is VI The Lovers and XX Judgement. Out of the two, I think you could perhaps make some connections with Judgement and Hawks but I think that Temperance works the best.

Symbols of the 14th Arcana

There are quite a few symbols on XIV Temperance, but I’m going to focus on a select few. Interpretations may differ based on the source but I tried to stick with those that were repeated throughout the different websites I read through.

The most important part of this card is the act of pouring water from one cup to another, signifying a balance of duality and a mixture of two separate objects. This is where the card gets its name, the process is called “tempering” which is a slow process to eventually find a perfect middle ground (wemystic).

Other dualities that is represented on this card can be: male/female, spiritual/physical, emotion/logic, conscious/subconscious and subconscious/superconscious (we mystic).

Temperance revolves around supreme balance. One foot is on land which represents the Earthly, material world and the other is in water, which represents the emotional, subconscious world.

The winding path leading to the mountains represents the journey through life with its twists and turns. The sun, appearing as a glowing light is a symbol of staying true to one’s life purpose and meaning (biddytarot).

Fire/Red wings: Physical passion, anger. Muscles and strength necessary to maintain composure and reach a higher being state.

Blue water: Emotions, peace, calm. Groundness and refreshment.

White gown: Pure thought.

Yellow Iris: Communication, thoughts, learning, feminine/masculine.

Temperance’s wings are either referred to as “fire wings” or “red wings.” If we want to make connections to we can argue that his Fierce Wings Quirk is the source of his physical strength, even though he displays some insecurity about his back not being “reassuring” enough for others to depend on.

Other than his red wings, I don’t think I’m confident enough to draw a clear connection between his appearance and the other prominent colors that appear on Temperance. Hawks’ visor was blue before the anime chose yellow, and he does have the yellow color palette going on.

However, the meanings of the colors do line up with Hawks’ character. He is a character who is always trying to be calm and collected no matter the situation. Hawks is a character who is constantly seeking, taking in, gathering, and analyzing information. According to the fandom website, Hawks’ surname translates as: “hawk” (taka 鷹) + “see, visible, idea” (mi 見 )

While his first name translates as: “disclose, open, say” (kei 啓) + “enlightenment, understanding” (go 悟).

Sun: Also appearing as the angel’s third eye, it represents the merging of personal aims with the universe’s plans for the individual.

So similar to many others, I like to see Endeavor as the sun to Hawks’ Icarus (side note: I also like to see Dabi as Apollo in the Icarus theme).

The bit about the eye is interesting as well: I believe that eyes play an important role in the story telling with Hawks, Endeavor and other characters. There are interesting similarities between the two characters and the Egyptian Gods Ra and Horus (@/bokunowtv also pointed out some interesting details as well).

Recently, it also seems like Hawks’ storyline will be intertwining with Endeavor’s. Hawks has expressed verbally in Chapter 299: “Starting with my origin, so to speak... Endeavor’s in trouble.” While they did team up professionally as heroes in the past, it seems that Hawks intentions this time will be personal. We have yet to see what he is planning to do and how things might pan out, however this path will probably lead him to Touya.

Triangle: Representative of the fire element and holy trinity.

Although Hawks does not wear a triangle or square on his chest like the angel, it is still interesting to note that he wears the Hero Public Safety Commission’s diamond symbol in about the same place. Again, there is the mention of fire again.

The Angel

Because Temperance has to do with balance and duality, the angel on the card is both masculine and feminine.

Whether they are just an unnamed angel or a Biblical angel depends on the source you are looking at. However when it comes to identifying them, while one states that it is the Archangel Gabriel, the sources I looked at overwhelmingly pointed towards the Archangel Michael.

This is very, very interesting considering that the Archangel Michael is the angel who is in all the paintings that people were comparing the cover of Volume 27 with, specifically the painting above: “The Fall of the Rebel Angels” by Luca Giordano.

My analysis first post on Tumblr had to do with pointing out similarities between the Archangel Michael and Hawks, and what that could mean. And my most recent post revisits the possible angel narrative which may be present in Hawks’ story, and how he is referred to as a “fallen angel.”

It’s exciting to see the Archangel Michael pop up again. Michael was also God’s angel of destruction and on XIV Temperance we see him tempering or blending his passionate anger with consicious thought to blend his fiery nature with his super-consciousness with calm (blustartarot).

Temperance Reversed

When Tarot cards are reversed, their definitions are flipped over.

When XIV Temperance meets XV The Devil we see imbalance, disharmony, indifference and lack of empathy. When we preactice excess in our lives without moderation and balance whether it be food, alcohol, drugs, and relationships, we lose ourselves in addiction and bondage (bluestartarot).

May call for a period of self-evaluation in which you can re-examine your life priorities. Self-healing: by creating more balance and moderation in your life (biddytarot).

We’ve seen Hawks indulge in something or trip up a couple of times. In Chapter 186, Hawks asks if he can have Endeavor’s leftover food and Endeavor calls him a glutton. Additionally, @/scarletrain1724 has done some analysis on how Hawks is a character who is often seen around or consuming food.

And in Chapter 265, Hawks takes Jin’s life. As Dabi states below, “sentiments” tripped him up. Hawks displays a lack of empathy here. He believes that he feels sorry for Jin and wants to help him, but Hawks is actually unable to understand him properly. I would also identify this action as one of Hawks’ narrative Icarus falls.

The Moral of Icarus’ Fall

This all ties in nicely as we see Hawks’ character following an Icarus narrative. There are a handful of “morals” that we the reader are supposed to gain from the Fall of Icarus but I’ll pull an excerpt from the part I’d like to focus on.

Before taking flight, Daedalus warned his son:

“Take care to fly halfway between the sun and the sea. If you fly too high, the sun’s heat will melt the wax that bids your wings. If you fly too low, the sea’s mist will dampen the feathers that give you life. Instead, aim for the middle course and avoid extremes.” (The Fall of Icarus - adapted from Metamorphoses by Ovid)

As we all know, Icarus does not heed his father’s warning, whether it be cause he purposely ignored him or forgot and flies up towards the sun. The sun’s heat melts the wax and loosens the feathers on his manmade wings, and he plummets in to the ocean below, drowning.

Avoid extremes, fly in the middle and seek temperance.

The card that comes before Temperance is XIII Death.

In death we go through transition, a rebirth, changes and with these we come to XIV Temperance for the need to take the time to pause and think. To integrate and blend what we have learned on our journey (bluestartarot).

So the question to ask is, has Hawks learned anything from his actions or will his story end with him drowning in the ocean?

To those who were able to make it through this post, thank you! I know that it was really long but I didn’t want to divide it into more than one part. I really appreciate your time and attention! :)

#visual #hawks #takami keigo #bnha analysis #mha analysis #mythological influences #religious influences #bnha #mha #bnha meta #mha meta #luna writes #my post

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jennibeultimate · 3 years

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"Look if Jason wouldn’t be from the US he wouldn’t even receive those PCS and that’s all I am saying and it’s the truth, not a myth." Aaaaand that's an immediate sign that nothing else you say is worth my time or energy to consider. I know Hanyu fans are hung up on "he has to be the best and we will consider nothing else even when he screws up", but the fact that you can be so blind as to believe this really doesn't say anything good, buddy.

Lol "buddy" get your ego down...yeah I am a Fanyu, what about it? "It doesn't say anything good" Lol 😂 What makes you superior as a Jason uber?

I think you anon got a full analysis on why Jason Brown is no Olympic medal contender, but you are hung up on my personal opinion that Yuzu is better in PCS than Jason and my sidekick that he wouldn't even be relevant without his federation. Don't you have anything else to say about the rest of the arguments? I guess not and this says more about your blindness than mine.

Let me explain my two points you got so mad about, that you decided to go off in my anon ask - again.

If you truly believe this sport isn't influenced by politics of the big federations like USA and Russia, I congratulate you on ignoring all issues that have been brought to light (Sochi scandal, Salt Lake City 2002 etc) Go to @skatingscores (Twitter) and you can clearly see the bias the judges have towards Russian and American skaters on the big stages and how judges back up their own skaters (US judges were already suspended over the years for judging too "nationalistic") No top level skater wins without backup of their federation, no not even Yuzu (even if you will also see Fanyus claim the opposite). Japan may not be the US, but it is relevant in this sport. And if you look at what content Jason has and what other top level skater deliver there arouses the question what makes him deserving of highest GOEs and PCS when no one else without quads gets them? Don't say he is so much better and deserves all of that, he has an edge problem that is never marked and still keeps getting high GOEs while other skaters of no name countries don't get the pass. The ppl getting a pass are from the political powerhouses in this sport. Why doesn't get someone like Deniss Vasilijews higher PCS for his interesting programs and fine jumps? Because he is from a no name country(not to say he is the same level as Jason just for showing how passports and federations matter) Why doesn't Yan Han get higher PCS when experts say his skating skills match Patrick Chan's? Because wrong passport. (I am ofc talking if the skaters deliver solid programs) (Yeah quads aren't everything and quads should not come massively into play when judging PCS, but I think for complexity of a program it should be relevant if you do quads or not as it needs more time for quads than triples and also if doing only triples leads Jason to good PCS, I don't see how the same can't be applied to other skaters with only triples?) It isn't Jason's fault which country he is representing, but don't dare to believe his passport has no value. Do you really think Jason would be where he is right now when he wouldn't be from the US? Do you think the same Jason representing Latvia like Deniss would get the same points he has now? I don't.

"he (Yuzuru) has to be the best and we will consider nothing else even if he screws up" - where did I say that? First Yuzu's or anyone's PCS should have nothing to do with Yuzu or anyone screwing up or not - it shouldn't affect PCS this severely and the PCS cap rule is one of the dumbest sh*t ever - if all it should influence only in the performance part. Why I think Yuzu is better? Technically Yuzu still has the WR in PCS which makes him the best in the judges eyes like it or not. He is the only skater to reach 98/100 PCS and 49/50 PCS. But even if I think ISU is corrupt as hell all I did was disagree with you. You think Jason is the best, I think Yuzu, Shoma, Kevin are all at least on same or better level performance and interpretation wise and also have good intricate programs (CO) deserving of superb 9s, also other lower level skaters would deserve 9s in PE and IN just that the judges don't use the components as they could to differ much more in each categories, which judges don't do. If we talk about transitions (TR) no one can deny that Yuzu has one of the most complex programs and with quads btw. I think more skaters could do better transitions and have more complex programs if they only skate with triples. I would like to see all skaters skate with triples to really make a call on who is better. Considering quads and the complexity of the program Yuzu should win this department against Jason. Let's look at skating skills (admittedly not my best knowing field) but let us look at the rules:

I don't say Jason doesn't fullfill any of those things, so I just mention two things I think he covers up well but isn't as precise as some others 1. rhythmic knee actions no one is better than the Japanese skaters (all 3 Shoma, Yuzu, Yuma) - their natural knee bend is a trademark without compare - 2. speed - he is comparably slow. Yuzu, also Shoma accelerate speed without effort (yeah I know Shoma and his damn many crossovers, but it doesn't reduce the fact he doesn't need them for speed.) So for me Jason imo isn't even the best in this department also I mentioned Yan Han, he is better too. Look Jason is a superb skater, I generally like his programs and imo he is among the best skaters PCS wise, but not the best. (And btw PCS are judged like categories nowadays. The difference between the top skaters is so marginal it doesn't make much differences in the end with placements. You cannot win on PCS alone, but on TES)

So that's my many reasons why I think Jason is not the best PCS skater. And I also said I didn't mention other skaters only Yuzu, but now I did, so it's not about me only seeing Yuzu 😉

Also just for the record I may have started the argument about Jason not being a medal contender here, but you were the one to chose to go off in my anon ask and I answered. Also you still didn't share your analysis, but hide behind anon ask, so what do you want from me? Come talk to me and discuss openly?

____

FYI: I don't have anything against Jason, I wish him well. My intention with my analysis and post before wasn't to make Jason look bad in any way, just to put the predictions I have seen in perspective. I would be super happy for him if he would consistently land a quad. I love Jason's lines and his spins are one of the best, I admire his flexibility and also admire that he has programs true to himself. I may not be the biggest Jason stan, but I like him as a skater and especially what I see from him as a person.

To everyone you can ask me anything and I will answer with my opinion and my knowledge on this sport, if you don't like it, that's your problem. 🤷‍♀️

Again a long post - sorry not sorry.

#replies #anon #jason brown #figure skating

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stealingpotatoes · 4 years

Text

The World As It Should(’ve) Be(en)

(feat. some illustrations with no consistent style that were all done in under ten minutes)

I know I’m not the only one who thought Delilah’s “The World As It Should Be” could have been a lot cooler.., so get this: what if there was another mission to dh2

(trust me it's a cool idea -- if you can’t be bothered to read, just look at the pictures)

So EVERYTHING is the same up until the bit where you go into the portal. You roll up to Death To The Empress thinking that's the last mission... but no! You go in the portal and it gives you your end of mission stats! and you're like ?? wait what i thought i was about to go kill Delilah?

The ACTUAL final mission (and actual Delilah take-out mission) takes place in a Much Better version of The World As It Should Be.

The final mission starts and you land exactly at the port where you start Death To The Empress, but everything is different about Dunwall. everything’s completely off and wack; it's sunny, the streets are bright, everyone looks happy! there are flowers everywhere! It's super aesthetic and pretty. The clothing’s also different from the rest of the game.

You walk through the same streets you walked through in the mission you just did, and there aren't wolfhounds and ppl patrolling the streets, it's not in ruin, it all looks very nice! (you land at the docks for parallels/ to make it very obvious what's changed, not because it makes sense). People are talking; they're happy! there are no guards about at all so you can walk freely and see it all, explore around this world. And the people are talking about how great empress delilah is, mainly.

And as you go through, you find notes, books, and dialogue etc that hints to an entirely different past; in the first parts of dunwall, you find that delilah has been empress for like 26 years! not just a month and a half. The story pieces together as you go along, and you work out that this is a world where Delilah was never thrown out and her father's false promises were fulfilled. This is her world as it should be.

But things keep happening to remind you that it isn't real; perhaps the sky sometimes turns to the Void, with whales floating above you, and things will somtimes momentarily look like a painting of Delilah's, not detailed reality. People’s speech repeats and loops too often. Creepiest of all, people randomly turn to stone, then back out, as if it never happened. If you put the corrupted rune in earlier, there might be more glitches than if you didn't. the glitches get more pronounced/ more obvious as you get closer and everything starts to feel a little too perfect, more and more as you go on. Everything becomes more uncomfortable. (And if you kill people in the world, nobody reacts at all. They just let you do it)

Plus, overall it feels like a very childish city? as if this might all be a little girl's dollhouse, not a real place.

You make your way to the Tower, where you find that there’s a party going on. A really nice party -- puts Lady Boyle’s Last Party to shame. Dunwall Tower again looks super nice and aesthetic. The outfits are again really nice but again rather childish.

A cool glitch here would be the partygoers keep stopping and just looking dead at you w no transition or anything. One second they’re talking, the next everyone at the party is staring straight at you. Then suddenly they’re talking again, as if that never happened. Also a lot of the partygoers faces repeat too often, reminding you that this is a simulation.

In the tower/ closer to the tower, you find more history stuff, but it's more intimate/ detailed i guess? ONE VERY NOTABLE THING YOU FIND is letters from Jessamine (!!!) who is very much alive but is just -- and has always been -- the imperial princess!!!!!!!

The letters mention stuff that shows she and delilah are close. jessamine is in this and not suffering bc it's delilah's childish, perfect world! where nothing went wrong and jess is still her sister and del doesn't hate jess! (this is to kind of push it in your face that Del is Like You i guess, but also that smthn smthn she's still thinking like a little girl bc this all stems off childhood trauma etc)

Tho as people, not the player character, Emily & Corvo are ignored in the world as it should be/ there's no mention of jessamine's family bc this is delilah's world and she's not thinking abt other people.

At the party, you see a woman who you discover is Delilah's mother, alive and well -- which again pushes the whole "this is delilah's perfect world". She talks to you a bit, talks about delilah. Makes you see a different side of her (but you can't be sure it's real; this is Delilah’s perfect, adoring world). She says she ought to go somewhere else. Things keep glitching, whales phase through the walls (it’s super cool).

You continue through the party, when suddenly you see a woman in a dark dress. She stands out from the rest of the party, in their bright colours, and it’s pretty hard to miss her. This woman is none other than Lady Jessamine Kaldwin, your dead mother or secret wife (whose, bear in mind, soul you let go 2 missions ago). Her outfit is similar to the one in Delilah’s childhood painting of her, childishness of Delilah’s world repeated.

The fact Jessamine is here makes Delilah almost more relatable (especially seeing as you just spoke to her lost loved one, her mother). It makes you understand her more because you know the protag wants more than anything to have a world where Jess lives. It helps you to understand why Delilah made this more. Actually, this whole mission is sort of "uhuhuh delilah is actually sympathetic" BUT you can still very much interpret it as her lying to you, because this is a manipulation of reality -- what's to say she isn't still lying?

Anyway, you can go up and talk to Jessamine (the game sort of encourages you to talk to her). But she doesn’t recognise you. Emily and Corvo don’t exist in Delilah’s false world, so Jessamine has never known you. It’s very painful for the protag (you can hear it in their dialogue), because their loved one is alive, but she doesn’t know you. You have dialogue options to try to convince her it’s you/ she knows you, but they don’t work.

While Jessamine doesn’t recognise you, she does say she’d certainly like to spend more time with you. She tries to convince you to stay here, more or less (yes, Inception is one of my favourite movies, what about it?) But the protag says they have a mission/ that they need to see Delilah.

Jessamine will offer to take you to Delilah, which results in a conversation -- will get to that later. The other option is keep winding through the party and to the throne room yourself.

Either way, you get to the throne room, where you find Delilah. Again direct parallel. Same pose as before, but this time, her throne room isn't dark and covered in murderous vines, it's bright and full of adoring people/ partygoers (it’s a sort of parallel to the start of the game too, especially if you walk in with Jessamine).

Delilah doesn’t quite know you’re here. She has a vague idea of who you are, but she doesn’t hate you at all. Breanna is by Delilah’s side, no matter what you did in the Conservatory. However, you don’t see any of the other Coup Crew members there -- this highlights how they were just tools to her, not people she cared for.

So you have three (yes, three — this is where things get even more fun) options here. Lethal, non-lethal, and the option I’ll get to later.

Lethal is straightforward. You kill Delilah however (nobody stops you), and the entire world begins to collapse in on itself/ break apart and very disruptively becomes the Void again. This maybe ends with you having to fight/ assassinate some Delilah copies in the near empty void/ something more similar to the World As It Should Be as we see in game.

Non-lethal is easier if you placed the corrupted rune on the throne in DTTE, but you can still do it otherwise. It would of course be something to do with trapping Delilah in the World -- somehow cutting off the exit before you go so she can’t escape, should she realise this isn’t reality.

If you pick either of these ways, you go through the portal again and return to the depressing and dark Dunwall, your Dunwall, and free your family member. (Or take the throne if you’re in super high chaos, I guess). All goes the same.

Now, the third option. The third option is to stay in the false world. It’s to stay with Jessamine, in this perfect Dunwall. To get this option, you talk to Delilah after Jess takes you to her (though you can still talk to her without Jess guiding you, Jess’ll appear).

Of course, you have the option to talk to Delilah and say this is all crazy, it’s not real, and proceed to do the former two options. But you also have the option to say you understand her or something, and she more or less offers for you to stay.

When you first express interest in staying, the Outsider suddenly appears. He’s there to try to convince you that you need to get rid of Delilah, and that your other family member is frozen in stone back in the real Dunwall. But then what Delilah does, absolute madlad, is make a copy of your family member, but how they looked in DH1, not now (idk HOW, but she does it -- she is god in this part of the Void so she just can). Delilah wants you to stay, especially if you’re Marked. Jessamine also tries to convince you to remain here, and she’s harder to ignore.

You again have the option to reject Delilah’s reality (you get a lot of options to do this), but if you choose to ignore the Outsider, you say something about him “wanting to keep power for himself”, just a lot of insulting really (being about as nice as he was to you, maybe.)e’ll disappear again, unable to stay in Delilah’s part of the Void. And you can stay with your unbroken family, with Jessamine who is alive. And not return to the real world, where you don’t know if your family member will be able to be revived from stone.

(Seeing as Delilah was in Jess’ heart, perhaps she’s able to make a Jess who is almost the same as the Jess you knew)

The third ending plays on the themes of “emily/ corvo has been ignoring the suffering in the Empire”. This is the ultimate way you can ignore it all. You can choose to completely and utterly ignore the now in ruin empire that you walked through earlier, and ignore all the people you promised to help along the way and everything you learnt. Or, you can show you’ve changed since the start, and go back to harsh reality. It won’t be nice, but you can’t ignore your people’s suffering again. Imo it gives the character more of an arc, rather than only having the option to return to the throne.

But yeah, if you pick the third ending, the Outsider of course does his speech. He tells you how the Empire has falled to chaos, fallen to civil war, as everyone vys for the throne and its power. He tells you how your allies fare. And then you see Empress Delilah on her throne in the false world (you see a few glitches to remind you it’s fake). But then you see the protagonist and their family together. It’s a really cute family moment, and aside from the protagonist being the wrong age compared to their family (you’ve got adult Em with dh1 Corvojess, or dh2 Corvo with Jess and 10yo Emily). There are no glitches bc the protag would be ignoring them. Everything seems entirely perfect.

Anyways! I hope you liked this! Don’t get me wrong, I love Dishonored 2, it’s one of my favourite games. I just think the World As It Should Be was a sort of missed oppurtunity for something VERY cool.

#dishonored 2 #dishonored #delilah copperspoon #emily kaldwin #corvo attano #Jessamine kaldwin

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spockandawe · 3 years

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What are your favorite chinese webnovels? What are some of the differences youve noticed between cnovels and other types of novels?

That second question is really, REALLY interesting, and I really want to answer it well, and I am REALLY sure I’m going to do a bad job of answering it, so let me just noodle about that first question for a minute while I try to think XD

I went through some of my TOP-top favorite novels in more detail yesterday, but generally speaking, mxtx and meatbun are both at the top of the pack. They’re really good at writing compelling main characters and balancing piles of angst with plenty of humor and pulling everything together into a very satisfying ending (which is something I don’t alwaysssss see, even in some of the novels I really like). After them, The Disabled Tyrant’s Pet Palm Fish (transmigration, ancient chinese prince falls in love with pet fish) and Golden Stage (ancient chinese gay arranged marriage between bitter enemies(?)) are two novels that I love a lot, which both have very cute romances and go a bit lighter on the main character suffering front, and which I broadly recommend to anyone who’s interested in the genre. They didn’t end stick the landing QUITE as hard as an svsss or tgcf, but they still were very nice.

Then, let me see. I’m trying to remember which books I’ve read in the last year, and am doing a terrible job, haha. I will say that a book I enjoyed for like... eighty percent of it and then the ending let me down terribly was The Dreamer In The Spring Boudoir (modern day career woman transmigrates into barely-fantasy ancient china novel as the disliked primary wife of a nobleman), which is also the only straight webnovel I’ve read so far. The main character and romance were delightful, but that ending... haha, wow, I felt betrayed. But I did like the first half very much!! I’m idly contemplating a deliberately-partial reread. Then I’m currently like two chapters away from catching up with the current translation of The Wife Is First (ancient chinese prince lives out time travel fixit fic, determined to treat his spouse better this time around). I’m also catching up on Heroic Death System (transmigration, across MANY universes, where the goal is to die heroically in each one, and also maybeeeee to find his boyfriend in each one. this shit gets fucking bananas. in one of them, he emotionally seduces his boyfriend while he’s a dolphin. in another one, he’s a sentient mushroom. i’m in the middle of a section titled ‘I Am An Evil Pen’. yes, like a writing utensil type of pen. this is the weirdest book I’ve read so far). Oh, and Thousand Autumns (righteous sect leader gets sabotaged and loses a fight, wakes up blind and amnesiac, demonic sect leader is like ‘lol i bet i can turn him evil’ and accidentally catches feelings along the way).

What else... I’m keeping up with (but behind on) some others. First, there’s How To Survive As A Villain (modern terminally ill CEO transmigrates into stallion novel, wakes up as villain, accidentally seduces hero). Then, we’ve got Transmigrating Into The Body Of The Heartthrob’s Cannon Fodder Childhood Friend (only modern webnovel I’ve read, young man transmigrates into beginning of gratuitous whump book, back in high school, and is determined to protect the protagonist from all the canonical suffering). Then there’s Pulling Together A Villain Reformation Strategy (guy transmigrates into story as the hero’s childhood friend who will eventually become his enemy and get killed, successfully acts out his part and dies, completely fails to realize he’s broken his friend’s heart in the process... and then wakes up in another character’s body). And then there’s The Villain’s White Lotus Halo (a transmigrator keeps bouncing from universe to universe as a cannon fodder villain, who gets like half a line before being killed. he tries to purchase an upgrade package so he can be a COOL villain instead, but accidentally gets sold a ‘white lotus halo’ package instead, so that no matter what he does, everyone is just DEEPLY moved by his appearance and is positive he did nothing wrong). All of those are EXTREMELY delightful. You may notice a running transmigration theme, which....... yeah, I think there are a TON of delightful stories in the webnovel scene that deal with this genre, which seem so rare in English language media.

Which makes a good transition point to what’s different about the cnovel scene! I’ve seen hardly any transmigration stories in English, and I’ve got a couple go-to examples for when I’m trying to explain it, but like. Only a couple. Which is such a shame! Like, there’s the default idea of ‘I was reading this book and then I woke up inside the book!!’ but it’s clearly such an established genre that people are playing with it in all kinds of interesting ways, like in The Villain’s White Lotus Halo or Heroic Death System setups. It’s kind of wild to me, because it seems like such a gimme for a nice easy story structure? Whatever kind of world you want to present, there’s no need to introduce it to the reader from the ground up, or find a good way to hook them in. Either the main character read the book in question and can explain the premise and why we should care in pov, or the main character is new to the universe too, and trying to find their own footing. I enjoy it a lot! I’ve sampled transmigration books that didn’t grab me, but I’ve sampled way more that did.

And then, the one semi-technical answer I thought of to this question was the way that these novels tend to handle pov. It’s not a hard-and-fast rule that regular novels are restricted to one pov, or that pov can only change at hard breaks in the story, but if I saw a bog-standard american novel glide from pov to pov the way these novels regularly do, I would tend to wonder if it was sloppiness or a mistake, or I would grump to myself about how I don’t like omniscient third person pov. And I still don’t know exactly what I think about this, or why it’s different in here, but I’m pretty sure I like it a lot, especially for stories where the romance tends to play a large part :V

I used to read a lot of Books About Writing, and read plenty of stuff about why you don’t DO this, but.... I like it! In dtppf, Jing-wang can’t talk, and when Li Yu is a fish, he can’t talk, and drifting from one of their perspectives to the other gives me lots of useful information about how they’re both feeling. Could that be conveyed through restricted pov? Maybe! But I’m typesetting the svsss extras right now, and I’m in the bing-ge vs bing-mei section, and we get a few brief flashes of bing-ge’s thoughts, and it’s so NICE. It’s information I would not have otherwise received, because Shen Qingqiu sure wasn’t going to notice it. But early in the story, that pov was withheld from me, which also made sense (or hua cheng’s pov was withheld from me FOREVER, which makes me so sad ;u;). There don’t seem to be any hard and fast rules, which makes me really nervous about writing fic and trying to match the style, but I do like it a lot!

And I’m definitely not able to articulate this in the way that I would like to, or speak with any real authority (I’m not that widely read in the cnovel scene, and i’m not very genre-adventurous in english), but there’s something about the role that the romances play in these stories that’s different from what I’m used to expecting, and it’s VERY tasty to me. I only rarely read romance novels, because I’m not often interested in the romance as a primary plot driver, but the romances in these books play a more substantial role than I’m used to expecting. And I’m into it! It’s a balance closer to what I’d expect from, like, a shippy longform fanfic. Which covers a lot of ground and is NOT a precise measure, but there’s more emotional weight given to the romance than I would expect, but without the romance carrying ALL of the emotional weight, and it strikes a perfect balance for me in a way I’m not used to encountering. Now, some of this could definitely be due to me not finding the right authors, or right subgenres, or whatever. But in the genres I inhabit, it’s a subtle difference, but one I find compelling.

Oh, one last thing. The cultural differences, duh :P I’m only familiar with things like, say, ancient chinese court etiquette through a lens of fan-translated novels like these, and I didn’t grow up steeped in the culture in a way I’m used to the trappings of something like medieval european courts. But there’s a distinct flavor to the social dynamics of these novels, from the formal levels down to the casual, and I know it’s super intricate and detailed and that authors play with differing degrees of historical accuracy vs fictional fun, and I wish I was better equipped to speak to the nature of any of this. But I find it really compelling! I recognize that it’s only new to ME because I didn’t seek out chinese media before now. And, the point that I originally wanted to get to before I got super distracted: the flirting. The flirting and teasing are a very different flavor from what I would expect in most english language media, and I love it, even if I can’t speak to how much of that is purely cultural, and how much of it is like... the conventions of How Fiction Is Written varying by culture, if that makes sense. I adore seeing what flirting and affection and indulgence and attentiveness look like in different settings, and these books, with their heavy romantic focus, absolutely deliver.

#spock replies #long post/#i've read more novels than i thought :p #i thought it wasn't many #but then more kept occurring to me #i've only read a few that i don't recommend period but i've read a lot of good ones #Anonymous

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jazy3 · 4 years

Text

Thoughts on Grey’s Anatomy: 17X1 & 17X2

MAJOR SPOILERS!!!

My mind is blown! I am shook! Never in a million years did I ever expect that we would see McDreamy again! Or that Meredith and Derek would be reunited like this. Oh my god. I literally can’t even. I think this might be the best season opener Grey’s Anatomy has ever done. Hands down. They came to play and they did not mess around. I thought something was off when they showed the opening sequence with Meredith on the beach because the pier walkway was way too long, but I never expected the surprise to be what it was.

The implication at the end of the episode is that Meredith has contracted COVID-19, is currently unresponsive, and will be battling this for the foreseeable future. I’m interested to see if that is in fact the case or if it’s something else. I did not believe that she was going to be the character that got it so I am super shocked and surprised. As some eagle eyed fans noticed over the summer the IMDB page for Grey’s Anatomy was updated recently with the appearance dates of many of the original cast members being updated to 2020.

I have to admit when I first saw that I didn’t think much of it because Season 16 overlapped between the years 2019 and 2020 and since they mentioned and used archival footage of past characters during seasons 15 and 16 my initial thought was that the actor’s profiles were updated to reflect this for contract reasons. But now that the McDreamy Derek Shephard himself has reappeared anything is possible my friends!

Literally anything and I am so glad. It looks like there are more dream sequences and possible afterlife sequences to come. My guess is that more of Meredith’s deceased loved ones will appear on that beach. I’d love to see George, Mark, Lexie, Ellis Grey, Doc the dog the list goes on. I’d also love to see Cristina, Alex, Izzie, Callie, Arizona, and April all make appearances either through dream sequences or over Zoom.

I’m also wondering if they’re going to have Meredith code and then do a reprise of the elevator hallway sequence where the elevator doors open and Meredith’s dead loved ones and important people in her life greet her and tell her it’s only temporary and she’ll back in the land of the living soon. Oh gosh. What if they have Ellis tell her she’s extraordinary?!?! Now I’m crying! She so deserves to hear that! Oh my gosh. The possibilities are endless.

The Station 19 episode wasn’t much of a cross over to be honest and I’m okay with that. My best friend and I watched it for context, but you could have totally gotten everything you needed to know just by watching Grey’s and those are the cross overs I prefer. In the Station 19 episode we got some additional Bailey and Ben content (always nice) and we learned how the kids who wound up with third degree burns became injured. That’s it really.

Richard had some snaps in this episode! He had all the best lines in my opinion! He was hilarious. His exchanges with Bailey and Catherine were hilarious. It’s great to see him back on his feet and throwing zingers. Bailey was a boss ass bitch in this episode. I loved it! She laid down the law and I thought they did a really good job of showing subtly how the COVID situation is impacting her because of her OCD. I really liked that they wrapped up DeLuca’s storyline because as long time readers will know I was not a fan of his mental health storyline and the last two seasons have really made me hate his character.

I thought they did a good job wrapping that up giving the confines of COVID, both real and fictional, and that we got closure there. At this point they’ve wrapped up his storyline to the point that DeLuca is back to being a side character and just another doctor who works in the hospital and for that I am glad. A fun little aside, when DeLuca asks Meredith if there is a specific patient she wants him to check on she tells him to check on the patient in room 1702 which is the episode number.

I was a bit disappointed that we didn’t get as many Meredith and Hayes scenes as I would have liked. Hayes wasn’t in the first half of the premiere at all and his scenes with Meredith in the second half were briefer than I would have liked. However, that might be because they weren’t able to film scenes with the actor before COVID shut everything down so I am hoping that we will see more scenes between him and Meredith, especially him at her bedside, going forward now that both actors are full time regular cast members.

I really loved the scenes that we did get. They felt authentic and natural. That natural comradery that the actors have was there in full force. We got to learn more about both characters quarantine situations with regards to their kids and we got to learn a bit more about Hayes’ past and their developing relationship which was nice. Also I really want to hear that story he alluded to about hoping an electric fence as a teenager to see his girlfriend. I loved the aside where Meredith commented that his mask was falling apart and he told her that he gave his new one to a nurse who needed it more than he did. He’s so caring and compassionate and kind I just want to reach through the screen and hug him.

Meredith deserves someone in her life who is kind like that and who thinks of others the way she does. Who puts the job and her patients and her kids first over everything else. Who gets it and thinks nothing of showing that kind of compassion. She’s never really been with anyone like that before. No one who was a doctor anyway. I also thought it was very significant that Hayes invited Meredith to have a drink with him in his office after work and then was the one that found her in the parking lot at the end of the episode.

This appears to be a call back to the fact that he asked her out for a drink at the end of last season and she accepted, but asked that they do a rain check because she was so exhausted and the fact that they are growing closer and he wanted to check in with her and see how she was doing. The fact that he was the one to discover her I think is also very significant because at the end there I felt liked he looked towards her car to see if she was there to talk to her or to see if she’d gone home and I love that he was looking out for her in that way.

Also, the fact that he was the one to find her and call for help and that led into a dream sequence where she was reunited with Derek the love of her life feels very significant. The fact that Hayes calls out to Meredith and tells her to stay with him, in the present and in the land of the living, and then that transitions into the dream sequence where Derek is calling out to her on the beach feels significant to me.

My best friend that I watch with commented that she could see them doing a scene where Derek tells Meredith it’s okay to move on and fall in love again the way Abigail did with Cormac in the flashbacks we saw in the Conference episode last season. And that based on that Meredith makes the decision to formally move on and actively pursue something with Hayes now that she knows she has Derek’s blessing and that her ex DeLuca is doing okay and is back to work.

I think both of those things could free her to truly give Hayes a chance and build a life with him. He’s really the only post-Derek love interest for me who really checks all the boxes and who I could see her building a life with in a way that would respectfully honour what her and Derek had. It also just occurred to me that because they established that both Meredith and Hayes are quarantining at hotels because of their COVID work and are away from their kids there’s a potential storyline there in that once Meredith is better they could quarantine together and spend some sexy time alone without breaking any of the necessary restrictions. I’d love to see them quarantine together.

Something else that I realized after watching is that the episode establishes that Amelia and Link are quarantining at Meredith’s house with Scout, Zola, Bailey, and Ellis and that Maggie has been coming by to watch and visit with the kids from a safe distance while Meredith has been quarantining at a hotel because she’s working COVID command. The fact that they set this up early on in the episode becomes important later when you realize that something is wrong with Meredith and she’ll be hospitalized for a while and could die so it sets it up that her kids are okay because they’ve got Amelia, Link, and Maggie, people that Meredith trusts, looking after them.

Also we find out that Meredith’s house has a backyard for the first time! So that’s neat. Maggie and Winston are officially the cutest! I love them! I’m calling it now they’re endgame. They’re soulmates. I thought at first the long distance thing was going to be super boring and dull, but they found a way to make it really sexy and fun and I love that! We finally found out what Amelia and Link named their baby! As many had predicted they named the baby Scout! His full name is Scout Derek Shepherd Lincoln! My heart! Derek would be so so proud of Amelia. She’s come so far. I loved the scene with Meredith, Amelia, Link, and Scout. I really felt like that was missing from the Season 16 finale so I’m glad we got to see it in flashback.

About the only thing we didn’t get to see in this episode that I would have liked to have seen is a scene with Richard and Meredith catching up and either operating or treating a patient together. They haven’t had as much time together recently and I’ve missed that. Although considering that Meredith is about to hospitalized I’m guessing were about to see a whole lot of that. We did get to see Jackson spending lots of quality time with Richard and we got to see Maggie stand up for him with Catherine this episode so that was nice. This episode changed my mind about Catherine and Richard.

At the end of last season I really wanted them to separate and go their separate ways because I felt like they were bringing out the worse in each other and that was the only way they could find peace. But this episode we saw Catherine apologize really apologize and she made Richard Chief of Chiefs to make up for what she did and I thought there reconciliation was really quite sweet. Teddy and Owen wowza. Teddy was god awful and a terrible human being this episode. I was completely on her side last season, but this episode changed that for me. I hate Owen as a character most of the time, but damn if this episode didn’t make me feel for him. Oh boy. Teddy lied straight to his face multiple times when given the opportunity to tell the truth.

I don’t think there’s any way that they can come back from that personally. Which is a shame because for the first time in the show’s run Owen is single and is not hung up on someone else. Cristina is in Switzerland living her best life. She’s happy. That’s long over. Amelia is with Link. They have a child together. Her and Owen are happily co-parenting Leo and there’s no way that Owen, horrible as he can be, would do anything at this point to split Amelia and Link up or come between them because that would mean separating Scout from his father and having lost his Dad at a young age Owen would never knowingly do that to someone else’s child. At least I don’t think he would.

Plus, he got what he wanted in that he did get to parent Betty and Leo with Amelia and they still share in the parenting of Leo. I also thought there was a good call back there to when Owen cheated on Cristina. I hated that plot, but it’s nice to see them acknowledge his relationship with Cristina because it was so instrumental to the show in those early seasons. I’m glad that we got a reference to Amelia and Owen co-parenting Leo because I feel like that’s been missing lately. I get that Teddy is scared of being happy, but the way she treated Owen was just horrible. She was so awful to him in this episode I actually felt sorry for the guy and that is truly a miraculous feat because I rarely do because of how horribly he treats all of the women in his life.

Side note: His line where he told his Mom to tell Leo that the broccoli and carrots needed to be reunited in his stomach was both hilarious and horrifying! I loved Owen’s lines and how he kind of played Teddy while giving her opportunities to tell him the truth. I thought that was hilarious in a funny not funny kind of way. I’m curious to see what Teddy, Owen, and Tom’s storylines will be going forward. We didn’t see a lot of Tom in this episode and at the end he was fired and demoted to being a Neurosurgeon. There’s no indication of him and Teddy getting back together so I’m curious to see what they do with him.

Owen seems 100% done with Teddy and her nonsense and at this point I can’t blame him. I would be too. I’m interested to see where this goes. Will Owen end up with someone else? Will he stay single and continue on as a single parent? What will happen to Teddy? I’m starting to really like Levi as a character I have to say. Nico not so much. He treats Levi horribly and the guy deserves so much better. I loved seeing the intern from Pac North who called Bailey an icon last season checking temperatures. Amazing.

Richard’s idea on how to sanitize the masks with the purple light was really cool. I loved the moments between him and Bailey. I get why she’s worried about him, but as Richard says Grey Sloan is his life. It’s his longest and most successful relationship and as he says he will find no peace without it. Bailey and Ben have my whole heart. They are so cute. They’re the best. I loved the small moment that they had at the beginning of the episode where Ben did the “going through the motions” count with her because he knows it helps her. It was also a great call back to Jo teaching that to Bailey after she got out of treatment.

Also oh my god Jo and Jackson! Wow! I have to say when I saw fans speculating about that online before the show came back I thought it was the dumbest idea ever. One, because those two characters rarely have scenes together and aren’t that close. And two, Jackson has Harriet and is a single parent. Jo has been decidedly luke warm on the idea of having kids. She only considered it because of her relationship with Alex. That being said, after this episode I could go for it. I liked the twist that she went to Jackson and asked him for a favour and they were going to hook up and have a one night stand and then Jo got drunk on the way over and wound up crying because she wasn’t ready.

I have a feeling that they’re going to have them go back to being friends for the time being and then pick that storyline up later when Jo’s had a chance to heal possibly in the second half of the season. I also like that they wrapped up the storyline between Jackson and Vic and that we got to see Harriet for the first time in forever! Yeah! Vic isn’t ready or wiling to be a step parent and I liked that they established that Jackson needs to be with someone long term that is. Jo isn’t at that stage yet, but at least she’s open to the idea and has been married and had a successful adult relationship with someone in the past. Jackson’s been married, divorced, lost a child, and is raising a child.

With time and proper communication I think they could actually be a great pairing. Never thought I’d say that. Not wanting to be a parent is part of what broke Jackson and Vic up in the first place. They never addressed the issue with Maggie, but in retrospect that was never going to work out because Maggie is so involved with Meredith’s kids. They’re her main focus kid wise. We should have known that they weren’t going to work out when they failed to address that.

With April what broke them up was her devote faith and his complete lack of belief coupled with the different ways they dealt with the death of Samuel. While I did like April and Jackson as a couple I was happy with April’s write off in the sense that she got to be with someone who shares her faith and dealt with the trauma of losing someone close to them in a similar way. Her and Jackson never had that. Jackson found God in the wake of almost losing April, but by that point it was too late.

The damage was down. There was nothing either of them could do to repair what had been broken. With Jo he has the opportunity to start anew and lay all of that out on the table and vice versa. Although I imagine that the conversation Meredith would have with Alex about that would be pretty weird. I thought they did a really good job of showing the realities of COVID in hospitals right now. What the disease does, how deadly it can be, and how hard it is on all the health care workers and first responders.

I have family members and friends who work in health care and it’s a scary time. Levi’s comment that they had lost 100 people in one day and that he’d had to tell 100 people’s family members that their loved one had died was chilling. It’s also real. This is not something they are sensationalizing for the sake of television. This is really happening to real people everywhere and it is heartbreaking.

In this episode we saw Meredith have her first breakdown in quite some time. The last one I can remember was after Derek died and that was a while ago. She was upset that so many of her patients had died and I’m sure that reality is something that a lot of healthcare workers are going through right now. This episode felt raw in a lot of ways because of that and I’m glad that a show that has worked so hard to reflect the realities of our time is taking the time to honour and showcase that.

Also I think having Meredith Grey the show’s titular character and star for over 16 seasons potentially contract COVID and collapse from working too hard and not taking her own advice is the ultimate example of it can happen to anyone and anyone can get it. The show did not have to go as hard as it did, but they did and they delivered and I respect the hell out of that. The tagline for this season is “Sometimes we all need saving.” Apparently they were being literal about that as that includes Meredith freaking Grey. What a twist!

I honestly believe that this will be the show’s last season. Because when I look at the storylines and the ways in which they’ve set up the characters starting with last season I can see where they could go with it and how they would wrap everyone’s storylines up in a satisfactory way. Plus I don’t think they’ll ever be able to top this season and it’s opener. Also we’ve got main cast members coming back because those actors are normally so busy they’ll probably never get another opportunity like this to bring them back and they’d be foolish not to take it.

The promo for next week teases more scenes with McDreamy (!!!), Meredith battling COVID literally, and Hayes visiting her in her hospital room. I’m excited!

Until next time!

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