#anyway i have a lot of genuine narrative interest in stories where love doesn’t change the fate of a relationship

[vigilskeep]

re: that sebastian post, i do love your general commitment to divorce

crying. i just think sci-fi/fantasy divorce is the funniest fictional concept in the world. and i love when characters are irreconcilable for forever and ever <3

[crookedfandomquill]

Alright, folks, I rewatched the Bo’re Life arc this week, and I have thoughts and a newfound appreciation for it (what? Me? Liking the Bo’re arc?It’s more likely than you’d think). As my mom used to say at the start of road trips or our semi-annual family viewing of The Sound of Music: buckle up, chitlins. 

Okay, first off: this arc is a lot easier and more interesting to watch the second time around. I suspect that’s because I’m not chomping at the bit to just get back to Tantai Jin and Susu in the real world, since I already know what happens. This time, I can settle in and appreciate Bo’re Life without the urgency of “when is the actual story going to come back, fuck you writers”. It’s also very fun for me to draw parallels and find foreshadowing I didn’t notice before. And, having done so, I present the following thesis: the Bo’re Life arc strengthened the overall story both as a tragedy, and as a “happy” ending.

Addendum: I have a lot of thoughts about what constitutes a happy ending, and my thoughts on TTEOTM in this regard are complicated. Essentially, I would argue that the ending, while certainly sad, isn’t a “tragedy” in the narrative sense. While the individual happiness of the characters takes a real blow in the end, they do accomplish their ultimate goal. It’s a pyrrhic victory, but a victory nonetheless, and it’s implied that they will get a much happier ending as individuals sometime in the future. That doesn’t mean it was as satisfying as it could have been (it seems clear that TTJ will come back but I'm pissed we didn't get to see it), and I know a lot of viewers will totally disagree with my opinion. But I digress! Let’s get into Bo’re Life.

Bo’re Life threw a LOT of information at both protagonists, and the roles they played in it didn’t correspond neatly with their own destinies, which kind of baffled me the first time around. Ming Ye represented both what Tantai Jin could aspire to be, and the mistakes Susu needed to avoid in neutralizing him. Sang Jiu represented both Susu’s traumas and doomed loveline, and Tantai Jin’s fate if Susu failed as Ming Ye had.

The parallels between Bo’re life and real life perfectly underline the tragedy of the story: both protagonists are shown beforehand the choices they must not make, but because of who they are, they make them anyway.

Susu was an idealistic and traumatized woman with a mission, so she was always going to fail like Ming Ye did by putting the greater good ahead of love and communication. Tantai Jin was a disempowered and naive man falling in love for the first time, so he was always going to be just like Sang Jiu and give his fragile heart too fully, then shatter under the weight of betrayal. Bo’re Life both foretold the tragedy, and failed to prevent it. 

It could be argued that Tantai Jin and Susu played the wrong roles in Bo’re Life to avoid tragedy in the Jing arc, but they played the right roles to avoid it in the cultivator arc. In the mortal world, Susu needed Ming Ye’s experience of losing everything because he neglected his heart. And Tantai Jin needed Sang Jiu’s experience of subsuming herself in another person so recklessly that she lost her soul to it. Neither of them got that, and so they repeated the tragedy of 10,000 years ago: Susu by loving and then betraying Tantai Jin, and Tantai Jin by allowing his obsessive love to run unchecked.

But as cultivators, 500 years later, they both ended up relying on the virtues of the roles they played in Bo’re Life. Susu channeled Sang Jiu’s optimistic love and staunch loyalty to repair her relationship with Tantai Jin and become someone he could genuinely rely on. And Tantai Jin needed Ming Ye’s sacrificial love and dedication to the greater good to understand and execute his subversion of destiny.

This time around, they were both where they needed to be, playing the roles fate assigned them… but drastically changing the lines. Susu became a goddess, just like her mother, the only being who could defeat the Devil Lord. And Tantai Jin became the Devil Lord, just as he was born to do. But there was no battle between them, no great war like 10,000 years ago. Just like during their dance at the Jing water festival, Tantai Jin played his part, then surrendered.

And, just as she removed his mask 500 years ago, Susu saw through his act to who he really was, who he’d always been.

They redeemed the very mistakes they made at the end of their story in Jing: Susu, who couldn’t trust him and destroyed him as a result, finally gave him her trust, even as he wore the image of her greatest fears. And Tantai Jin, who was so desperate for her love that he killed her trying to keep her, finally let her go to save the world. 

The Jing arc ended with both of them as the worst versions of themselves: Susu vengeful and traumatized, Tantai Jin obsessive and broken. As she died, Susu threw Tantai Jin’s destiny in his face, calling him the greatest curse and rejecting him in this life and the next. In his last days in Jing, Tantai Jin devolved into despair and denial, unable to cope with the grief and betrayal. They didn't learn the correct lessons in Bo're life, not this time around.

By contrast, the cultivator arc ended with both of them as the best versions of themselves: Susu capable of trust and forgiveness and elevated to godhood, Tantai Jin whole and loved and able to overturn his evil destiny. They learned, not just from their own mistakes, but from those of Ming Ye and Sang Jiu. And it helped them win.

[sailorblossoms]

Simon: hero vs boy  

I started writing this without a point really, but I think I found it along the way… maybe. Anyway. 

Simon goes along with traditional hero narratives by slaying monsters, especially when it’s linked to saving a damsel. His powers would make him comparable to superheroes – he’s practically perceived as such by his peers – yet he goes against it with the ease with which he kills. Saving the day (saving people) by itself meets the definition of a hero, and he’s genuinely good. But when you get down to it, why is he a hero? Because he was told to be one. Many get training and mentors, but there’s usually a calling involved, a struggle where heroism is an active choice they make. Simon doesn’t choose: he’s programmed to follow orders and rules, and he finds purpose by succeeding in his tasks. Part of it not being a choice is that Simon doesn’t believe there’s anything to choose. He doesn’t think there’s anything outside of the “golden destiny” … other than death.  He makes sense of the world by reframing it into simplistic good vs evil, in the way he has been told to. In some ways, he gains the most when he thinks he has lost it all: it sends him on a path to truly find himself and choose, free of outside influence. 

As readers, we don’t care about the nameless henchmen, the questionable nobodies with non-existent development, but the existence of Baz alone suggests both Penelope and Simon, in their role of heroes, have killed intelligent beings with “a soul” – murder more comparable to killing humans – without thinking twice. The story avoids ever questioning them in such a way (closest it gets is Baz acknowledging Simon can’t let himself think about everything/everyone he has ever killed) likely because they’re virtually brainwashed kids who don’t know any better, so the bigger questions are different (and the books tend to keep it light with that kind of thing, it's not a focus). It also avoids it by generally operating with action movie rules: action hero kills humans, sure, but we don’t care if Evil Henchman No. 5 drops dead – the only thing defining them are despicable actions. Simon kills Evil Monster No. 2 because it’s sexually harassing his boyfriend, and you were probably thinking “as he should” before you even finished reading this sentence. 

In his chosen one days, Simon operates in a way that’s familiar to superheroes: saves the girlfriend from danger, but constantly “chooses duty” over “having a life” (with the girlfriend being “life”). There’s a lot at play behind the scenes when keeping a love interest around the hero, but here is them resisting the realization that they’re miserable and gay and directionless when they’re not doing what they’re told. It’s not Simon being a hero what kills that relationship – it was dead on arrival. It would have never worked regardless – Simon cares about what he thinks the relationship would give him rather than the relationship itself. It’s not his “duty as hero” what “pushes him to let it die.” (Also: the tropes and archetypes themselves are a big part of why that relationship existed in the first place)

However, as the structure Simon has been living by falls apart (starting from “his enemy” not showing up) things change. When Simon can’t listen to anyone and rushes to Watford toward the end of CO, that’s not a hero rushing to save the day. The hero believes he has just been told he’s the true villain of the story (he’s not) but at its core, this is just a boy who believes he did something horribly wrong, and that it’s up to him to fix it. 

In his role of hero, Simon is quick to think the worst of Baz, because it has been decided that he’s his enemy (he's quick to reframe everything he sees about Baz, because he does see it, that indicates Baz is never truly bad). As he frees himself from roles and finds himself, and the wall that used to separate him from Baz falls apart, he sees him fully. He can’t think badly of him then. (He's ready to free all that information he already had on Baz, he has "observed his soul"). The chosen one would’ve gone for the less charitable interpretation of the events (Baz “purposely pushing him down the stairs”) but Simon sees him exactly for what he is (he’s just a boy, it was an accident) or goes for the kindest interpretation (supporting Penny in her refusal to judge Baz, seeing him as another kid being used by adults – just like Simon and her – with the Pippa incident.) 

And speaking of it: Pippa’s “tell Simon I say thank you” stands out to me (thank yourself girl!) because similarly to Penny paying attention to her with her ring ready to strike, that’s a boy who would not hesitate to tackle her ass if she moved funny around Baz. As happy as having the role used to make Simon, he’s no longer defining himself as a hero. His priorities are not to be heroic (as shown by how he walks away from whatever the fuck happened with the Vegas vampires iirc) but simply in protecting his loved ones, and the people his loved ones care about. His image as hero likely remains in Pippa’s head – likely part of why she liked him, and perhaps reinforced in part by her getting her voice back (in more than one way) when he appears in her life again. But if it came down to it, the only thing that would have stopped Simon ("the hero”) from fighting/restraining her (”the victim/wronged party”) would’ve been Penny knocking her out first. He would not be on her side here. This is an “ugly” thing to consider in heroic narratives, but it’s a human thing. Simon is no superhero, nor is he trying to be: he’s just a boy. 

Baz’s goodness and kind heart means he’s not going to put Simon in a position where he has to choose between what’s “good” and him regardless, it’s part of what Simon recognize's (Baz's goodness) as he falls in love with him (he has observed his soul, he refuses to let Baz think of himself as evil or monstrous once he’s no longer blindly operating as chosen one) (and Penny is right anyway). But this instance shows how Baz’s self-destruction means the people who love him, his chosen family (Penny and Simon) will do anything to protect him, especially when Baz is his own enemy. They will be fierce, and they will be selfish. They won’t leave room to consider anyone else – they will be human. In an ideal world, Simon will be left alone to live his life like a regular person (as regular as he can be, anyway) but I think the Simon he’s discovering is the type where what matters is not saving the day, but keeping his loved ones protected. More specifically, Simon has chosen Baz as his priority, and he has decided that keeping him happy and safe comes first. Heros might not prioritize the “love interest” (unless a specific story requires it, but that’s another conversation) they might sacrifice their personal lives for their duty, but for Simon, his relationship with Baz is what matters most. There’s no “duty” that comes before it. Sure, he’s no longer in a position where he has to choose, but if he had to, if he was pushed to think about what he wanted instead of what he was supposed to do, I think the choice would remain the same. The world can burn down, and maybe he can’t do a thing, but he’ll be alright as long as his loved ones are by his side (he says as much with "I have lost it all but I still have Baz, so I still feel like I got the better end of the deal") 

[mdhwrites]

Why Are Swap AUs So Easy For The Owl House and IMPOSSIBLE For Amphibia?

So first, I want to make this clear that this isn’t to knock anyone who likes Swap AUs for The Owl House. I’m actually making this blog because today I was kind of reminiscing about The Crow House, my own Swap AU and the best answer I have to the question of “What would my version of The Owl House look like.” They’re a lot of fun to consider because being in a different narrative role and the like would do to the story and world is a really interesting question. I will say that I have seen a lot of Swap AU art that is frustrating for this reason though as they feel a lot more like characters cosplaying each other, including personality, rather than actually exploring what they would be like in the other’s role.

I’ve also seen a lot less Amphibia Swap AU art... And I think there’s a good reason for that. See, with TOH, the narrative role IS also the character’s personality. Luz is the isekai’d protagonist who warms up to a mentor, changing them and the world she arrives in for the better (at least in concept). Eda is the grizzled mentor who will learn to be nicer by her student. King is just comic relief and then lore wise is important and so becomes incredibly wise to fit his expositional spot in the world. Amity is the love interest and brief rival. Hunter is that a second time but done worse and as a love interest to a less important character. The better the character is is usually dependent on how good the trope they’re pulling on, not because they themselves are really going to surprise you or stay consistent even. After all, once Eda becomes Mama Eda, she also loses a lot her snark and her criminal background because that’s no longer the trope she is despite that still having been part of her recent history. Or hell, the fact that once the curse is resolved in S1, it only is ever a plot device, including power up, for Eda’s character because its narrative role as a part of who Eda is and something that hurts her is no longer relevant to the writers.

That actually makes swapping people’s position in the plot less about what their personality does to the plot but how you justify them being in the role that the other was. You have to ENTIRELY change the show in order to make a Swap AU more drastic than that by things like having the swap with Luz be someone who doesn’t like magic and genuinely has no interest in this world so that they never connect with Eda. The person you swap with Amity needs to not be a love interest but a genuine rival who never connects with the other person. You effectively have to go with the edgy options for a lot of things and at that point you’re just kind of missing the whole retelling point of a Swap AU.

And of course there would be changes but more in dialogue and the like. This was something I struggled with with my Lumity stuff in The Crow House because I still wanted some of the highlights but with a spin by how I changed things with Amity (including in Covention actually being a real danger to Luz and that making her opt for a non-magical way to win the fight) but I was still worried about it coming off as too much like the show. Too much like things weren’t different because, well... So few characters acted particular to themselves and more to their tropes.

It’s like in Looking Glass Ruins where Amity goes “I do stupid things around you.” That is a GREAT line for Lumity’s archtype... But it’s not for Lumity specifically. Amity has actually done very few things that would be considered dumb and those that would be, she’s never faced consequences for. Even her parents or Boscha never actually get back at her for her actions against them and besides that? Usually it’s Luz who’s the fuck up but that’s just a part of her archtype. But the line fits the narrative role for where Lumity is at in their relationship, even if it hasn’t been earned, so the writers include it anyways because that’s just how the writing in TOH works.

And again: That makes a Swap AU INCREDIBLY easy. You want to say X character would act like this in this narrative role? You probably can find a moment that excuses it. I mean, we get like six different versions of Hunter in S2 because every appearance is effectively a different character than the last with MAYBE a little transitional moment like in Hunting Palisman. Like the writers did, you can just excuse a character acting a certain because they all meld together to become so similar and so functional eventually so... Why not?

This is the exact OPPOSITE of how Amphibia wrote its story though. The one I actually think is easiest to point out is ANYONE swapping with Sasha. Grime is a very strong person after all who ruled by force and fear. His soldiers were actually fairly loyal, even if they were unhappy. Anne at the start of the show isn’t the Heart yet so connecting the with the toads, who she’d find disgusting like she often found the Plantars early on, wouldn’t be possible for her. This is partially because she’s also lazy. Meanwhile, Marcy is socially awkward and somewhat absorbed in her own interests so she also wouldn’t be able to talk to the guards in a way that turned them to her side. Even if either did, they would have no control there. Grime would still be in charge: Period. They would just be the weird soldier and thus also have no power to do things like the escort Anne got or convince Grime to just raze Wartwood and instead be a bit sneaker and a bit more charismatic.

DRASTIC changes happen if ANYONE other than Sasha is the one in Toad Tower. Her manipulative side, her want for control, her willingness to hurt those around her if she thinks what she’s doing is better for them, or more fun sometimes especially early on, is what makes her such a dangerous villain. However, just as Anne was affected by Sasha, it’s really easy to imagine Marcy and Anne affected Sasha back and that’s why she’s able to connect with guards and their odd interests... At least until they’re wrapped around her finger. Her viewpoint as the girl who will make her friend’s lives better and never questioning that is a large part of her arc. Her personality had to be tested and SMASHED before she could become a better person, which is why she’s actually at her most confident in S2 because S1 was a setback. She needed rock bottom to realize her convictions were wrong.

Which just in general is a masterclass in how to write a manipulative villain, let alone one that thinks they’re in the right for all their decisions. Sasha is one of the best written characters I’ve ever SEEN and I’m still only halfway through S2 of Amphibia.

But even just Reunion shows how Anne’s malleability that made Sasha able to control her is also why she was able to become a better person that Wartwood could respect and trust. How much of that can be said about The Owl House? Amity ALWAYS feels more motivated by a crush, especially in S2, in her changes than any moral position she used to hold or a specific part of her that agreed with Luz’s outlooks besides “I also like Azura.” Eda literally makes no sense because in S2 we find out she adopted King which throws her entire first season personality out the window. Hunter feels like he restarts his arc three times because Luz, Amity and Willow all can connect to him on really basic levels that have more to do with backstory than they do with personality traits.

So in short... Amphibia’s still fucking awesome, I still want to finish it by the end of the month, but TOH does continue to be better for fanfiction in one way or another with the choices it makes.

[truthdogg]

As I read the post linked below, it reinforced for me just how much media has changed in the past ten to twenty years. The post itself is a great snapshot of what’s required to understand a news story, and it demonstrates why most news media today is simply not working.

I don’t watch tv news, and haven’t for probably a decade. We have a subscription to the New York Times, but the login rarely works for me, and we’ve let our Washington Post subscription lapse. I get my news from a variety of online newspapers, npr, websites, blogs, and podcasts, and usually do an internet search for anything that sounds interesting or that I want to understand better.

This is a pretty terrible way to keep up with things. It takes a lot of time, and it requires a general knowledge of the ideological slant of the news outlet I’m reading. That means I either have to remember or look up who owns the company and who runs their editorial board, which takes up even more time.

I could save a lot of time by going to one source that not only spells out what just happened, but also tells who loses and who gains, what the impacts will be and how to process it, and perhaps even include links to speech transcripts and legislation for us to read on our own. Good newspapers used to do more of that, but they don’t anymore; instead they simply share the latest quotes about the subject at hand. (“He said this thing, she said a different thing, so you decide for yourself who’s telling the truth. What is truth, anyway?”) So now we need to piece full stories together from multiple sources, just like tumblr user @yiffmaster does above.

It takes a genuine interest in what you’re reading to spend the necessary time that on that. Otherwise all you’ll see are stories about how there’s a new hire at NLRB from SEIU and that upset somebody, or something about the Joy Silk doctrine that makes no sense on its own, or (most likely) that Biden spoke to a worker or two on a picket line somewhere but so did Donald Trump so both parties claim to support workers. It’s all meaningless individual trees standing on their own until you can step back, study, and see the forest.

That’s not to say we never get important dot-connecting well-researched articles. We absolutely do, and there are still plenty of amazing hardworking journalists, but the landscape is so fragmented that it’s hard to know where those articles will come from, whether they can be trusted, or often even how to find or access them. Often they don’t even have dates, so it’s hard to know just how outdated the information even is.

I would love to find a news source that organized its articles by topic and provided outside links. Every story could provide links to relevant info and source material, instead of offhand references. But such a broad news site doesn’t really exist among the sources I read. (TPM might get closest at times, but it’s a tiny company.) instead, an article gets published, it’s out of date a week later, and it remains the top search result for its subject matter for weeks, months or years. Try looking up what the Biden administration did to help rail workers after they went back to work at the start of December 2022, to see what I mean. It’s possible, but you have to already know what you’re looking for. Otherwise all you can find is that they let workers down by forcing them back to work, which isn’t remotely the whole story—what came after that was a very big deal.

But there’s a workaround to all of this that a lot of Americans use to feel they have the full picture. It’s a cable network that does connect all the dots. It ties stories back into an overarching narrative, and explains to viewers how each news story reinforces its narrative. Its viewers tune in for that narrative; they know who is blocking the programs they’re told are good or bad, and who supports the other ones. It’s called FOX News of course, and it’s complete garbage propaganda. It’s also genius in how it works.

There is no good way to deprogram a FOX viewer who’s sucked in, because there is simply no alternative that fully describes the stories that they follow. They’re in an alternative universe of facts that have bits of the real world thrown in for color. The stories that multiple reliable sources do provide cannot counter that narrative on their own, because they simply don’t explain enough. If anything they have the opposite effect, because the FOX viewer is arriving with a set narrative in their mind, and the small story that simply presents arguments with no conclusions will include the argument they’re familiar with. For them to come out of that well of ignorance will require research into multiple sources that they’re simply not going to ever do.

A liberal propaganda outlet to counter it is more than useless—most people who lean left find those annoying and and no one on the right would believe a word of it.

No, what we need is news for today to be organized completely differently, almost like a current events Wikipedia. Publishing a newspaper or making a newscast and sticking them online is borderline ridiculous. They’re only snapshots in time, and without a tree of links to accompany them—perhaps via a link back to a topic main page where that tree of links resides—they often become misinformation fairly quickly.

Many news outlets have taken some baby steps toward something like this, but only with major stories (“Follow our impeachment coverage here!”), and only with their own articles. This relegates other important news (like what the Biden Admin is doing with labor) to a lesser status and keeps these outlets as news gatekeepers, and it undermines their own credibility among doubters by presenting yet another closed system.

We need news sources that are much more comprehensive and committed to providing a full picture if we ever hope to undo the damage and division that propaganda is creating here. I’d love to know if any of you have found such a thing. I haven’t.

[masterhandss]

Who do you think katarina will end up with?

Anonymous asked: Who do you ship katarina the most with ?

I got these two questions consecutively, I'm assuming they are coming from the same person so I'll combine them to a single reply, if that's okay.

People who have been following me since the first season can probably tell that I really like Geordo x Katarina (GeoKata) the most out of all ships. At first it was mostly just because I have an unintentional biases towards characters with blonde hair, which is why favorites were GeoKata and MariaKata, but then when I slowly got into the series more, my biases permanently shifted to the G-boy.

I'm not really a fan of laying out why I like certain ships through test to be honest. I usually get super frustrated when zine mods ask contributors to explain why they like a character or ship for contributor spotlight graphics because I can never really say everything I feel correctly hgdsjsdgfj, which is a good thing someone had already asked me a similar question before so I'll just copy paste my response here if that's okay :DD

TLDR; I ship Katarina with Geordo (Maria, Sora and Cezar behind him), and I think Katarina will end up with Geordo :))

You didn't really ask why but I'll give it anyways :)) -> major light novel spoilers, by the way <-

I'm not really the most deep person, if a ship has the bare minimum of something that I like (a trope or a hair color combination) then I stan it hard. That's why I used to be so equally adoring to both Maria and Geordo, because hurrdurr blonde hair hurrdurr. But the more I read the books and got into the community, I eventually liked him more than Maria. I didn't understand how or why at first, since Geordo and Maria are undergoing a very similar character arc: both characters wants to become better people in order to become worthy of Katarina (Geordo emotionally, and Maria physically? magically? in terms of her position/social status? I can't think of a right word but you get it). Again, Maria and Geordo's struggles are similarly written but one of them is more compelling to me. I feel like Maria's problems are easier to solve (her inability to rely on people, her attention seeking and her desire to be more magically powerful) imo, since she's already a well-liked figure in the Ministry and she's already a high-level magic user. Geordo's though; the series doesn't put too much attention on it, but despite the fact that Katarina gave his life color, he still somewhat sees the world in a desaturated light even post-childhood according to the novels and his lack of empathy still prevents him from completely absorbing all the colors. He's still learning how to see and he is happy that Katarina is always there to help him learn how.

I just love the irony that Katarina sees Geordo as a Perfect Prince and feels that she is inferior and unworthy of him, but then Geordo also seems himself as flawed, inferior and unworthy of Katarina and sees her as someone perfect. Geordo constantly wants to be better for Katarina (and for the people around him), and in time, maybe he could become a motivation for Katarina to be better too (on Katarina's side though, because on Geordo's she doesn't have to because she's already perfect the way she is). Geordo, while being self-centered and aggressive in his pursuits, isn't always selfish and thinks about what Katarina wants too. He'd fight tooth and nail for her and will do whatever he can so that Katarina will love him in the same way, but that doesn't mean he wont respect her decision if she falls in love with someone else, he just wont lose without a fight that's all (and fight, he'll give that's for sure).

Geordo is crazy in love with her; wants to protect her happiness, keep her safe whenever he can, and is even willing to both fight to become king and throw away the life he currently knows if it means he can live a life where he and Katarina can be together wherever she is most content and happy. He wouldn't lock her up in the castle like a caged bird like what Keith and some fans of the series thinks, whenever he does have thoughts like that like in Volume 6, its his internal response to the lack time they can have together alone, rather than being indicative of how he wants to treat her (like in his desire in Book of Desires, he conjured up a literal honeymoon because a honeymoon is the only time where he can spend it with her alone without someone butting in! It's weird and exaggerated, but his desire is simply to just be able to spend a day with her and be able to pursue her romantically without the threat of people like Keith and Mary).

Katarina sees him for himself, and she extends her hand of friendship to him despite all her fears of her bad ends involving him. She knows he's a "sadistic prince" but doesn't always tie him to that title. Out of everyone, Katarina has just as bad, if not worse, initial impression of Geordo compared to almost everyone around him (Others sees him as a Perfect Prince while she sees him as a Sadistic Prince and Future Murderer), and yet she accepts him and wants to learn more about him. She supports him and wants him to find happiness in love with Maria, even if it means she'll get exiled to another country or to a far off farm! (i'll edit this with citations later)

I can't help but want that for him, someone who there for you through thick and thin, who supports him despite everything she knows about her future involving him. Katarina is everything he would ever want in a partner: someone who isn't disturbed by his past, can see through his fake smiles, constantly cares for him, sees him beyond his princely façade, is one of his first friends who has helped him create friendships with other as well that prevented him to wallow in isolation and hate of the version of himself that society created for him, is genuinely interested in him as a person, is endlessly fun to be around and unpredictable, and is overall beautiful inside and out.

Again, a lot of Maria and Geordo's struggles are very similar to each other, but I'm more interested in Geordo's side. I find it more compelling. Geordo's scenes always almost provides something new, we get to see him angry, flustered & embarrassed, scheming/conniving, possessive, grateful, sad & frustrated and so much more. Maria has that too (we get to see her sad and thankful), but this might be my own perspective of reading the novels, but Maria's scenes kinda feel the same to me. It almost always starts with Katarina helping her and her realizing time and time again how much she loves her and become more motivated to be a better version of herself. I mean its unfair to say that they are all the same but that might just be me. (Maria: wow I'm so grateful for everything Katarina has given me, I want to be with her forever (rinse and repeat for the next 5 books))

Yes I know it's beautiful to see Maria falling deeper and deeper in love with Maria, but I'd rather see moments of someone who is trying to advance on those feelings rather than someone who is still trying to understand what they feel. Declarations and descriptions of love are beautiful in literary works and it always gets my heart fluttering, but I can read fanfics if I want to see that be written in 8 or more ways. Give me some action, some internal conflict!

It also doesn't help that it makes me really really happy for Geordo that he's made a dent in Katarina's baka shield? Katarina's heart skipped and fluttered for a second when Geordo was patting her head, and it makes me want to root for him even more! (Yes, go break the bubble! You can do it!!)

It's not even the same doki-doki as when she gets charmed at how pretty Maria is, to me its different in a way that my small vocabulary can't explain.

And besides, it really is just a battle between the protagonist that almost ruined her life (Maria) and the love interest that almost ruined her life (Geordo). Keith is part of that equation too, but he was never a threat after they became close (narratively, its seriously just Maria vs Geordo vs Keith, ignoring the changes to that narrative by FL2). It's always about Geordo (and Maria), everything she's doing in the Fortune Lover 1 Arc is because of Geordo (and arguably, Maria & Keith too) and the consequences of where he decides her future to would lead to.

It has to be Geordo, in my opinion, to show her that things aren't the same as the game (and he already kinda has, just a dent though) (If not Geordo, it should be Maria). He, who she feared and yet cared for so much

(I know Fortune Lover 2 basically removes that importance of Geordo and Maria specifically to Katarina's narrative by making her an active problem in all routes, finally becoming loyal to the title "All Routes Lead to Doom", but its not like the story is digging into Katarina's brain that she's sword training for the purpose of fighting back against all the boys, its still just Geordo, so idk I still count that in my shipper brain)

It also also helps that Geordo is basically the poor bullied animal in the hamefura community's eyes, regardless of how far he is into the battle (like in the reddit discord lmao). Yeah he has the best chances which is why many people both in and out of the series find it so fun to drag him under because of his unfair advantage, which is fair, but just like how you feel when you see a small wounded animal, you can't help but want to help someone who has the whole world against him (there's literally a canon manga page with that joke lmao), which is how I eventually felt over time. He's so misunderstood and bullied by people despite the authors dedication to flesh him out more beyond being a possessive prince fiancé of Katarina because of the anime's adaption, so I'd rather give my biases to someone who needs (and deserves it) rather than other contenders who are already overflowing with love and support. Also who doesn't love a perfect guy who breaks when his beloved is harm/who opens up to the person he cares about most?

I know people will read this and find it unfair that Katarina is giving so much to Geordo, but he isn't really giving anything to her. One thing I'll agree that Maria has over Geordo is that Maria makes Katarina want to try and work hard. Seeing Maria improve her magic wants Katarina to do the same, and whether or not it's from motivation or fear of getting left out depends on the reader. So far we don't really have anything like that for Katarina with Geordo because most things involving Geordo intimidates her, compared to Maria who is surrounded by mysteries and adventure (though arguably it's Katarina and not her lmao, but Kat doesn't know that).

Katarina is already the most well-adjusted character in the story even as a child so the only thing to really explore from her is mostly just her relationships and skewed sense of reality. That's why I hope that Geordo will not only help her realize that she can be loved by her peers romantically despite her self-perceived position/role, but also be one of the persons to make her completely realize that she isn't living inside a game. I mean like I said a few paragraphs ago, he's already kinda doing it by constantly confessing his feelings to her, reminding her that he is a person with his own feelings and not a character programmed to fall for a heroine.

So yeah, I ship Katarina with Geordo for those reasons and believe they should end up together for those reasons.

If you ask me who I think would she end up with objectively, I'd still say Geordo. The author's focus jumps between Geordo and Maria so that really depends on who you're asking. It also doesn't help that Geordo is always in the marketing with Katarina in the books and games, which pretty much cements his Male Lead status to Katarina's Female Lead status lmao

Thank you for the ask lmao, I'll be updating this with more thoughts and possibly citations later :))

[ordinaryschmuck]

What I Thought About "Hunting Palismans" From The Owl House

Salutations, random people on the internet who certainly won’t read this! I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons.

Today, I present to you reason #4,693 for why The Owl House is the best thing at the moment: It's the perfect balance of serialized storytelling with an episodic format. The story always moves forward with an exact order for how episodes should be watched, but each episode still functions as its own standalone tale. Having prior knowledge of what happened before adds more to the experience, but you can still watch whatever you want and still have an enjoyable time. Take "Hunting Palismans," for example. It adds so much more to the overarching narrative while slightly continuing other threads. But it's still something you can watch as is without remembering the past or wondering about the future.

However, to properly explain how requires spoilers. I wasn't kidding when I say that this episode adds so much, so you're going to want to be wary of that when you continue reading.

With that said, let's review, shall we?

WHAT I LIKED

Coven Heads Meeting: We already saw these fellow schmucks in the trailer, but that doesn't take away how cool they are! It's not explicitly stated which head belongs to which coven, but you can already tell who goes where just from their designs alone. And I love that. I love that just by showing us some excellent character designs, anybody with half a brain can already figure out the particular type of magic each Coven Head specializes in. It's a perfect example of the show-don't-tell level of storytelling that is always at its best through animation, and I'm all for it because of it.

What the Day of Unity is: Several fans, myself included, have already speculated that the Day of Unity was that Emperor Belos planned to combine the human world with the Boiling Isles and rule it all with an iron fist. That being said, figuring it out is one thing, but being told that it's true is a whole different level pants-s**ting horror that I AM NOT READY FOR! Even when it's going to happen, I can assure you that I will not be prepared to witness it ...and I am scared of when it does.

Belos Body Horror: ...Disney, I was already scared s**tless of this guy. I DO NOT NEED THIS!

That being said, seeing Belos do...whatever the f**k that was, helps explain further why he needs the magic in palismans. I always assumed because it's like fuel for a car, giving him the power he needs. Now, even though the answer is more apparent, there are still some questions to be had. Is he cursed, and the magic keeps it at bay like Eda's potions? Or did he experiment with the wrong type of magic, and the palismans keep him stable? Only the future can say for sure...and I'm also not prepared for the answers from that either.

Golden Guard is Belos’ Nephew: Gosh dangit, THE INTRO HASN'T EVEN STARTED YET, AND THIS EPISODE IS ALREADY GIVING SO MUCH!

But, yeah, the most powerful witch on the Isles is apparently Golden Boy's Grunkle Belos. That very knowledge is incredibly interesting to discuss while presenting possibilities for future narratives. I don't know about you, but I see the Golden Guard going down the path of Zuko, learning that the magic of friendship is worth much more than whatever power he gains from being Belos' nephew. And possibly earning his uncle's love seeing how he's the only family he has. It's a situation that's vastly different from Amity's because even when she defies her parents, she'll still have Edric and Emira at the end of the day. For Golden Guard, knowing that he lost a great family to wild magic, the inclination to go against Belos is a lot weaker due to him being all he has left.

Oh, and also, Belos' family getting wiped out because of wild magic. Yeah, not only does that give the best type of motivation for Belos' distaste for it, but it also explains the Golden Guard's hesitance to use it. He's inclined to so he can save his uncle, sure. It's only the fact that he knows what happens with wild magic that causes some resistance...Also, we're less than a minute in, and I'm already getting all of this from one discussion between two characters.

HOW IS THIS SHOW SO GOOD?!

Intro Changes: It's about time too. It seems weird that the crew waited to change Eda and King's designs in the intro this late in the game, but it also tells me that Amity dying her hair lavender is the last huge change this season will present. Otherwise, why change the intro at all if you were going to alter Luz, Willow, and Gus' designs anyway? It just doesn't make sense to me.

Luz Keeping the Echo Mouse as a Pet: The fact that she keeps the most important creature in the world to her as a pet...it's...it's adorable, alright? And as we established several times, I cannot hate adorable things.

Don't judge me!

Amity Staying Home: There are two plausible ways why Amity didn't go to school that day. Either she's getting punished for dying her hair or because she's trying to avoid Luz so they won't talk about the you-know-what. Either could work and seem understandable to Luz, thus explaining why she admits how "that makes sense." Although, there is something to discuss in how Luz is curious as to where Amity is. Judging from the tone of her voice, it's pretty clear that she wants to talk about the little peck on the cheek and maybe get some confirmation as to what it means. Because there is no going back from that. You can explain away saying or doing something stupid, but you cannot un-kiss a cheek. That is a point of no return, and if Amity really is avoiding Luz because of it, that means it's up to our favorite weirdo to make the first move. As for what that may entail...we'll just have to wait and see.

Frewin: We get two bits of information here for the price of one reveal here. Knowing that Frewin is a palisman is shocking enough, but the knowledge that Bump is partially blind and needs Frewin to see? That is an intriguing piece of intel that I would have never expected to get revealed. This is reason #5,279 for what makes The Owl House so good. Even when the show presents information you wouldn't guess, it's all so interesting anyways that you can't help but go along with it.

Adopting Palismans: First of all, love the fact that the Bat Queen makes a return to provide a solution to the palisman trees being rare and solving her own problem regarding the discarded palismans. It's a situation where everyone wins in a way that is so clever that I can't help but admire it.

Second, the idea of students choosing to adopt palismans instead is cute. I'd say it gives further insight into who these characters are in how they say what they want to be, but there's nothing really new added that fans couldn't figure out from the get go. But I will say that it's pretty cool to know that these characters have official staffs now. Speaking of which, if you're upset that their palismans don't match up with your headcanons...grow up.

This was a cute and smartly written scene that should not be bogged down by whiney fans who can't accept a series doing something different from what they expect.

Little Rascal: I’d take a bullet for this bird. That is all.

Luz Being Uncertain of her Future: A lot of fans offer several ideas of what the future could look like for Luz. Will she stay in the Boiling Isles? In Connecticut? Or will she go back and forth? We don't know, but one question we rarely brought up is what does Luz want? More specifically, what does she want to do? After everything Luz went through, the adventures she's gone on, and the lessons learned, what is something that Luz wants her future to be? That's an answer she doesn't really figure out, and I'm genuinely ok with that being a question that's tabled for another day. Most kids who ask that question themselves aren't always going to find an answer after a short amount of time and sometimes even need to spend their lives trying to figure it out. So having it be something Luz has to consider and probably find out in a future episode is the smarter option, as it allows time for it to simmer in her own mind and provides more insight into her character. As stated several times in this episode, she doesn't think things through, so it's nice that the writers finally allowed her some time to wonder what's next when the adventure is over.

Luz Having to Improvise Without Paper Glyphs: You want to know what my favorite Spider-Man moments are (this is relevant. Trust me). My favorite moments are when Spidey's web-shooters run out of fluid, and he's forced to improvise with that big brain of his to find a solution. That's sort of what happens with Luz in "Hunting Palismans." She didn't bring her glyphs with her (why would she), so she's forced to use the environment around her to make new ones. Plus, Luz also flexes her knowledge of the Boiling Isles by mixing her glyphs with a magical plant (which Willow certainly told her about) so that she and the Golden Guard could knock out Kikimora's dragon. It's yet another showcase of her intelligence that a lot of fans are too keen to overlook. Unfortunate to see, too, because looking at how well Luz can craft the perfect solutions by fighting smarter, not harder, is a fantastic add-on to her personality. I love characters who win through their wits rather than their raw powers, and I once again hope more people will catch onto that aspect of her too.

Golden Guard Whistling the Theme: Look, I love it when a show acknowledges its own theme song, ok? Leave me alone.

Luz and the Golden Guard: This is one of those dynamics you didn't know you wanted until you have it. And now that I have it, I DEMAND MORE!

Seriously, seeing these two interact off of each other was a ton of fun to watch. When Luz and GG are initially at each other's throats, their threats and mockery towards one another aren't out of spiteful anger between two mortal enemies. It's more like...two siblings who get on each other's nerves yet are supposed to deal with one another. It's equally adorable and hilarious, and yes, I absolutely loved that they're forced to work together in this episode because of it.

Although, while the entertainment value is fantastic, it also adds more proof of why Luz is the best character in the series. She spends one night with this guy, and that's more than what she needed to make a difference with him. I wouldn't go so far as to say that they're buddies now, but Luz definitely sowed the seeds into his redemption. He's far from willing to join her side, but he still does something he rarely does with anyone else: He told her that his name is Hunter. And this is what Luz does. Through nearly every person she meets on the Boiling Isles, she always manages to change them for the better. It'll be a while before Hunter deflects from Belos, but if Amity proves anything, Luz has a way of sneaking into people's hearts. They just need to spend more time with one another, and I can't wait to see what happens next because of it.

Kikimora Wanting to Kill Hunter: This shows a lot about who Kikimora is, but it potentially proves just how dysfunctional the Emperor's Coven can be. If Kiki proves anything, the coven must be filled with people willing to backstab and cheat their way to get on Emperor Belos' good side. Just look at Lilith. She literally cursed her own sister just to get in and received all the rewards because of it. The Emperor's Coven may be the best choice for witches to do magic, but if you're surrounded by people you can't trust, then is it really worth it?

The Guards Not Knowing Who Hunter is: This helps add to how much of a big deal it is for Hunter to reveal his name to Luz. If people can't even recognize his face, there's a chance it means that he keeps his true identity a secret except for those in his inner circle.

And the coven guards brushing off his brand is more than believable to me. They may be aware that Belos' right hand is young, but teens will be teens. Anybody with enough artistic talent can fake a brand. So it isn't too far off for those two to think Hunter was just a kid pulling a prank.

Hunter is Powerless Without his Staff: Not much to say here. It's just some more neat insight into Hunter's character that makes me wonder if even Belos' magic is real magic.

But I will say this: The fact that Hunter comes from a lineage of powerless witches, well, who's to say that isn't because of a...certain ancestor?

(*Cough* Hunter is related to Philip *Cough*)

Hunter vs Kiki: A pretty well-animated fight scene that adds potential drama to the story for the future. Now that Kikimora knows that Hunter helped Luz escape with the palismans (albeit unwillingly), she may or may not hold that over his head when the time comes. Or, at the very least, decides to keep a closer eye on him whenever he makes a slip-up.

Eda and King Getting Luz her own Palisman Wood: These last two weeks have been severely lacking in the Eda and King department, but scenes like this more than make up for it. Those two have formed such a bond with Luz to the point where they would do the impossible if it meant she would feel better. It proves just how much of a family they all are and the lengths they would go for each other. After all, weirdos have to stick together.

Little Rascal going to Hunter: Hunter is right. That was surprising.

Given how much Little Rascal stuck by Luz, I was more than positive that she would be the one he chose. So seeing Little Rascal pick Hunter instead is a much nicer twist. There could be multiple reasons why, and I'm just going to leave that to the analyzers in this fandom to decide. Especially since the answer isn't really all that important.

So, instead, I'm going to go ahead and sit in the corner as I wOrRy AbOuT tHe DaY tHaT bElOs FiNdS lItTlE rAsCal!

IT'S GONNA HAPPEN! AND I SWEAR TO ALL THAT IS HOLY, IF THE WRITERS KILL HIM, I WILL NOT BE HAPPY!

WHAT I DISLIKED

First, there's...um...

Well, there was this...

Ok, as much as I liked--No, that turned out well anyways...

…

...

...I've got nothing.

I, honest to goodness, have no complaints about "Hunting Palismans" Not even the tiniest of nitpicks I would usually ignore due to how well-executed everything else was.

It's all written fantastically to the point where it's...perfect.

IN CONCLUSION

"Hunting Palismans" is an easy A+. It introduces even more plot threads, gives insight into characters, and despite being essential to the story, it still manages to be a fun episode all on its own. And, I'd go so far as to say that it's one of the best, if not the best, episodes in the series. There's nothing bad about it, and that surprises me. I rarely find nothing bad to say about any story, even the ones I enjoy greatly. I'm sure there are some flaws that others would be more than happy to point out, but why bother hunting for the imperfections when I could accept that, for once, an episode is simply perfect.

(And that’s six hits in a row...THAT STINKER IS GOING TO HAPPEN! It hasn’t happened yet, BUT IT’S GOING TO HAPPEN! I CAN FEEL IT!)

[telehxhtrash]

I originally wanted to make two separate posts about this but i’m actually making a single one : the overarching theme of love, redemption, second chances and Togashi’s overall positive and optimistic writing are leading me to believe a few things concerning Killua and Gon’s relationship, namely that we’ll get an explicit romantic confession to canonize their relationship, but also that Gon is actually the one who fell for Killua first.

First of all, I know I say it a lot but I really, really do believe that by the end of the manga, Killua and Gon’s relationship will be a canon romantic one. I wrote a short post about this already, but I’m gonna explain briefly my point of view on this as I believe it’s important and relevant to the points I want to try and make in this post.

• Killua is pretty much canonically in love with Gon. There’s just too much subtext concerning this matter, and the “shinjuu” line single-handedly canonizes that fact. Togashi is a very, very smart man, and doesn’t throw random words around, he knows the weight of the word shinjuu and what it implies, and the entire chimera ant arc focuses on Killua’s feelings towards Gon, so there is no doubt in my mind that Killua canonically has romantic feelings for him. These two tweets live in my head rent free because it’s so wonderfully written, so here you go :

• I also deeply believe that Togashi would never leave this ambiguous. I wrote a full post about this if you want to read it, but basically, it doesn’t fit Togashi’s writing style. A lot of people say that Togashi’s queer rep is ambiguous in HxH, but it’s unfair because HxH is literally not over yet. There are still ambiguous things because the manga is still developing. Thing is, Togashi has put queer characters in his previous works, and it was never ambiguous. It was always explicitely stated. Same goes for the relationships between his characters. There’s no reason to believe this wouldn’t be the case for HxH.

• Togashi’s positive writing is echoed in Killua’s story arc, in the sense that Killua reflects Togashi’s optimistic writing style and the overarching theme of love, redemption, second chances and the power human connection. 

Killua’s character arc is one of slowly changing your life around, becoming your best self with a little help from someone to show you the way, it’s about positive growth, healing from trauma and going against what people think of you. It’s about healing and becoming your best self, no matter what.

It’s a very positive character arc, and one that’s been thoroughly demonstrated during the entire story.

That’s why Killua’s romantic feelings towards Gon could never stay unrequited one way or another, because it just would defeat the entire positive narrative of Killua’s character arc. Because Killua’s character arc is about healing and growing, and even though you thought you could never do that, learn how to love. It’s about finding love after abuse. 

And to me, the only way to complete that story arc, when we know that Killua canonically has romantic feelings towards Gon, would be for Gon to return those feelings. Because Killua’s character arc isn’t only about learning how to love someone no matter what, but also about being loved in return. That’s how you complete Killua’s positive story arc. 

I’ll come back to this theme a bit later on, though.

• There’s no way Shonen Jump can intervene and censor HxH. Now, I think I’m one of the few meta writers who actually believes this, but I’m 100% convinced that Shonen Jump always knew that HxH is queer work. I wrote multiple posts about this : the first post I linked mentions why SJ probably knows ; on the general gay subtext in both anime adaptations ; on 99 specifically and finally on the fact that it’s weird that gay subtext was emphasized in 99 anime when there was none in canon material only for it to appear later on in the manga.

But to summarize, there’s just no way Shonen Jump doesn’t know. 

First of all, Hunter x Hunter is published right after Yu Yu Hakusho. Thing is, Togashi ended YYH for a few reasons, but one of them was because he didn’t feel free of doing what he wanted to do with his story, because Jump kept on declining his ideas.

This led him to completely drop the story. Now, if you’re a manga writer who’s been deeply disgusted by how your last manga was controlled, what would you do ? I’m sure you would make 100% sure you could take your next story wherever you wanted. And I’m certain that’s what Togashi did. Because to be able to write his story the way he wanted, he had to make sure SJ would allow him to go anywhere he wanted. That includes his characters and their relationship dynamics, which are the basics when you pitch a story.

Togashi also emphasized in one of his interviews that he’s free to do whatever he wants.

Furthermore, Togashi’s editors and Shonen Jump aren’t dumb. They can definitely pick up on the gay subtext. If they didn’t want gay things in HxH, they would’ve never let Togashi publish some chapters, ESPECIALLY the chapter where Killua declares he’ll commit shinjuu with Gon. SJ isn’t dumb. Shinjuu hits HARD, especially in japanese, so they definitely know what it means (it’s literally the equivalent to saying them dying together would be like Romeo and Juliet).

Finally, and that’s half crack-theory half serious, but one of the main reasons I believe SJ knows is because of the 99 anime adaptation. It was HxH’s first anime adaptation, and Togashi was involved in it to some extent. Now, 99 is extremely gay. I linked the posts where I talk about it above, but basically, it’s rainbow flags overlay on top of the characters in the opening, gay opening and ending song lyrics, over the top gay lines and situations.... which is interesting. Because like i mentioned in one of these posts, it’s interesting that this gay subtext was present and highlighted in the anime adaptation when there was none in the manga at that stage. It’s very, very interesting that gay subtext appeared later on in the manga, after the anime adaptation went crazy with it. I firmly believe it’s because Togashi pitched his manga as gay to the 99 animators, and if so, that’d mean SJ would also know.

Anyways ! In short, I believe Killua and Gon’s relationship will become canon by the end of the manga because there’s no risk of editorial meddling since SJ probably knows this is where the story is going. Killua’s romantic feelings are also pretty much canon, and the only way to complete his positive character arc would be to have Gon return those feelings and prove that you’re worthy of love no matter what. Finally, Togashi would never leave it ambiguous, because that’s something he’s never done before, and Killua and Gon’s relationship has never been portrayed as ambiguous nor subtle, it’s still developing.

Now !! This was just an introduction to what I wanted to talk about in this post, I’m sorry you still have a bit more reading to do HAHAA

But ! 

With this belief in mind that Killugon will be canon in the end, there are two things I want to talk about.

• First, I genuinely believe we’ll get a romantic, highly emotional love confession scene between the two of them. For the sole fact that it’s something deeply intertwined with Killua’s character arc.

Like I mentioned above, Killua’s arc is about overcoming trauma and having a second chance at life, a chance to be better, a chance to be your best self. His arc is about opening up his heart to new experiences and new feelings, and learning how to love and pass that love around. His story arc is representation for trauma survivors that things can and will get better, and you can overcome anything, turn your entire life around, heal, and thrive.

And to me, the completion of that story arc is definitely to show that not only can you learn to open up your heart and love someone, but that you can be loved for who you are. That someone can look at you for who you are, accept you and love you no matter what. You can be loved by someone the same way you love them, in a romantic way.

To me, that’s where the story is going. Considering Killua’s canonical romantic feelings, and the overall positive themes surrounding his character arc, there’s no doubt in my mind that this is the message Togashi wants to convey.

And in my opinion, this message wouldn’t be delivered ambiguously or subtly. This narrative of being loved has always been enforced through highly emotional scenes throughout the manga, to highlight the message that yes !! you, trauma survivor !! can be loved for who you are !!

It’s been expressed through that emotional scene where Nanika tells Killua she loves him, for example.

It’s also been displayed in the countless scenes where Gon expresses his love for Killua, expresses his admiration for him, how he’s glad he’s met him, how happy he makes him, how Killua is his best friend in the entire world.... It’s been conveyed through the stargazing scene on Whale Island, through the entire Zoldyck Family Arc where Gon waltzs in the Zoldyck Mansion to rescue Killua, through the scene in Greed Island Arc where Gon tells him he’s glad to have met him, through the dodgeball match scene where Gon declares that it can only be Killua holding the ball, through the moment Gon says that the first thing he’ll do when he sees Ging is introduce him to his best friend in the whole world, Killua. 

Togashi could have chosen to show and not tell that Gon cares a lot about Killua, and that he finally found someone who loves him for who he is. He could’ve made them hang out normally, and we would’ve understood that Killua found someone who accepts him. But no, this has always been the main theme of HxH. Seeing the both of them grow closer and closer and grow and heal together. He chose to highlight the fact that he’s loved and cared for through words of affirmation to emphasize the narrative of being loved after surviving trauma. For the purpose of providing an extremely clear message of love to trauma and abuse survivors who identify with Killua : that you can find someone like Gon, someone who will love you for who you are. Togashi wanted to make it explicitly clear.

So now, since all of these words of affirmation were “platonic” (i’ll come back to the quotation marks in the last part of this post), but still highly emotional :

Wouldn’t it make sense that the romantic application of this narrative would also be portrayed through a highly emotional scene ? 

For the sole purpose of highlighting the final message of Killua’s story arc of overcoming your past and being loved and accepted for who you are, in a romantic way this time ? Of being loved the same way you love ? 

Since we’ve had so many platonic reaffirmations of this idea, I think it’d be fitting for the romantic part of the narrative to be conveyed through a highly emotional scene. Like a confession scene under the stars that would parallel the stargazing scene on Whale Island, for example, since stars are thematically fitting since they are linked to Killua’s story echoing Tanabata. 

An open love confession would be the final and ultimate way to cement that narrative of loving and being loved. A highly emotional scene, just like we’ve always had, to demonstrate the romantic application of the theme of being loved after experiencing trauma. The ultimate, non-ambiguous message of unconditional love for trauma survivors. 

Showing that you, trauma survivor who identifies with Killua, can learn to love yourself, love someone else and be loved in return.

• Keeping Killua’s character arc in mind, I want to adress a final point that I deeply believe is true. 

To me, Gon is the one that actually fell in love with Killua first.

Thing is, Gon is that type of character that acts first and thinks later on. He always does things on instinct, only giving it thought after the thing happened. So it 100% makes sense that it would apply to romantic feelings too. That’s why, to me, it’s very likely that Gon fell in love first but just didn’t realize it was romantic feelings, because he’s 12, never really thought about it and feelings are confusing. And to me, Togashi is setting up feelings realization on Gon’s part.

Gon has always behaved very intensely with Killua, always reaffirming how much he means to him. He’s always taken onto that role of providing Killua with love from the moment he met him. He accepted him for who he is, and always made him feel cared for. 

Togashi definitely planted the seeds for a possible interpretation of this idea of him falling first. The stargazing scene on Whale Island is just.... so romantic in nature. Gon tells Killua that he’s happy when he’s with him under a starry night sky, tells him he wants to travel the world with him and stay with him, because his presence next to him fills him with joy. Then we have his constant words of affirmation towards Killua, and how cool he is, how amazing and strong he is...

But to me, what really convinces me that Gon fell first is Greed Island arc. Gon’s behavior towards Killua during this arc was extremely emotional. It was deep, deep care and love for his best friend. We get to see him blush as he tells Killua that he’s really, really glad he’s here with him and glad he’s met him.

We get to see him declare that the first thing he’ll do when he finds Ging will be to introduce his amazing best friend to him.

But honestly, what made my brain explode is the dodgeball scene. 

Because as I mentioned in this post, the phrasing Gon uses is one that is used in romantic contexts to confess to someone. It’s a love declaration, literally. And I don’t believe Gon meant it as romantic, because he probably has no idea his feelings are romantic in nature. But. Togashi is a troll. He really, really enjoys toying with his readers. 

To me, the fact this sentence is romantic in nature could be Togashi putting Gon’s feelings right in front of our faces, hiding it in double meaning but still plainly there for us to see. It could be Togashi toying with us in the process of setting up Gon’s feelings, so that when it gets canonized that Gon fell first, on a re-read of the manga, you go “oh. that sentence is romantic. it was literally right in front of our eyes the entire time”. I’m probably reaching !!! but!!!! the fact is, this sentence is still romantic in meaning. It’s still coated in romantic subtext. And that’s intentional on Togashi’s part.

I’ll link this magnificent post by Quintessence that basically explains what I just said much better.

In short, it would totally make sense that Gon fell first. It wouldn’t come out of nowhere, since Gon’s behavior from the beginning of the manga can definitely be interpreted as romantic in nature. The countless emotional scenes where he asserts how much he cares for Killua can definitely be read as romantic, and Gon’s behavior can definitely be explained by him having a crush on Killua, despite him not knowing.

Now, the thing that makes me further believe this is true is the fact that symbolically speaking, it makes sense that Gon fell in love with Killua first. It would enforce the narrative of Killua’s character arc of being loved for who you are and not having to earn love.

It would literally dismiss everything Killua believes about having to earn the right to be loved. About having to earn his place right next to Gon. About having to change to be good enough for Gon.

Because if Gon fell first, then Killua was loved for who he is from the beginning, from the moment they met. Killua didn’t have to earn his love, like he thought he had to, especially in CAA, because he was loved the same way all along.

It’d show that Gon didn’t start to love Killua because Killua earned that right by changing for Gon. He didn’t start to love Killua when he started to heal and change his life to become a good person. He was always loved for who he is because Gon always saw him and loved him no matter what.

And that would once again highlight Killua’s character arc beautifully. It’d show that you are worthy of love even if you literally just came out of years of abuse. That someone can look at you and instantly fall in love with you, no matter how broken and unworthy of love you think you are. You never, ever had to earn that love. It was always here to begin with.

It’d break Chimera Ant Arc completely, it’d break Killua’s belief that he was unworthy of staying by Gon’s side and that he had to earn his place. Because he was always loved and never had to earn his right to stay by Gon, because Gon wanted him there all along. 

And that is a beautiful, deeply symbolic meaning that would complement Killua’s character arc perfectly.

It’d be Togashi showing trauma survivors that you can heal and love yourself, learn how love someone else and be loved in return. 

Showing trauma survivors that you don’t have to prove your worth to be loved. That just like Killua, even if you came out of years of abuse, a broken, scared person, you’re always worthy of love. That you’re worthy of love at any stage of your healing phase. That you’re worthy of love no matter how broken you feel you are. 

Someone will always love you and accept you for who you are. 

Anyways !! Thank you for reading this !! Those two headcanons are really precious to me and I really do believe they could come true. Because it’d make sense in so many ways ! 

I know it’s hard to imagine such a thing happening, because queer representation has always been ambiguous that it’s hard to fathom a manga being openly gay, but I really want to be optimistic about it. We got the subtext, the author interested in LGBT-rep, the positive narrative and virtually no risk of being censored. 

So I want to stay optimistic on this and believe that we’ll get a romantic love confession as a way to canonize their relationship, and that it’ll become evident one way or another that Gon fell in love with Killua first.

Thanks for reading !! 

[ot3]

i watched red vs blue: zero with my dear friends today and i was asked to “post” my “thoughts” on the subject. Please do not click this readmore unless, for some reason, you want to read three thousand words on the subject of red vs blue: zero critical analysis. i highly doubt that’s the reason anyone is following me, but hey. 

anyway. here you have it. 

Here are my opinions on RVB0 as someone who has quite literally no nostalgia for any older RVB content. I’ve seen seasons 1-13 once and bits and pieces of it more than once here and there, but I only saw it for the first time within the past couple of months. I’ve literally never seen any other RT/AH content. I can name a few people who worked on OG Red vs. Blue but other than Mounty Oum I have NO idea who is responsible for what, really, or what anything else they’ve ever worked on is, or whether or not they’re awful people. I know even less about the people making RVB0 - All I know is that the main writer is named Torrian but I honestly don’t even know if that’s a first name, a last name, or a moniker. All this to say; nothing about my criticism is rooted in any perceived slight against the franchise or branding by the new staff members, because I don’t know or care about any of it. In fact, I’m going to try and avoid any direct comparison between RVB0 and earlier seasons of RVB as a means of critique until the very end, where I’ll look at that relationship specifically.

So here is my opinion of RVB0 as it stands right now:

1. The Writing

Everything about RVB0 feels as if it was written by a first-time writer who hasn’t learned to kill his darlings. The narrative is both simultaneously far too full, leaving very little breathing room for character interaction, and oddly sparse, with a story that lacks any meaningful takeaway, interesting ideas, or genuine emotional connection. It also feels like it’s for a very much younger audience - I don’t mean this as a negative at all. I love tv for kids. I watch more TV for kids than I do for adults, mostly, but I think it’s important to address this because a lot of the time ‘this is for kids’ is used to act like you’re not allowed to critique a narrative thoroughly. It definitely changes the way you critique it, but the critique can still be in good faith.  I watched the entirety of RVB0 only after it was finished, in one sitting, and I was giving it my full attention, essentially like it was a movie. I’m going to assume it was much better to watch in chunks, because as it stood, there was literally no time built into the narrative to process the events that had just transpired, or try and predict what events might be coming in the future. When there’s no time to think about the narrative as you’re watching it, the narrative ends up as being something that happens to the audience, not something they engage with. It’s like the difference between taking notes during a lecture or just sitting and listening. If you’re making no attempt to actively process what’s happening, it doesn’t stick in your mind well. I found myself struggling to recall the events and explanations that had immediately transpired because as soon as one thing had happened, another thing was already happening, and it was like a mental juggling act to try and figure out which information was important enough to dwell on in the time we were given to dwell on it.

Which brings me to another point - pacing. Every event in the show, whether a character moment, a plot moment, or a fight scene, felt like it was supposed to land with almost the exact same amount of emotional weight. It all felt like The Most Important Thing that had Yet Happened. And I understand that this is done as an attempt to squeeze as much as possible out of a rather short runtime, but it fundamentally fails. When everything is the most important thing happening, it all fades into static. That’s what most of 0’s narrative was to me: static. It’s only been a few hours since I watched it but I had to go step by step and type out all of the story beats I could remember and run it by my friends who are much more enthusiastic RVB fans than I am to make sure I hadn’t missed or forgotten anything. I hadn’t, apparently, but the fact that my takeaway from the show was pretty accurate and also disappointingly lackluster says a lot. Strangely enough, the most interesting thing the show alluded to - a holo echo, or whatever the term they used was - was one of the things least extrapolated upon in the show’s incredibly bulky exposition. Benefit of the doubt says that’s something they’ll explore in future seasons (are they getting more? Is that planned? I just realized I don’t actually know.)

And bulky it was! I have quite honestly never seen such flagrant disregard for the rule of “show, don’t tell.” There was not a single ounce of subtlety or implication involved in the storytelling of RVB0. Something was either told to you explicitly, or almost entirely absent from the narrative. Essentially zilch in between. We are told the dynamic the characters have with each other, and their personality pros and cons are listed for us conveniently by Carolina. The plot develops in exposition dumps. This is partially due to the series’ short runtime, but is also very much a result of how that runtime was then used by the writers. They sacrificed a massive chunk of their show for the sake of cramming in a ton of fight scenes, and if they wanted to keep all of those fight scenes, it would have been necessary to pare down their story and characters proportionally in comparison, but they didn’t do that either. They wanted to have it both ways and there simply wasn’t enough time for it. 

The story itself is… uninteresting. It plays out more like the flimsy premise of a video game quest rather than a piece of media to be meaningfully engaged with. RVB0 is I think something I would be pitched by a guy who thinks the MCU and BNHA are the best storytelling to come out of the past decade. It is nothing but tropes. And I hate having to use this as an insult! I love tropes. The worst thing about RVB0 is that nothing it does is wholly unforgivable in its own right. Hunter x Hunter, a phenomenal shonen, is notoriously filled with pages upon pages of detailed exposition and explanations of things, and I absolutely love it. Leverage, my favorite TV show of all time, is literally nothing but a five man band who has to learn to work as a team while seemingly systematically hitting a checklist of every relevant trope in the book. Pacific Rim is an incredibly straightforward good guys vs giant monsters blockbuster to show off some cool fight scenes such as a big robot cutting an alien in half with a giant sword, and it’s some of the most fun I ever have watching a movie. Something being derivative, clunky, poorly executed in some specific areas, narratively weak, or any single one of these flaws, is perfectly fine assuming it’s done with the intention and care that’s necessary to make the good parts shine more. I’ll forgive literally any crime a piece of media commits as long as it’s interesting and/or enjoyable to consume. RVB0 is not that. I’m not sure what the main point of RVB0 was supposed to be, because it seemingly succeeds at nothing. It has absolutely nothing new or innovative to justify its lack of concern for traditional storytelling conventions. Based solely on the amount of screentime things were given, I’d be inclined to say the narrative existed mostly to give flimsy pretense for the fight scenes, but that’s an entire other can of worms.

2. The Visuals + Fights

I have no qualms with things that are all style and no substance. Sometimes you just want to see pretty colors moving on the screen for a while or watch some cool bad guys and monsters or whatever get punched. RVB0 was not this either. The show fundamentally lacked a coherent aesthetic vision. Much of the show had a rather generic sci-fi feel to it with the biggest standouts to this being the very noir looking cityscape, which my friends and I all immediately joked looked like something from a batman game, or the temple, which my friends and I all immediately joked looked like a world of warcraft raid. They were obviously attempting to get variety in their environment design, which I appreciate, but they did this without having a coherent enough visual language to feel like it was all part of the same world. In general, there was also just a lack of visual clarity or strong shots. The value range in any given scene was poor, the compositions and framing were functional at best, and the character animation was unpleasantly exaggerated. It just doesn’t really look that good beyond fancy rendering techniques.

The fight scenes are their entire own beast. Since ‘FIGHT SCENE’ is the largest single category of scenes in the show, they definitely feel worth looking at with a genuine critical eye. Or, at least, I’d like to, but honestly half the time I found myself almost unable to look at them. The camera is rarely still long enough to really enjoy what you’re watching - tracking the motion of the character AND the camera at such constant breakneck high speeds left little time to appreciate any nuances that might have been present in the choreography or character animation. I tried, believe me, I really did, but the fight scenes leave one with the same sort of dizzy convoluted spectacle as a Michael Bay transformers movie. They also really lacked the impact fight scenes are supposed to have.

It’s hard to have a good, memorable fight scene without it doing one of three things: 1. Showing off innovative or creative fighting styles and choreography 2. Making use of the fight’s setting or environment in an engaging and visually interesting way or 3. Further exploring a character’s personality or actions by the way they fight. It’s also hard to do one of these things on its own without at least touching a bit on the other two. For the most part, I find RVB0’s fight scenes fail to do this. Other than rather surface level insubstantial factors, there was little to visually distinguish any of RVB0’s fight scenes from each other. Not only did I find a lot of them difficult to watch and unappealing, I found them all difficult to watch and unappealing in an almost identical way. They felt incredibly interchangeable and very generic. If you could take a fight scene and change the location it was set and also change which characters were participating and have very little change, it’s probably not a good fight scene. 

I think “generic” is really just the defining word of RVB0 and I think that’s also why it falls short in the humor department  as well.

3. The Comedy

Funny shit is hard to write and humor is also incredibly subjective but I definitely got almost no laughs out of RVB0. I think a total of three. By far the best joke was Carolina having a cast on top of her armor, which, I must stress, is an incredibly funny gag and I love it. But overall I think the humor fell short because it felt like it was tacked on more than a natural and intentional part of this world and these characters. A lot of the jokes felt like they were just thrown in wherever they’d fit, without any build up to punchlines and with little regard for what sort of joke each character would make. Like, there was some, obviously Raymond’s sense of humor had the most character to it, but the character-oriented humor still felt very weak. When focusing on character-driven humor, there’s a LOT you can establish about characters based on what sort of jokes they choose to make, who they’re picking as the punchlines of these jokes, and who their in-universe audience for the jokes is. In RVB0, the jokes all felt very immersion-breaking and self aware, directed wholly towards the audience rather than occurring as a natural result of interplay between the characters. This is partially due to how lackluster the character writing was overall, and the previously stated tight timing, but also definitely due to a lack of a real understanding about what makes a joke land. 

A rule of thumb I personally hold for comedy is that, when push comes to shove, more specific is always going to be more funny. The example I gave when trying to explain this was this:

saying two characters had awkward sex in a movie theater: funny

saying two characters had an awkward handjob in a cinemark: even funnier

saying two characters spent 54 minutes of 11:14's 1:26 runtime trying out some uncomfortably-angled hand stuff in the back of a dilapidated cinemark that lost funding halfway through retrofitting into a dinner theater: the funniest

The more specific a joke is, the more it relies on an in-depth understanding of the characters and world you’re dealing with and the more ‘realistic’ it feels within the context of your media. Especially with this kind of humor. When you’re joking with your friends, you don’t go for stock-humor that could be pulled out of a joke book, you go for the specific. You aim for the weak spots. If a set of jokes could be blindly transplanted into another world, onto another cast of characters, then it’s far too generic to be truly funny or memorable. I don’t think there’s a single joke in RVB0 where the humor of it hinged upon the characters or the setting.

Then there’s the issue of situational comedy and physical comedy. This is really where the humor being ‘tacked on’ shows the most. Once again, part of what makes actually solid comedy land properly is it feeling like a natural result of the world you have established. Real life is absurd and comical situations can be found even in the midst of some pretty grim context, and that’s why black comedy is successful, and why comedy shows are allowed to dip into heavier subject matter from time to time, or why dramas often search for levity in humor. It’s a natural part of being human to find humor in almost any situation. The key thing, though, once again, is finding it in the situation. Many of RVB0’s attempts at humor, once again, feel like they would be the exact same jokes when stripped from their context, and that’s almost never good. A pretty fundamental concept in both storytelling in general but particularly comedy writing is ‘setup and payoff’. No joke in RVB0 is a reward for a seemingly innocuous event in an earlier scene or for an overlooked piece of environmental design. The jokes pop in when there’s time for them in between all the exposition and fighting, and are gone as soon as they’re done. There’s no long term, underlying comedic throughline to give any sense of coherence or intent to the sense of humor the show is trying to establish. Every joke is an isolated one-off quip or one-liner, and it fails to engage the audience in a meaningful way.

All together, each individual component of RVB0 feels like it was conjured up independently, without any concern to how it interacted with the larger product they were creating. And I think this is really where it all falls apart. RVB0 feels criminally generic in a way reminiscent of mass-market media which at least has the luxury of attributing these flaws, this complete and total watering down of anything unique, to heavy oversight and large teams with competing visions. But I don’t think that’s the case for RVB0. I don’t know much about what the pipeline is like for this show, but I feel like the fundamental problem it suffers from is a lack of heart.

In comparison to Red vs. Blue

Let's face it. This is a terrible successor to Red vs. Blue. I wouldn’t care if NONE of the old characters were in it - that’s not my problem. I haven’t seen past season 13 because from what I heard the show already jumped the shark a bit and then some. That’s not what makes it a poor follow up. What makes it a bad successor is that it fundamentally lacks any of the aspects of the OG RVB that made it unique or appealing at all. I find myself wondering what Torrian is trying to say with RVB0 and quite literally the only answer I find myself falling back onto is that he isn’t trying to say anything at all. Regardless of what you feel about the original RVB, it undeniably had things to say. The opening “why are we here” speech does an excellent job at establishing that this is a show intended to poke fun at the misery of bureaucracy and subservience to nonsensical systems, not just in the context of military life, but in a very broad-strokes way almost any middle-class worker can relate to. At the end of the day, fiction is at its best when it resonates with some aspect of its audience’s life. I know instantly which parts of the original Red vs Blue I’m supposed to relate to. I can’t say anything even close to that about 0.

RVB is an absurdist parody that heavily satirizes aspects of the military and life as a low-on-the-food-chain worker in general that almost it’s entire target audience will be familiar with. The most significant draw of the show to me was how the dialogue felt like listening to my friends bicker with each other in our group chats. It required no effort for me to connect with and although the narrative never outright looked to the camera and explained ‘we are critiquing the military’s stupid red tape and self-fullfilling eternal conflict’ they didn’t need to, because the writing trusted itself and its audience enough to believe this could be conveyed. It is, in a way, the complete antithesis to the badass superhero macho military man protagonist that we all know so well. RVB was saying something, and it was saying it in a rather novel format.

Nothing about RVB0 is novel. Nothing about RVB0 says anything. Nothing about it compels me to relate to any of these characters or their situations. RVB0 doesn’t feel like absurdism, or satire. RVB0 feels like it is, completely uncritically, the exact media that RVB itself was riffing off of. Both RVB0 and RVB when you watch them give you the feeling that what you’re seeing here is kids on a playground larping with toy soldiers. It’s all ridiculous and over the top cliche stupid garbage where each side is trying to one-up the other. The critical difference is, in RVB, we’re supposed to look at this and laugh at how ridiculous this is. In RVB0 we’re supposed to unironically think this is all pretty badass. 

The PFL arc of the original RVB existed to show us that setting up an elite team of supersoldiers with special powers was something done in bad faith, with poor outcomes, that left everyone involved either cruel, damaged, or dead. It was a bad thing. And what we’re seeing in RVB0 is the same premise, except, this time it’s good. We’re supposed to root for this format. RVB0 feels much more like a demo reel, cutscenes from a video game that doesn’t exist, or a shonen anime fanboy’s journal scribbling than it feels like a piece of media with any objective value in any area.  In every area that RVB was anti-establishment, RVB0 is pure undiluted establishment through and through.  

[incoherentbabblings]

Hi!

I love your content, your love for TimSteph, and I was actually going to ask what you love so much about them. I, for extra credit for English, decided to write an analysis of Stephanie (and why I love her so much), but I just got into comics, and cannot really put my feelings for her in words ... which is odd, considering how much I love her and writing. Also, I was going to do a section on why TimSteph is narrative genius, and I needed help elaborating on that too.

Could you help me out, please? Thanks!

(I feel the need to mention that I have read quite a lot of comics with Stephanie in them, though not all. I'm not much of a comic book fan, but I'm really interested in the Batfamily!)

I'll be very happy to write out bullet points that you could talk about, and feel free to go through my ask and I'll babble/TimSteph meta tags for anything that you think may be worth discussing in your own words - there's like four or so years of stuff there to spark your brain.

HOWEVER!!!! Keep in mind though that much of what I have written is half based on textual evidence and half me just writing what I like/wish would crop up in canon.

For example, yes I like to draw comparisons between Tim being cold and Steph being warm, moon and sun and so on, but there's genuinely nothing in text to hint as this being an actual character trait or symbolism. If anything Tim's stated to be warm several times, more than Steph.

So, and I am sorry to be so blunt, but if I take your request in bad faith for a moment, don't use either directly or indirectly what I've written for your work. Especially without actually going and reading the arcs I talk about. A lot of the time it doesn't hold up under genuine textual scrutiny, and we want to be good academics here! There's Death of the Author and then there's me making crap up because I want to include it in a fanfic. Not the same thing! My blog is called IncoherentBabblings for a reason after all!

I will therefore say this: If you want to write about Steph as a character, I would use the below video as a point of reference. Using the below, you can then go into why she resonates with you the way she does, or why her relationship with Tim is so interesting to you.

If I were you: focus on her dynamic character development: cynical to idealistic. And use three points in her publication history to do this: her introduction in Detective Comics, War Games, and Batgirl. I am sorry to recommend War Games as something to read but it is important to her character. Use the Stephanie Brown Wiki to help!

That lends itself to a biography of her character, a look at her motivations and values, her role within the batfam, and so on. You can also use this to make comparisons with her peers, specifically Tim moving in the exact opposite direction development wise; Babs and Cass in their approaches to Batgirl; and the other Robins through her similar character progression as Dick, which in turn allows her to be a good mentor to Damian, and finally how her character arc runs perpendicular to Jason's. Does that make sense?

Anyway, let's get going! If I were to write an academic piece on Stephanie, these are the main points I would work through. In other words, this is what I would do. You probably will not need nor want to go into this level of depth, and you will want to make it much more personal about why she resonates with you, which may be different to why I love her. So don't worry about touching base with all of them. This is like... 10,000 word essay level stuff. And don't get overwhelmed. I've taken your request far too seriously is all.

Again, I can't write it for you! You gotta do the reading and writing I'm afraid.

...But I still wrote 1,500 words anyway. Gosh darnnit.

Steph’s Character Development

Always keep three points in her character history in mind – her aged 14/15 in her introductory arc in Detective Comics, her aged 16 in War Games, and her aged 18/19 in her Batgirl run.

How does she change? How does she grow as a character? What events caused these changes? Compare that angry 14-year-old trying to choke her father, to the 19-year-old crying happily on the roof. A lot happened between those two points! Outline the main plot beats.

Steph's Role as a Batfam Character:

Protagonist or Antagonist: Supporting Protagonist

Static or Dynamic: Dynamic (think of her character development - angry to alturistic; she softens in her life outlook and in the way she treats others as the years go by)

Minor or Major: Minor and we all mourn that fact :(

Foil or Symbolic: A foil to Tim Drake (and to a lesser extent the other Robins, specifically Jason Todd)

Importance of the character/Position in Society: Fourth Robin, third Batgirl, own superhero. Tim's girlfriend, Cassandra's best friend, one of many of Bruce's 'children'. Initially introduced just as a one-off character for a small arc in Detective Comics, brought back with the intention of being a supporting character to Tim Drake, and eventual love interest. Eventually gained enough popularity on her own terms to support her own solo comic, but has since returned to a supporting role. The character she supports, at the end of the day, is Bruce Wayne.

Motivation

What influences their decisions?: Stephanie's dynamic characterisation comes in here. Compare her motivations during her introductory arc, versus why she does what she does in War Games, versus why she dresses up at Batgirl - Stopping her father, getting Batman's approval, need for redemption.

What do they value?: Values emotional openness, vulnerability, second/third/fourth chances.

Goals/Hopes/Dreams: No long term goals/hopes/dreams in the domestic sense... Continue to be vigilante. Be respected by her peers. Continue to improve self worth through deeds. Graduate college?

What are their views: Views the justice system and police as corrupt, but still trusts in the inherent goodness of people. Focus is usually on the individual, rather than societal or structural.

Actions

Behaviour, Attitudes, Impact on Story and other Characters, Internal Struggle (Wants versus Needs): This is why I think you are best to look at three points in her story - Intro Arc, War Games, Batgirl. Focus on her Wants versus Needs - Steph's take a very long time to align, but they finally do in Batgirl.

Character development is usually driven by the conflict between what a character wants. The plot forces them normally to confront the fact that what they want is not gonna work out, and what they needed instead takes priority.

Everything usually goes tits up for Steph when she is in the driver's seat of the narrative because what she wants from a situation is rarely what she actually needs to happen. See every time she seeks Bruce's approval. She wants it. She absolutely does not need it. And only as Batgirl do we get that acknowledgement, which coincides with her being at the healthiest point in her life emotionally. Look at what she wants as Spoiler during her introductory arc, as Robin/Spoiler during War Games, and then as Batgirl. Why is she so unhappy in the former two? Why have her wants finally aligned with her needs with her time as Batgirl?

Character Traits

Personality: Cynical but perky. Sardonic but sincere. Think about how she changes over the time. This can be attributed to her different writers, but - for example - is there a universe reason for why Batgirl Stephanie is so much more socially awkward than Spoiler Stephanie?

Strengths & Weaknesses: Link these two together because Steph is a very good example where her strengths as a character can simultaneously be a weakness. Her determination can lead to her making ill conceived decisions. Her empathy can lead to her putting her trust in the wrong people. Her forgiving nature can lead to her being taken advantage of. Her temper, whilst landing her in hot water, can also just as often get her out of it.

Relationships

How do they interact with others: Focus on which characters pop up in all three arcs – Steph and her parents; Steph and Bruce; Steph and Tim. I am chucking Cass out the window here, sorry Cass, but if you’re focusing on these three arcs, Cass doesn’t really fit in.

How others view them: Conditional love/affection from her father and Bruce. Unconditional love/affection from Tim and her mother (though both are not without serious pitfalls).

How they view others: Stephanie has explicitly never loved her father. She has also never explicitly hated him either. What does that say about her? Look at her changing closeness with her mother. What changed between them, and again, what does that say about Stephanie? Crystal got sober, supported Stephanie through her pregnancy, Arthur was removed from their lives, Stephanie makes a conscious effort to be closer to her after returning ‘from the dead’, though continues to lie consistently to her. Stephanie admires Bruce, whilst also right from the get go insisting she does not answer to him. She never quite lets go of wanting that approval.

How does society view them: Her outsider role within the Batfam. She never quite belongs, and at points her closest relationships are actively discouraged from seeing her. Which Tim specifically never entertains. This outsider nature bites literally everyone in the butt during War Games. Her outsider status is still in place by the time Batgirl concludes, due to its largely self-contained nature as a book, but this is less being an outsider more having earned to right to operate independently. Trust has been given and earned.

Dialogue

What does she say and how: A teenage girl in New Jersey from a working class background has a very distinct voice. She does not mince words, nor does she hide what she is feeling. If she is happy, she will say so. If she is annoyed, she will say so. What she won’t do is ask for help when she needs it, due to her background formulating a need for her ‘to do things on her own’.

Think of famous/important Steph quotes from the three arcs I keep talking about – the excuse me if I don’t jump when you bark, the I really was part of the legend, the only variable you can control is yourself. These show how Steph views others and herself.

When I was writing I Would Have Loved You, I literally made a spreadsheet where I have picked out what I think are pertinent quotes from every New 52 issue featuring Tim or Steph along with a synopsis that explained what they were up to/what the main theme of the issue was. Not saying you should do the same because I’m just that goddamn anal when it comes to this sort of stuff, but the point is – look for quotes by/about Steph which highlight the above things we’ve talked about. You have thirty years to go through!

Author Intention

What purpose does this character serve?: A character that young female readers could get attached to – the every girl/girl next door archetype or a character that young boys could have a crush on – the kind of girl who’s into the same sort of stuff as you, I think Chuck Dixon once said of her, from her initial appearance. Fodder for Bruce and Tim’s man pain in War Games. Batgirl it’s a combination of filling the void for a female lead solo character in the batbooks, but also tonally taking on a much lighter and self-contained book that new readers could jump into very easily, directly compared to the more lore heavy Batman, Detective Comics, and Red Robin books.

What is the author trying to communicate: Steph’s character shows that determination can only get a person so far, a support system and doing things for the right reasons (again remember that want versus need argument) is the only way a person will genuinely succeed.

What is her main theme?: Balancing cynicism and idealism – doing acts for the right reasons, and discovering what these reasons actually are.

...

Is this even usable for anyone but myself? Possibly not!

Still... Go write! And good luck!

[fktonofwhatnow]

ok hold on. acomaf is my fave book out of the whole series (it's mostly out of emotional value, i read it when i was younger and didn't have a real understanding out trauma and abuse only that i saw a character i loved getting out of a bad situation and getting happy) so obviously i didn't mind feysand being endgame and the development all of the characters had. i can accept tamlin turned out like that is realistic due to his trauma, i can accept feyre had to flee because it wasn't right for her, but the thing is after acofs i see no point to feyre leaving tamlin when rhysand ends up doing everything they told us tamlin was evil and unredeemable for. hiding the risks of her pregnancy, putting on shields on her, having feyre need to compromise over it. i honestly felt so betrayed by that. i'm not saying feyre and tamlin were good for each other, but it doesn't feel worth it to dismiss the potential they had for what we got with feysand.

also, sarah learn to treat "ugly" trauma with respect challenge. no they don't need to learn to physically fight to fight it. no they don't need a love interest to overcome it. yes the behaviors acquired from trauma and abuse aren't pretty but that doesn't mean a person is undeserving of kindness and compassion.

i think i had a point somewhere but i can't get to it. so hope you don't mind my rambling. anyway i loved your meta about tamlin i think he deserves better too

HOLY SHIT THIS ONE IS SO GOOD OK IM SO EXCITED

Bro you are so fine, I'm the one who doesn't make any sense and I totally get what you're trying to say. (Acomaf was actually my favorite book in the series too ngl)

BUT FUCK YEAH LETS TALK ABOUT RHYSAND.

I don't think it's a secret that Rhysand is one of my least favorite characters in media, probably ever? (How do I even put this into words) He is a bad character and to me, laughably so. You know how if you've ever written a character, there's that little phase that's like "what if people don't like this character' and then you're sad for a little bit? That's how Rhysand feels to me. He feels like SJM looked at this character and thought "I can't stand the thought of people not liking this character because I love him so much" and then did everything in her power to make sure we know how great he is.

Idk if this is just me screaming into the void, but I get to this place with my characters where like, especially if they are a little more morally gray or their decisions have negative impacts, I understand that I don't need the audience to like my main character. they can stand on their own, they can own up to what they do and they can grow from it. Thats what a good character does. That's how you keep your audience rooting for them. You gotta knock them over sometimes.

SJm doesn't knock Rhysand over. She doesn't push him to make mistakes, apologize, own up and move on. Rhysand has never made a decision that ended poorly for him. Everything goes the way he wants it to, because SJm wants us to know how cool and great he is. People who are cool and great don't make bad decisions! SJm doesn't let Rhysand fail, and she doesn't let him suffer his own decisions. Everyone else suffers his decisions, not him.

Rhysand's reputation as a good person hinges entirely on the audience liking him and/or thinking he's hot. And then what happens when the audience thinks neither of those things? Ya get a rly long post like this by a lil enby who is mad all the time. Rhysand loses all credibility when you look at him through a critical lens. Not a single thing the man does makes any goddamn sense. Here I thought acosf would give us a different perspective on Feysand and I was desperately hoping that Nesta would tell us what she really sees in them and how people around them really feel, I hoped that SjM would throw us for a loop and tell us that hey, she does know that Feysand are fucking toxic as hell and ruin the lives of people around them and she wants to show us that from an outside perspective but noooOoOOOoOoOOOO...

Instead we get Nesta hating herself because Rhysand told her that she shouldn't tell Feyre that Feyre could uh die in childbirth. Hey what the fuck.

Now I don't actually ship feylin, I kinda always sorta knew, even without spoilers, that it wasn't going to work out. Tamlin isn't sjm's idea of a good partner because he's not charming and witty and dark and handsome ya know? We met Rhysand and I knew that I was going to fucking hate this romance. Which sucks because I found Rhysand so intriguing in the first book. Ngl all the time spent in the spring court was kinda boring and every time Rhysand showed up to throw dead faeries at Tamlin I was like "oooooo" and I wanted to know more about why Tamlin, this awkward, blunt and kinda shy dude had beef with this super duper sly and shady man from another court.

I don't know if I've ever said this before, but SJm doesn't let her love interests grow. Rhysand doesn't change over the course of the story because he was already a good guy and his motives were for Feyre's sake I swear, the same goes for Rowan in TOG. SJm doesn't give Rhysand room to change. She needs to get to the part where they fuck make sure everyone knows that Rhysand is a good guy and actually he was good all along so that we like him more than Tamlin. It backtracks on everything bad Rhysand has ever done because you know... He had a good reason! It's fine!

I know it's probably just because SJm doesn't actually know how to write a good character growth arc but... Like can you imagine if Rhysand stayed the bad guy? Or at least remained the bad guy through acotar and acomaf? And then when Rhysand comes to take Feyre for his bargain it really was only to spite Tamlin? What about Rhysand, taking Feyre to the night court with him once a week every month for a long time, if only to see Tamlin's eyes grow darker and emptier every time he goes, and then he really starts to fall in love with Feyre. He's been a monster all this time, angry and cold and cruel and then he actually starts to fall in love. And then to get Feyre to stay he really does try to change, he stops antagonizing Feyre, he stops throwing dead faeries at Tamlin, and he stops harassing the Spring court. He starts spending genuine quality time with Feyre, he starts to learn about her and all the things she likes and he stops trying to get her to come with him just so Tamlin will be mad. He starts asking her to come with him because he wants to be around her and he prays that someday she'll want to be around him too. What if SJm let him grow.

But nahhhhhh instead we have a character who always knows the right answer to things, and he always knows how to fix every issue, and he is always so innovative and outside the box except that he isn't. We get a character who does the same shit as Tamlin but it's ok because he had a good reason not to tell Feyre that she could very well die in childbirth. Uhhhh don't know what that is but uhhh I know he has his reasons because all he has are his reasons.

It would be so easy to hold a mirror up to Rhysand and say "look at this. Look who you are. Do you not look just like Tamlin right now?"

But nooooooooOoOOOo Rhysand doesn't get to be wrong. Rhysand doesn't get to look like Tamlin because Tamlin is evil and Rhysand is definitely NOT I SWEAR.

But yeah I think the point I'm trying to make is that Sarah thinks so highly of Rhysand that he could never do wrong. He could never be like Tamlin, despite the narrative literally telling us the exact opposite.

Like you said, we lost the potential of what feylin could have been if SJm didn't suddenly decide that her audience needs to love Rhysand as much as she does. I think feylin could have been slow and sweet and a story of true healing and learning about one another. I think it would have been kind and steady and lots of "are you ok"s and "I'm sorry"s and "talk to me"s. Everything about Feysand feels rushed and hard and fast and the rest of the world doesn't have time to catch up. It's fucking exhausting to read it ya know what I'm saying.

(also can we talk about Rhysand like dying and Feyre finding the suriel and learning he's her mate and then instead of being like "k let's put a pin in that and fuckin save his life first" she like throws him around and everyone is like "wtf woman" and she's like I neeD tO Be alOnE these people have no idea how to prioritize)

Truly, I think it's innocent to a degree. There is absolutely no harm in wanting people to like your character. The harm comes when you destroy another character with no reason or explanation other than you want people to like a different character. Villain arc? Completely out of left field. You gotta build to that shit or like... Make it so that when you look back you slap your forehead and yell at a wall "OF FUCKING COURSE I SHOULD HAVE SEEN IT"

anyways, SJm treat "ugly" trauma with respect challenge SECONDED.

WELL IM SO SORRY THIS TOOK ME WEEKS YO WRITE IM HAVING A HARD TIME I know it probably doesn't make any sense I can't find my braincells BUT thanks for the ask @xelly

Tell me all your acotar things I love yo hear them !!

[davidmann95]

How about those JL storyboards?

In case you haven’t heard, Zack Snyder is putting on display the ‘storyboards’ - i.e. a rough plot summary accompanied by some Jim Lee sketches - for what would have been Justice League 2 and 3, or as this puts it 2 and ‘2A’. You can see them here (I imagine better-quality versions will soon be released), and read a transcript here. This is evidently a very early version: this was apparently pitched prior to the release of BvS and Justice League being rewritten in the wake of it, with numerous plot details that now don’t line up with what we know about the Snyder Cut, plus it outright mentions it builds on the originally planned versions of the Batman and Flash movies. But it’s a broad outline of what was gonna go down, and while I initially thought it was Snyder throwing in the towel, the timing - paired with the ambiguity left by the necessity for changes, including that this doesn’t factor whatever that “massive cliffhanger” at the end of the Cut is - says to me he’s hoping this’ll be a force multiplier behind efforts to will sequel/s into existence. He’s probably right.

I’ll be discussing spoilers below, but in short: with this Zack Snyder has finally lived up to Alan Moore, in that like Twilight of the Superheroes I wouldn’t believe this was real as opposed to a shockingly on-point parody if not for direct, irrefutable evidence.

Doing some rapid-fire bullet points for this baby to kick us off:

* Folks who know the subject say a lot of this is a yet further continuation of Snyder doing Arthuriana fanfic with the League reskinned over those major players, and I’ll take their word for it.

* I don’t know whether I love or hate that in Justice League 2 the Justice League are only an extant thing for the first scene, and then it’s Snyder giving everybody their own mini-movies. It’s compressing the entire MCU “loosely interconnected solo stories leading to a single big movie later” strategy into a single movie!

*  Funniest line in the whole thing: "Even Lantern has heard of the Kryptonian, worried that he's under the control of Darkseid. He heard his spirit was unbreakable." Hal what fuckin' Superman movie did YOU watch? Second funniest being “IT WILL GIVE HIM POWER OVER ALL LIVING LIFE”

* 90% of the plot I have nothing to say about, it’s generic stage-setting crap. That to be clear is the ‘shocked it’s Snyder’ element, it feels so crassly commercial in a way I can’t believe is coming from the BvS guy.

* Most of what I have to say is unsurprisingly gonna be about a handful of characters but Cyborg’s happy ending being “he isn’t visibly disabled anymore!” is not great!

* The Goddess of War battle with Superman...never pays off? No clue why it’s there.

* What I’d originally heard was that the Codex in Superman’s blood was the last key to the Anti-Life Equation and that’s why Darkseid was coming to Earth. It’s not like all of this wouldn’t have already been averted by Kal-El’s pod smacking into an asteroid on the way to Earth so it’s not as if this makes it any more Superman’s fault, and it would have at least tied all this back to the beginning of the movies, but I suppose that was either fake or from a later draft.

* I have NO idea how this was reimagined without the ‘love triangle’, it’s the central character thing and the entire climax flows directly out of it!

* Darkseid’s kinda a chump in this, huh

Anonymous said: So: Does Zack Snyder hate Superman?

Look: the hilarity of this when Cuck Kent has been a go-to Snyder cult insult towards ‘inferior’ takes on Superman for years cannot be understated, yet at the same time I can almost wrap my brain around where Snyder’s coming from with that as the end for his take on the character. He talked in that Variety piece on how his interest in Superman is informed by having adopted children himself, and Deborah Snyder is the stepmother to his kids by previous relationships, so I can see where he’d be coming from, and I can even imagine how he’d see this as ‘rhyming’ in the sense of “the series begins with Kal-El being adopted by Earth, it ends with him adopting a child of Earth!” In the same way as MARTHA, I can envision how he would put these pieces together in his head thematically without registering or caring what the end result would actually look like. In this case, Superman raising the kid of the man who beat the shit out of him who Batman had with Clark’s wife, who earlier told Bruce she was staying with Clark because he ‘needed her’, suggesting if inadvertently that this really honest to god was a “she’s only staying with Superman out of pity, she really loved Batman more” thing.

But Clark is nothing in this. He’s sad and existential because of coming back from the dead I guess, then he’s corrupted, then time’s undone and he woo-rah rallies the collective armies of the world (interesting angle for the ‘anti-military/anti-establishment’ Superman he’s talked up as) as his big heroic moment in the finale, and then he stops being sad because he’s adopting a kid. So his big much-ballyhooed, extremely necessary five-movie character arc towards truly becoming Superman was:

Sad weird kid -> sad weird kid learns he’s an alien, is still weird and sad, maybe he shouldn’t save people because things could go really wrong? -> his dad is so convinced it could go wrong he lets himself die -> ????? -> Clark is saving people anyway -> learns his origin, gets an inspiring speech about being a bridge between worlds and a costume -> becomes superman (not Superman, that’s later) to save the world, albeit a very property-damagey version, rejects his heritage he just learned about and space dad’s bridge idea -> folks hate him being superman and that sucks though at least he’s got a girlfriend now -> things go so wrong he considers not being superman but his ghost dad reminds him shit always goes wrong so he should be good anyway, which sorta feels like it contradicts his previous advice -> immediate renewed goodness is out the window as he’s blackmailed into having to try and kill a dude but the dude happens to coincidentally have some things in common so they don’t kill each other after all -> big monster now but superman keeps supermaning at it because he loves his girlfriend and he dies -> he’s brought back, wears black which apparently means now he likes Krypton again? -> he has work friends now but he’s still sad because he was dead -> evil now! -> wait nevermind time travel -> rallies the troops -> his wife’s having a kid so he’s not sad anymore -> Superman! Who gives way to more Batman.

Do I think Zack Snyder is lying when he says he likes Superman? No. I think he sincerely finds much of the basic conceits and imagery engaging. But I don’t think he meaningfully gives shit about Clark as a character, just a vessel for Big Iconic Beats he wants to hit. Whereas while for instance he’s critical of Batman as an idea (at least up to a point), he’s much more passionately, directly enamored with him as a presence and personality. So while Superman may be the character whose ostensible myth cycle or arc or however it’s spun might be propelling a lot of events here, it’s a distant appreciation - of course the other guy takes over and subsumes him into his own narrative. Of course Batman is the savior, the past and the future (though if he’s supposed to be Batman’s kid raised by Superman there’s no excuse for him not to be Nightwing), the tragic martyr to our potential. Admittedly the implication here is also that Batman can apparently only REALLY with his whole heart be willing to sacrifice his life to save an innocent, for that matter apparently his great love, once said innocent is a receptacle for his Bat-brood, but he and Clark are both already irredeemable pieces of shit by the end of BvS so it’s not like this even registers by comparison.

Anonymous said: That “plan” Snyder had was utter dogshit. Picture proof that DC & WB hate Superman. Also I love how you’re like Jor-El: Every single idealistic take you had about Snyder, his fandom, and BvS was wrong. Snyder’s an edgy hack, his fanbase just wants to jerk off to their edgy self-insert Batgod as he screams FUCK while mowing people down with machine guns, and the idea that BvS said Superman was better than Bats was completely wrong. You know what comes next SuperMann: Either you die or I do.

In the final analysis, beyond that mother of god is there sure no conceivable excuse for the treatment of Lois in this? The temptation is to join that anon and say as I originally tweeted that these were “built entirely to disabuse every single redemptive reading of the previous work and any notion of these movies as nuanced, artistic, self-reflective, or meaningful”.

...

...

...yeah, okay, that’s mostly right. Zack Snyder’s vision really was the vision of an edgelord idiot with bad ideas who was never going to build up to anything that would reframe it all as a sensible whole. He’s a sincere edgelord genuinely trying really hard with his bad ideas who put some of them together quite cleverly! But they’re fucking bad and the endgame was never anything more than ramping up into smashing the action figures together as big as he could, the political overtones and moral sketchiness of BvS while trying to say something in that movie reverberated through the grand scheme of his pentalogy in no way beyond giving his boys a big sad pit to rise out of so when they kicked ass later it’d rule harder, and all the gods among men questions and horror and trappings were only that: trappings. Apparently he’s really pleasant and well-meaning in person, but at his core his art as embodied in a couple weeks in his 4-hour R-rated Justice League movie meant to be seen in black-and-white all comes down to that time he yelled at someone on Twitter that he couldn’t appreciate Snyder’s work because it’s for grown-ups. He made half-clever, occasionally exciting shit cape movies for a bunch of corny pseudo-intellectual douchebags, folks latching onto and justifying blockbusters that at least acknowledge how horrifying the world is right now even if the superheroes are basically useless in the face of it if not outright part of the problem until a convenient alien invasion shows up to justify them, and a handful of non-asshole smart people who vibe with it but...well. ‘Suckered’ is a harsh word, and definitely doesn’t apply to all of them re: what they’ve gotten out of it up to this point and would (somehow) get out of this. But it doesn’t apply to none of them, either.

[hopeshoodie]

I’ve been thinking about Boat Party a lot lately. I really /really/ loved the ‘after the villa, after the sparkle of new relationships has faded’ dynamic with all the couples (including MC), and I liked that it was basically a mini-season instead of three episodes. LOVED the podcast framing the story instead of the narrative, and obviously all the characters were far more fleshed out than they were in the main season. But my issues with it are

 - It felt like they ran out of story and started rehashing the same thing (MC’s LI going from wanting to work on the relationship back to avoiding her) and using filler (the carnival is cute but doesn’t have any notable moments), so there were episodes where a bunch of things happened and episodes where nothing really changed

-The backsliding of the relationship issues really framed our primary LIs’ to be in the wrong. I loved most of the initial conflicts, how serious and mature MOST of them were. And I did really like the push and pull of trying to reconcile. But then around day 6 our LIs agree to work on it, then the next episode go back to saying they’re “not sure if it’s going to work”. That was super frustrating and unsatisfying because it felt like our progress was erased.

-The secondary LI being forced on us. I’m only here for Lily, but because the story FORCED me to take Yasmin on a walk now suddenly the narrative is insisting I’m cheating on Lily. I get why we have secondary LIs, but it felt kind of like it did in the main season- literally everyone is interested in MC and when you switch to a new person there’s no narrative tension or differentiation between the different people.

-the premise of a Boat Vacation kind of framed this very post-LITG story in a LITG way. LITG is formulaic because it’s a reality show- a bunch of people who don’t know each other are thrown together on vacation, and as they do Vacation Things they build different relationships. Boat Party was really unique from any other season because it wasn’t a reunion focused only on MC getting with new people or being happy with her LI. It was a story about people, post-production, in the real world navigating real issues. But them being on vacation innately framed it in a LITG way, with ‘outings on the mainland’ taking the place of challenges. This is the key idea that got me thinking about how I would re-write Boat Party.

 Because as much as I enjoyed Boat Party, I don’t think it really delivered on either its themes or the themes of the main season. Boat Party’s themes were realistic relationship conflict, it was about CHOOSING to love people, whereas the main series was about friendships and respecting platonic relationships. Maybe that’s just my interpretation because there was so very little nuance in the romantic stories of S3, BUT ANYWAYS. So if we wanted to better honor those two points (that platonic relationships are important to respect and irl relationships are hard), here’s how I would reframe the S3 reunion-

 It's a wedding episode, but not for MC. I feel like Seb and Genevieve are a better couple and were way more serious than Nicky and Elladine, so we’ll make it a Sebevieve wedding. We still do the same opening with conflicts that Boat Party does (but take out the personality test because that really didn’t impact the story very much and imo broke immersion), but instead of storming off your LI says “what, so you don’t want to go to the wedding together?” MC recoils in confusion, and they say “I brought it in from the mail last week, it’s been sitting on the counter for days. You didn’t read it?”. MC walks over, reads it (the player gets to see the ‘save the date’), and then there’s the first choice of the game. You can either tell your LI you want to go with them, or say you want to go alone.

 I think Boat Party proceeds much like as written after that, but now we have a huge emotional THING that all the characters can react to. We still learn that Elladine’s family is having issues, but we learn it in the context of them questioning their relationship with Nicky because ‘why won’t he commit? I thought we would be the first ones to get engaged’. Because we got that little teaser after stealing the money in S3 of Nicky being down, maybe we get some more noncommittal bs from him. From Seb we get genuine excitement about the wedding, but a little bit of concern about what’s going to happen to the podcast after he’s married to Viv. Viv is all excitement- school is ramping up and now she’s getting married. She definitely gives some good advice to MC about the LI situation. All the other little conflicts are happening in the background, but suddenly everyone’s questioning how legitimate their own relationships are.

 But at the heart of everything is MC and her LI struggling more intensely with presenting happiness to everyone else, while trying to figure out if their relationship is as serious as Seb and Viv’s, and if they even want it to be. Instead of not talking for major swaths of the game, they’re forced into situations like the rehearsal dinner and bachelor/ette party, where they have to pretend everything’s fine and devolve into tension and arguing. Maybe the different LIs like Bill, Lily, Camilo, Ciaran want to get married eventually, while LIs like AJ and Rafi want to pump the breaks and keep things more casual. Instead of backsliding, there’s this mounting tension of increasingly serious conflict which kicks off the night before the wedding. Maybe it’s the ‘I made you food but oops forgot you were vegan’ thing or it’s the LI going ‘I don’t know if I want to keep pretending we’re together’, but there’s a really intense argument scene and THEN the LI storms off for the first time.

You can choose to either go to a specific LI for comfort (which designates them the secondary LI) or sit alone (in which case Viv or Seb will come out to comfort you). There’s a sweet moment of debriefing from the fight, and you can choose to cheat on your partner or not. If you go to Elladine, Seb, or Viv and try to cheat, they’ll be shocked and reject you. We need consequences for feeling entitled to others romantically so bad, so here they are.

Then the entirety of the wedding, your LI is avoiding you. It comes to a head at the reception, when they approach you and ask you to dance. If you say yes, you can try to reconcile with them. Or you can reject them, in which case the secondary LI will ask you to dance. There’s a really sincere conversation on the dance floor, either apologizing for the fight and resolving to do better (MC’s worried that this is all happening because they’re at a wedding, is it going to get better in the real world?) or trying to comfort MC and feel out the new relationship. It culminates at the end of the reception, where the secondary LI asks MC to leave with them. MC’s original LI is there, and she can make eye contact with them and go with the secondary LI, or refuse.

[dangermousie]

Continuing with my reread

And got to the point where they visit the Rufeng Sect.

But before I get to the chapters-specific stuff, I wanted to talk about something that discussion between @moransumbrella and @momoliee (about SQT and RJ) made me think about.

And it’s that in 2ha, one of the big narrative points is that it is understandable to want to survive/get revenge/protect yourself or others but no goal however understandable or noble in the abstract can justify systematically hurting innocents and when you cross that line and keep crossing it, you become a monster. Maybe a tragic one or understandable one, but there is none of that “oh you poor thing, go on” attitude.

Is there any doubt that Shimei is fully justified in wanting to save his people from the horrors they are subjected to in the cultivation world? No, not at all. But leaving aside the irony of his plan wrecking both the one person we’ve seen who never ever went along with that behavior (CWN) and the person who IS part of those people and a special one at that (Moran), those two also being some of the few people who treated him so well, nobody in their right mind would think he’s justified to literally destroy a Universe he is in and then start working on the Universe of the main story. He is a monster pure and simple and nothing can justify what he does. Or, on a smaller scale take someone like Rong Jiu (mainly 0.5), Song QT, Nangong Xu or even that family in Butterfly Town. They all have reasons for doing the horrible things they do - desperation to get out of awful life (RJ, SQT), rightly wanting vengeance for having his place stolen (NX), or even understandable desire to get ahead as a family (Butterfly Town folks.) Shimei’s sister - same - she does the monstrous things she does because she loves her brother. Meatbun gets that very few people genuinely see themselves as villains - even as mad, as gone, as compelled, as broken TXJ was, he still clung to his “I was justified to torture CWN 0.5 because he killed Shimei″ like a life raft. Even a person who was not in any way in possession of free will in his actions or even his thoughts, still felt he needed to operate on a “just world” theory.

BUT the thing is, it makes their actions justified in their own heads but Meatbun never makes the mistake of letting us forget that even monsters with valid reasons are monsters. There is no justification in the world that can make what Shimei did OK, there is no justification in the world that can make anything any of the bad actors do to innocents OK. It relates to huge things (Hua Binan literally destroying the Universe) and little ones (Rong Jiu in the Underworld betraying Moran and CWN.) Sympathy and justice are two separate concepts.

But the other thing I love is nothing is static either. Meatbun doesn’t shie from calling a monster a monster but redemption is possible no matter what. We see this with Moran (until the twist, of course, that no redemption is necessary (sort of - about this more word vomit below) because he’s an even bigger victim than CWN), we see it with Shimei 2.0 - I will never warm up to Shimei for emotional reasons but there is zero question that he is working hard on his redemption at the end and is earning it. But the thing is - you have to possess moral consciousness to want to redeem yourself. That is what makes you salvageable. Moran possesses it, Shimei 2.0 possesses it (and I love the concept that no matter how high your sins, you CAN be redeemed. But that redemption doesn’t necessarily involve personal happiness or your victims forgiving you, it is basically hard work only for internal reward of the possibility of peace.) A lot of other monsters, large and small, do not. 

OK, the thing about whether Moran needs redemption that I just mentioned. The quick and easy answer is “of course not.” He was probably the biggest victim of them all and none of the monstrous things he did were his fault or within his control. But I love that the answer is actually more complicated because it rings emotionally true. Moran finding out the truth near the end is wonderful and will allow him not to perpetually drown in guilt, but just as TXJ sliver doesn’t really fade into the rest of his souls, I don’t think the guilt will go away fully, not for a while. Because, aside from the concept of utter lack of volition combined with utter lack of knowledge that you actually lacked volition and deludedly thought this was all your ideas, being a whole other different trauma, the fact remains that Moran remembers feeling rage/hatred/bitter satisfaction in murder and rape and torture and burning the world. He remembers all the awful things he’s done to his most loved ones. And he clearly gloms onto “the flower brings out all your darkest/worst/most insane desires and makes them conscious thoughts” aspect of the curse - he tells CWN that the flower made real things he sometimes thought of and so it only worked because it was him and not someone better like CWN - and some of it is trying to comfort CWN and make him feel less guilty that Moran took on the flower so CWN’s won’t be forced to to - but some of it is his genuine belief. And that is what is so insidious about that curse - it twists normal stray thoughts and healthy interests into murder and insanity (compare TXJ’s obsession with CWN because Moran had such strong positive feelings about CWN before the spell, to his utter lack interest in e.g., Nangong Liu who he let run off when he took Rufeng because as long as the man didn’t fight him, he couldn’t care less what he did, because flower couldn’t turn indifference into something negative.) So I do think in addition to knowing on intellectual level about not being responsible not being equal to getting it on emotional level, Moran clearly feels responsibility because it was his emotions only out of whack and insanely perverted that the flower based its compulsions on. Moran became such a monster precisely because he has such strong loves and such strong emotions in general - strong love and desire to protect became strong hate and endless appetite for torture. The flower changes the nature of emotion and thoughts, not the level of intensity. If Shimei actually found someone who was genuinely utterly indifferent to most things (not CWN who feels so intensely; he conceals himself so much precisely because he feels SO much, cares SO much, he’d have been as much of a monster as Moran if he was the flower recepient), I am not sure he’d have been as successful. If the most someone is capable of is mild “eh,” it’s hard to turn it into a drive for world-destruction. So in a way, Taxian Jun was such a monster and so successful because Moran was so good and had such drive. Anyway, as most of my thoughts, this has gone into a random direction but the thing is, whether Moran is guilty of what TXJ did, the answer is not but not for Moran, and that’s one of the reasons I love him.

To get back to the chapters I am at, I hate Nangong Liu, one of the most despicable characters out there. Even TXJ, as messed up as he was, still hated not people who fought him fair and square or other honest villains, but people who’d kiss up only to stab you in the back, doing anything to get ahead and that is what head of Rufeng is. (There is a sentence to that extent when Moran 2.0 meets Nangong Liu - that who he hated most as TXJ was not Xue Meng or MHX but people like Nangong Liu. That loathing, like his obsession with CWN, is one of the few things consistent across any version of Moran and shows how much his “gratitude for good, straightforward is good” is embedded in him that even the flower couldn’t shove it out of him.) CWN’s comment that the reason Rufeng Sect is so rich because they charge God knows how much as opposed to Siseng Peak which charges very little and sometimes nothing, sums up the difference between the Upper and Lower cultivation realms. Rufeng is the wealthiest and most powerful and most respected but morally they are far beneath Siseng (there is a reason CWN is very gentle when he tells this to Xue ZY - CWN has about the truest and most moral heart in the series; there is a reason he stayed at Siseng, an “inferior” sect, even though everyone would love to have him. It’s because Xue ZY is righteous and he sees the wealth of Rufeng and wishes he could use it to give villages protection instead of decorating like Rufeng, because he’s that type of person.)

One of the biggest injustices to me is that Nangong Liu survives the book but Meatbun’s world is often like that. Being good does not mean a good ending, being bad does not mean proper punishment. The main OTP will make it through despite hell she puts them through, but for secondaries even those bets are off.

OK, this is getting War and Peace level long so I am going to stop.

[sapphicambitions]

Okay so I finished watching black sails a few days ago and I’ve spent the last few days reading other metas and posts and interviews about Flint & Silver to gather my thoughts (thots, if you will) and these are the conclusions I have come to:

John Silver and James Flint have the most interesting and well written dynamic ives ever seen between two characters. I am endlessly fascinated by their relationship. Because it’s so unique and complex and I can’t think of any other relationship between two men on screen that even gets close to being on their level, that level of intimacy and their DIALOGUE????? especially in season four????? there is no daylight between us???? i have made myself transparent to you????? you already know me in all the ways that’s relevant???? fuck me up dude!!!!!

All of that being said, I don’t like… ship them. At least not in the conventional way of shipping. I don’t see them as boyfriends or husbands or even as romantically involved. Like I said I LOVE their dynamic and I am fascinated with the complexities of it, and I really and truly think that they loved each other deeply, but to me the idea of them being like in an explicit, canon relationship sort of... cheapens it?

Especially if we’re talking about seasons 1-3 flint & silver. To me, saying that they were romantically involved during that time period sort of misses the point of their build up. Because they didn’t even really like each other then. They were necessary evils in each other’s stories. ESPECIALLY in seasons 1 & 2, they weren’t friends! They were work place acquaintances who needed each other to survive. And remember Silver’s whole season three arc of “I think flint controls the weather”???? Lmaooo the idea that they were romantically involved at that time, to me, almost does a disservice to their characters and the journey that they took to get to where they were in the fourth season.

Because I don’t think that they truly started to even be friends until that night around the fire. When Silver asked in who’s name they were fighting the war and Flint told the truth about his past. When Flint made himself transparent and vulnerable to Silver, and they openly discussed their partnership. When they came to a mutual understanding of each other, when they felt the possibility of the future together, that is when they really and truly emotionally connected and became more than work place acquaintances, became even more than just casual friends.

But I still don’t think that they were like, together together in season four.

Do I think there were extremely high levels of homoeroticism? also-fucking-lutely. But I don’t think they were romantically involved. For many reasons.

I think that the last two episodes of the series do not work if they did not love each other. The last two episodes are not effective if there is not something deeper there, if there isn’t something to lose when they fall apart. Like when Billy and Silver fall apart? I was like aww they were friends. :( and that’s it. When Silver and Flint fell apart? I sobbed my fucking eyes out. Would I have been as destroyed by Silver’s betrayal if I didn’t truly believe that these two men had a deep and profound relationship, that they needed each other and completed each other? Lmao no! No I wouldn’t have. If Flint didn’t love Silver, he wouldn’t have taught him sword fighting, he wouldn’t have shot Dooley, he wouldn’t have looked so deeply crushed when Silver raised the gun. Because the look on his face? When that happens? That is heartbreak, pure and simple.

BUT. I ALSO think that the last two episodes of the series do not work if that love is explicit and defined. I do not think it works if Silver is fully aware of that love. Because I don’t think he is. I think he has found himself closer and closer to Flint, committing himself to Flint, becoming the other half of Flint, and….. doesn’t quite realize how homoerotic it is lmao. Because he has Madi! And Silver has never really had someone to be close to before, so I honestly don’t believe that Silver was aware how how Homo(TM) the whole thing was with Flint, at least not consciously, at least not out loud. And I say this because there is a very important moment in the finale that doesn’t work if their relationship is defined and official or romantic in any way.

It’s when Flint says “This will all have been for nothing. We will have been for nothing. Defined by their histories. Distorted to fit into their narrative. Until all that is left of us are the monsters in the stories they tell their children,” That is his last card to play. That, to me, is the THESIS of the series, that moment is what they have been building up to for four seasons, that is Flint’s driving force as a person. And Silver says: “I don’t care,”

That moment is reliant on Silver not understanding the queer implications behind what Flint said. That moment is reliant on Silver being a man who has never experienced the life ruining homophobia that Flint has experienced. That moment is reliant on Silver genuinely not caring, it is reliant on the complete disconnect from Flint in that moment, and if the two of them had been in a defined relationship at the moment, I wouldn’t have bought it. And it is heartbreaking and tragic because Silver DOESN’T get it. He doesn’t! He does not know what it means to fear how the world will see you for who you fundamentally are, fear how mothers will tell their children about you, fear how your story will be told, and I do not buy that moment if Silver is aware of his own queerness. Maybe other characters in other stories, I might, but Silver, self serving and self saving Silver, to not care? He has to genuinely NOT care.

I’ve mentioned before in other posts that watching Silver and Flint’s story play out is a lot like watching Romeo and Juliet, that you know that their story will end in tragedy, but you watch it unfold anyway. But there’s another reason I think they parallel the star crossed lovers. And I think the moral of Romeo & Juliet (it’s my favorite play step up and fight me) is not that the young lovers were stupid and reckless, but the moral is that they might have lived if not for the outside forces trying to drive them apart. Romeo and Juliet is about how the toxic and warring world in which they lived wasn’t sustainable for their love, that they were driven to their deaths by parents who didn’t realize the harm they were inflicting upon their children.

I digress but the POINT being that it is outside forces that drove the two of them apart. (Get Wreked, Billy) The toxic and warring world in which they lived wasn’t sustainable for their partnership. You can see it best in 4x09 when the flashbacks of the two of them alone on the beach are funny and tender and vulnerable and open between the two of them, and present day where Silver’s trying to get Flint a little bit KILLED and you can see how much things have changed between them since that day on the beach.

How might have things changed in another direction if they hadn’t been driven apart? Because like I said earlier, Silver and Flint’s relationship was a JOURNEY, it didn’t happen overnight. And I can’t help but feel like they were only at the beginning of their relationship when they fell apart and that is another tragedy, the what if? of it all. How might their relationship have changed and gotten even deeper if they hadn’t been pushed apart? What hadn’t been explored between them, what was still left unsaid when Silver raised his gun at Flint? So that’s ANOTHER reason I don’t think they were like ~together~ because there is tragedy is losing something you don’t have, that you might have had. Losing something that you don’t know what it could have become and that breaks my heart because it feels like they had only JUST begun and then they were ending in the most heartbreaking and tragic way.

Also to be honest, the main reason that I love Them is because I’m a slut for tragedy, and knowing that something is going to have a sad ending but rooting for them anyway. Romeo and Juliet, the Hunchback of Notre Dame musical, Hadestown, the Song of Achilles, They Both Die at The End, even rewatching Brokeback Mountain, you get it. Tell me that they aren’t going to make it in the end and then let me watch them fall in love anyway. Let me watch them grow to love each other knowing that they’re going to end in tragedy. I should be sobbing on the floor by the end of it, I WANT to be sobbing on the floor by the end of it. That’s my shit. It is literally my favorite type of story. fuck me UP

So those are my Thots (TM) about Flint & Silver. They have one of the most well written relationships I’ve ever seen on screen and I am endlessly fascinated by them. I don’t like romantically ship them because I think it’s too complicated to reduce their relationship to “they’re dating“ when it is their journey from reluctant work place acquaintances to “It’s hard to know where one began and the other ended” that is so incredible. But I do think there is a deep and profound love between them and the finale doesn’t WORK unless they love each other, but it also has to be somewhat unspoken for it to work, too.  Because I don’t think Silver was aware of his own queerness and I think he has to actively not understand the queerness of Flint’s fight in order to do what he does otherwise I wouldn’t buy it. And I think that they were only at the beginning of their partnership, and I wonder where it could have gone if they hadn’t been ripped apart. Theirs is a tragedy of losing someone you love and losing something that isn’t easily defined, losing something that could have been. And their tragedy does not work if they didn’t have something to lose.

[kittyprincessofcats]

RWBY Volume 8, Episode 14 - The Final Word

Thoughts on the final episode of RWBY Vol 8 under the cut.

Also, I will from now on reblog spoilers for Volume 8, which will be tagged with “RWBY v8 spoilers” if you want to blacklist them.

tw: Since the episode itself had the same content warning, I should mention that I will be discussing themes of suicide in this post.

Also, everything I’m about to say is *my* personal opinion. I’m not trying to tell anyone else that they’re supposed to feel the same way about anything in this episode. In turn, please don’t tell me how to feel about it either.

- I should start by bringing up what I said in my post about episode 13, because all of that is going to become relevant now:

So... that all aged... interestingly.

- Next, I should say that I actually did end up getting spoiled about Penny’s death. I was trying really hard and didn’t go into any tags, but literally one day before this episode was released to the public, Tumblr recommended me two blogs with the titles “Penny deserved better” and “Justice for Penny Polendina”… so I drew my conclusions from that. And while I think those blog titles are valid sentiments, I do wish people would wait a week before putting spoilers in a blog title. But then again, I was weirdly glad to get spoiled this time, because it meant I was more emotionally prepared.

- And now, on to my very controversial opinion about this finale: I… uhm… I actually liked it. There, I said it. I liked it. I’m seeing a lot of takes from people who hated it, and that’s totally fair, but personally, to my own surprise, I liked it. (It’s kind of interesting that last time I said it would be “awful writing” to kill Penny now, then it happened, now the whole fandom is complaining about it being awful writing… and I’m here going “actually… that wasn’t so bad”.) That’s not to say that I’m a fan of everything in this finale, especially re: Penny – but overall, the good outweighed the bad *for me*. (Stressing again that this is just how *I* feel.)

- I think the main reason I feel that way is because I honestly expected way worse. If you read that thing I wrote last week^, you see I expected multiple character deaths. I was incredibly nervous. And after I’d already spent a few minutes genuinely thinking Yang died (because of a badly worded episode 13 spoiler I accidently saw), I had to think about the kind of deaths that would be a dealbreaker for me and make me drop the show. (Let’s say it like this: If either of Bumbleby ever died for real, I would be done with this show immediately.) So, in short, I was terrified of the finale and expected it to be the kind of finale that ruins the show for me (which has happened in far too many fandoms so far) – and it wasn’t. I have mixed feelings about how they handled Penny’s story, too, but this finale didn’t ruin the show for me and I honestly felt way worse after the Volume 3 finale. Maybe that’s because I wasn’t prepared for it at the time, but this time I spent a whole week being super anxious, so when I’d actually finished the finale, I just felt overwhelming relief.

- Okay, so let’s talk Penny: Back in Episode 12, I already wasn’t a huge fan of the idea to make her human (if that even is what she was?), but I think I said I’d reserve judgment on it until we see where they go with it. Obviously, it feels unsatisfying to have the show just kill her off after everyone’s been trying to save her all volume. And of course, it’s never fun to see a favorite character of yours (and Penny is definitely a favorite of mine) get killed off. The way it happened (a character who’s been trying to sacrifice herself the whole volume finally doing so through assisted suicide, even though there could have been several potential ways to still save her) feels incredibly unsatisfying and depressing as well. The “heroic sacrifice” cliché isn’t new, but there’s still a difference between a sacrifice that feels necessary and like it really was the only way (Hazel, Vine) and one that feels more like a character being over-eager to sacrifice themselves even though there might have been alternatives (Penny). So really, I understand why people don’t like this, especially because the narrative, so far, seems to validate Penny’s choice by having her plan work. And that does send the opposite of the “fight for every life”, “no one is replaceable” message this volume had been going for until then.

- And this is why, I think Penny’s death is meant to be awful. Volume 9 might prove me wrong on this, but I think we haven’t seen the end of this storyline yet. For me personally, it’s too early to judge this plot-point by itself because it depends a lot on how they deal with it in the aftermath and how things go from here. (For instance: I hated Pyrrha’s death at first because going into a fight she knew she couldn’t win also felt like a needless heroic sacrifice to me. It was only how the aftermath of it was handled from there that made me be okay with it.) So basically, what I’m asking is: How will the other characters handle Penny’s death now? Will Ruby (or anyone else) get angry at Jaune for agreeing to kill her? How will Ruby grieve in general? And, most importantly: Will the narrative really treat Penny’s choice as the “right” one or will it challenge that view? (And was there maybe more going on that we know because I’ve been reading those “Penny is alive” theories and… oh boy.) So yeah – for me it depends on how it gets handled from here.

- Also, I just want to say that I really appreciate RT putting a suicide trigger warning in the beginning of the episode and I wish people wouldn’t twist that into a bad thing. (I’ve seen some takes along the lines of “If they had to put a warning, that means they were aware it’s a harmful message, so that makes it worse” and… please don’t do that. Content creators putting trigger warnings on things is a good thing. Also, this might be a controversial take, but I don’t think fiction always has to “send a good message and teach you a lesson.” The important thing is that RT were aware that this episode could be upsetting/distressing to people and that’s why they put a warning and the suicide hotline’s number in the description.)

- Anyway, I’ve been rambling for too long. My point is: I understand the criticisms and agree with some of them, but I hope the writers know what they’re doing here and I want to believe that they do. I also love all the theories about Penny coming back (in Winter’s mind, for example) and I think they’re not actually that unlikely. And if Penny doesn’t come back, then honestly, I’m okay with that, too. At the end of the day, she’s a fictional character. I can always go and read fanfictions where she’s alive and lives happily ever after with Ruby and nothing that happens in canon can ever take that away. Canon only has as much power as you want it to have. I can enjoy the canon show and the story they’re telling (even if Penny is dead for good this time), while still also enjoying my AUs where she’s fine. One doesn’t harm the other.

- (Also, let me take this moment to shamelessly promote my favorite cartoon show because I think this is relevant to the interests of anyone who hates the “person who’s been trying to sacrifice themselves the whole time ends up doing just that” story: The main character in She-Ra and the Princesses of Power is self-sacrificial to the point of it being unhealthy, but the show explicitly doesn’t treat this as a good thing. When she tries to sacrifice herself for the greater good in the final arc and says it’s better that way, this is treated as a problem, and the lesson she ends up learning in the end is her life has value, too, and that she deserves to be happy. (The show’s also very gay.)

- I don’t know if brought any of this across properly. Basically… I’m not happy about where they went with Penny either, but I am okay with it. I still enjoyed the finale and will continue to enjoy the show. And I want to focus on the things that make me happy about RWBY and made me happy about the finale, so I’ll talk about the rest of the episode now (while rewatching it because I’ll forget stuff otherwise):

- Have I mentioned I really love the Volume 8 opening? Because I really do.

- That shot of the destroyed whale is still awesome.

- I love how the episode opens with all the fights we left off with (Winter vs. Ironwood, Penny vs. Cinder, Harriet vs. Qrow, Ruby vs. Neo) and cuts between them. Also, the music is amazing!

- Elm admitting that Harriet is their friend and that being what finally gets through to her was a nice conclusion to their little arc, I guess. Vine’s sacrifice and his admittance that they’re his friends and he’s doing this for them were touching. Honestly, Harriet is right to blame herself for his death. That said, while this volume made me strongly dislike her, I do hope she now gets an arc about actually dealing with her grief and changing. I think that would be way more interesting to see than still having her be bitter, especially after what happened in this episode.

- Qrow causing good luck to stop the bomb was a nice little moment and honestly makes sense. Good luck and bad luck are just a matter of perspective, after all. What’s bad luck for yourself will be good luck for your enemies and vice versa. So, maybe Qrow technically caused “bad luck” for the bomb? Either way, I like the idea of him realizing that his semblance is more than what he thought.

- Cinder breathing fire during the fight was awesome. I need GIFs of that.

- Blake was amazing in this episode! I love that she didn’t let her grief over Yang consume her, but got up and kept fighting, kicked Cinder in the face and told Weiss to get up. Good stuff!

- I wonder if Cinder’s “You should have never been born” line to Ruby was just a generic “I hate you” line or meant something more.

- Do people honestly think that Cinder betraying Neo was unexpected or like… super unreasonable for a villain? Neo did threaten her – most typical villains don’t react well to their underlings threatening them, so I really don’t see why some people are so shocked or downright offended about this (is it just because they like Neo?).

- Weiss being the last one standing and using Blake’s weapon in the fight was absolutely amazing.

- The tragedy of Jaune sending Nora to bring the Huntsmen and Huntresses back through the portal while not knowing the portal is a one-way deal…

- Cinder knowing that Salem is back because her Grimm arm started hurting was a super interesting moment. And Weiss’ shocked face in that moment was quite interesting, too.

- I wonder if Penny really meant dying when she said “Let me choose this one thing”. To me, it sounded more like she meant choosing the next Winter Maiden. Also, her “trust me” to Jaune is an interesting line. Between that and us not seeing how that conversation goes on, I wonder if there’s something we don’t know here. (*puts on my “Penny is alive” tinfoil hat*)

- I’m glad they at least didn’t graphically show Penny’s death – which is an interesting choice again, because this show doesn’t usually shy away from making deaths graphic and portraying them in all their brutality. So, the fact that we don’t see the act itself and then just cut to Penny’s conversation with Winter was interesting. (But I am glad about it because I didn’t want to see that.) It might honestly just be because of the nature of Penny’s death that they didn’t want to show it too much (and that’s fair).

- “You were my friend.” Gosh, this rewatch is making me cry now 😭. (I also think it’s interesting that Winter calls herself a machine and Penny is now the one who corrects her. It’s a nice callback to Ruby telling Penny she’s their friend and “not just a machine”.)

- I was also just reminded that Penny died thinking Ruby was dead… ouch. This possibly hurts me more than Penny’s death itself.

- People have also pointed out that when Penny transfers the powers to Winter, her aura looks yellow (like Jaune’s) with only some green sparks (like Penny’s). Hmm… I really wonder if there’s more going on here.

- “I won’t be gone. I’ll be part of you.” Who’s cutting onions in here?

- Honestly, the main reason I kind of forgave them for killing Penny was because THAT MOMENT of Winter opening her eyes with the powers while that epic music plays was just amazing to witness. And her fight with Cinder? EPIC. BREATHTAKING. BEAUTIFUL. I’m not even that into the idea of Winter as the Winter Maiden (I honestly thought Penny, the robot girl, becoming the Winter Maiden was a much more interesting plot), but the way it was done in this episode was great. I’m glad we’re finally getting that rivalry between Winter and Cinder, because their arcs parallel each other in so many ways. And I love the symbolism of Winter only getting the powers that Ironwood chose for her after she betrayed Ironwood. I like the idea that she only became worthy of them after turning on Ironwood (which does work well with her Volume 7 arc).

- Oh, by the way, I really hate the “Team RWBY will become the four maidens eventually” theory. Even if it didn’t require characters to die, I just think it would be cheap and way too obvious, and I think it’s boring to throw all the magic powers at the main characters. So, if they only made Winter the Winter Maiden so she can eventually die and pass it on to Weiss, I’ll be very annoyed. (But I hope that’s not where this is going.)

- I’m also just realizing that Cinder asking “How am I supposed to take her power if she’s dead?” about Penny a few episodes ago was foreshadowing… damn.

- Jaune’s sword breaking was a really cool and symbolic moment, too.

- Winter trying to save Weiss from falling and not reaching her in time really got to me. I’m mostly not that affected by any of Team RWBY falling into the void because… come on, we know they’ll be fine. But Winter thinking her little sister just died is… oof. Maybe it’s because I have two younger sisters, but stuff like that really gets to me.

- Also, Winter going through that portal and seeing her family after she just (as far as she knows) lost Weiss… ouch. They never got to all reunite with each other (yet).

- I absolutely LOVED that final scene between Salem and Cinder. They’re both such fascinating characters and I just live for their interactions. Cinder talking herself down (even though she got the relics, so she knows she succeeded at the most important part) was amazing on her part. She did learn from Salem! It’s also interesting that even though she got what Salem wanted, Cinder didn’t get what she herself wanted (the Maiden Powers). I feel like that’s eventually going to become important.

- I wonder if Salem believed Cinder’s lies or not. I’ve seen some interesting opinions in both directions here. (Also, again, I don’t get why some people are so shocked and offended about Cinder lying? I’ve seen so many “I hope she pays for her lies” takes and… really? That’s her biggest crime in your eyes? Lying to another villain?? I don’t think any of you villain-haters feel bad for Salem here, so why… oh. Oh, nevermind, I just understood. They’re not mad that Cinder lied, they’re mad because they wanted Salem to kill her. Gosh, that’s so dumb. Face it, people: That’s not going to happen because Salem still needs the Fall Maiden’s powers. She’s not going to kill Cinder anytime before Cinder opens the last vault.)

- Cinder killing Watts with the staff was kinda funny, tbh. Also Salem’s proud little smirk in that scene kills me.

- “And that’s checkmate.” THAT. Okay, THAT was the best line in the entire episode, I don’t make the rules. What an epic moment!! Gosh, have I mentioned I love Cinder to death? What a queen! This volume really completely changed my opinion on her. I’ve already said that she’s my standout character of the volume, and I stand by that. It was her volume in so many ways and it’s so fitting that she gets to say the last line. It’s also such an interesting line in so many ways: 1) Because this episode is called “The Final Word”, is the only episode in this volume that doesn’t have a one-word title, and the actual final word of the episode is “checkmate”, it implies that “Checkmate” is the real, hidden title of the episode. And that fits so well! They could have easily just named the episode “Checkmate”, but revealing it like this works even better. 2) I also love the chess symbolism in this volume in general. There was a really great analysis about it on here somewhere, but basically: Salem is the king, Cinder is the queen (the king can’t die and barely moves, the queen is out there getting rid of opposing player pieces). And the interesting thing about that here is that the king can’t actually checkmate anyone else, only other chess pieces can. So, it’s very fitting that Cinder is the one who says “checkmate”. Also, in a game of chess, you often have to sacrifice your own pieces to win, which is what Cinder did. 3) I also LOVE the realization on Ironwood’s face when he realizes that he’s been so paranoid about Salem, but he’s actually been playing Cinder all along. (Someone else on here pointed out that there’s something super poetic about Cinder, someone who was very much a victim of Atlas’ systemic problems, being the one to defeat Ironwood and destroy his kingdom. Ironwood was ready to sacrifice all the poor people from Mantle for his own goal, and a poor person who was hurt by people in Atlas is the one who destroyed him. Yeah, yeah, Cinder’s evil and all, but I love it! 4) It’s also really interesting to me that Salem said “This game is not yours to win, it’s mine” to Cinder in the first episode of this Volume, but in the end, Salem ended up being gone for the entire last part of the volume and Cinder is the one who got to say “checkmate.” IT’S JUST SO GOOD.

- And ngl, I’m super happy for Cinder. She really got it all. Yeah okay, she didn’t get the Maiden Powers (and I hope she never does, because one person being two maidens at once is lame), but she got the relics, got rid of her enemies and co-workers (or so she thinks), destroyed the kingdom that she was a slave to, got back into Salem’s good graces… good for her! And apparently one of the buildings that you see being flooded was the Glass Unicorn? Amazing. Love that.

- (Yes, I’m team “redemption for Cinder please”, but come on… it was never going to happen this volume. And if it never happens, that’s okay, too – I’m loving her as a villain as well!)

- Also, I hope that all the people who were specifically criticizing Cinder for not being a competent enough villain are very happy now. Because there you have the competent villain you said you wanted! I mean, I’m saying this as someone who used to criticize Cinder’s character for not being interesting/deep enough. I used to say that I’d like a backstory or something that makes her more interesting/compelling to me. But as soon as we got that backstory, I happily switched sides to team “I like Cinder now”. So, I better not hear any complaining from the “I just want her to be a more competent villain” faction now!

- Yeah, I admit I’m getting annoyed with the Cinder hate. Everyone has a right to their opinions, but it gets frustrating when you’re going through the tag of a character you like and half of the tag are people talking about how badly they want that character to die. (Maybe use a seperate tag for it?)

- (I’m just realizing that I said “Well, at least it was only one character death” earlier, but people like Ironwood and Watts actually did die… I just didn’t count those because I don’t care. Sorry not sorry.)

- We decimated Salem’s faction quite a bit this volume, didn’t we? There’s only Cinder, Tyrian, and Mercury left. I wonder if Salem will get some new people on her side.

- Overall, while I did like this episode, I feel like Volume 8 got weaker towards the end. Most Volumes were at their best towards the end, but I feel like episodes 8-11 were the strongest parts of Volume 8, while episodes 12-14 were still good, but not as good.

- My prediction is that Volume 9 will (of course) be Tearm RWBY’s way out of the void (or whatever that place where they ended up is called) – And I quite like the theory that we won’t see the other characters at all and it’ll be focused only on what’s happening in the void.