#because it's so essential to. what the show is trying to say. that they have to be. they can't be straightforward

[vinillain]

Great wave chapter 2 spoilers// analysis cuz ahahahaha Adamai… when I get you…

Alr, rant because I’m the biggest Yugo & Adamai fan of all time. And I overanalyzed this chapter to death.

And how the way Adamai treats Yugo is one of the main reasons he’s distant from Amalia.

This pattern of behavior isn’t new, in s4 he was quick to come to Yugo’s defense when Nora was chastising him. Using words like “we” and because both of them were still feeling the euphoria of their reconciliation came to each-others defense in a new unfamiliar environment. But after he sees how shady and “heroic” their family is he ops to leave, and does so without explaining himself (about the dofus) to Yugo or trys to convince him to come along. Something he definitely would have done in s1-2. (And this is because they have grown so far apart the bond they once had is distant, albeit still there)

This behavior is similar, and again appears here in their entire conversation.

Yugo who was brooding and trying to be alone after his vision is greeted by Adamai, who IS genuinely worried about Yugo, since Yugo now carries the dofus of their people he and Adamai’s bond is “strengthened tenfold” allowing him to “almost hear his thoughts” and definitely feel his fear and dark feelings. And he immediately calls Yugo out when he tries to hide how upset he was (which tbh he likely does because of Adamai’s next reaction in a bit, meaning this is a common cycle)

Eventually after some talk Yu breaks down and is honest that he isn’t okay. That his visions terrified him, and here Adamai isn’t dismissive right off the bat, he states that he could feel how bad it was because of their bond, and knew it must have been bad if it shook Yugo up this much

And Yugo tells him about the vision and how “I am the cause.” To which Adamai questions as he seems to think internally, and Yugo like in chapter one with Amalia doesn’t question anything, again he only says “It was real.”

(I am roughly paraphrasing their dialogue so it’s not 100% accurate)

At this point Adamai scoffs at him to which Yugo who’s still upset by his vision flips out on him starting an argument. Asking if he “bores” Adamai

And Adamai tells him he needs to think with his head. He possesses the power of a god and can’t afford to think with emotions. Which is true, TOT said that Adamai was the logic to Yugo’s actions. He is the thought and the anchor, but while he isn’t wrong for saying this, the way he went about it is making things worse, but it also it makes sense why he did act this way towards Yugo.

Adamai is not someone who bases his feelings on emotions anymore.

He’s spent his entire childhood training and getting ready to meet Yugo and find their people. After the loss of Grougal he has spent his entire life trying to fill the void with an adult parental figure who holds power and wisdom that can help him achieve his goals the way he knows mortals can’t. Hence the “we needed someone with more guidance” like in s4 to Yugo. We don’t see exactly what happened to him from the OVA’s-s3. But we know it had a drastic change on him physically and especially mentally. And a big part of that is that he essentially became a vessel to their peoples dofus. In order to cope with his own trauma and feelings and taking on that responsibility of all this power he surprised any emotions or feelings that could cause him to act rash or get in the way of his main goals.

And when he did let his emotions take over because of his blind rage, he ended up hurting people he cared about which left him even more apprehensive to show any ever again. (Hence why he left his newly found family in s4) But in doing this to such an exstent the way he does, he never actually solves any personal problems of conflicts. Especially with his loved ones. He can’t rekindle his bond with Yugo or try to fix their relationship because he refuses to show any vulnerability. Which makes sense after he was left behind, betrayed and hurt so many times, and more so when he realized that he hurt others in his own pain. He doesn’t want to get hurt or hurt others again.

And as he states, Yugo has power beyond any mortal comprehension. He now carries the weight and responsibility of their people, and their siblings dofus. Honestly just their peoples future in general. He holds power, power many people want to steal from him or rid him of. Adamai compares Yugo’s situation to how he had to handle the dofus. That he needs to swallow any emotions and think logically. Which he has always done more out of the two of them. Vulnerability is a weakness to him. And Adamai doesn’t want Yugo to get hurt or hurt others like he has in the past.

He is cruel and harsh in his words. Telling Yugo he does “bore” him. And completely downplays his twin’s feelings because he sees them as being weak. But he DOES care about Yugo, in his eyes Yu will end up suffering more if he shows this vulnerability. It’s why he is mean and tells Yugo he can’t be acting like a child when he has all this responsibility and power in his hands. This isn’t the same when they were little kids, the stakes for them and their people are much hire now.

But to Yugo, who’s tried to fix their relationship countless times, is naturally upset at this. He feels unheard, that’s he’s being over dramatic and that his feelings don’t matter. That he isn’t allowed to be upset at his own trauma. Which is something i think paralells Goddess Eliatrope. How people dismiss her feelings and say she’s overreacting. That she needs to “get over herself” because she is a great goddess with all this power. Etc. something I hope we see more with Yugo aswell.

Being a king already isolates him enough, being a demigod with all this power does so even more. To Yugo, Adamai is the only one he can turn too when he’s upset. It’s why he was so desperate to find him in s3. Over growing old and being immortal. The problems that mortals can’t comprehend. (Something that definitely upsets him because the more power and godhood he gains the more distance he has between himself and his loved ones.) But when he opens up to Adamai about his fears and issues he is shut down or ignored. And that’s why he won’t open up to Amalia. If Ad dismisses and scoffs at his feelings then why should he try to open up to her? He adores and loves Amalia and fears the rejection she might give him. It’s why the moment she was slightly dismissive with her “Calm down, it was just a dream” he immediately leaves to be alone. He already has to deal with Adamai, he doesn’t want her to do it to him too.

But by doing this he is hurting her too. Like him Amalia is STRESSED beyond belief. She has a ton of weight and responsibility on her shoulders. And she can’t manage the conflicts of her people (especially with the eliatropes) If Yugo isn’t there to help her, If Yugo won’t be vulnerable to her. If he doesn’t trust her or won’t rely on her with his problems then how can she? How can she be open with him if he runs away from her at the deepest issues when they share so much intimacy and love.

Their is already clear tension among the Sadida’s and the (VERY FEW) Eliatropes who now live among them. Many are unhappy with the changes, some openly voicing how “Armand would never have allowed this” suggesting they don’t like Yugo as their king either. And the old man talking about how he lost his son in the war, that the eliatropes haven’t faced sacrifice. (And this is despite that fact that they don’t know anything about their past or the war they went through, how they lost their own families- claiming they don’t understand Sadidan culture or tradition but never trying to learn the other sides either.)

Communication is the key to relationships. Being open and vulnerable is how we understand eachother. Something reflected in the main three so far and the Sadidans+Eliatropes. Yugo keeps shutting Amalia out because of how Adamai treats him. Creating this endless cycle of distrust among the two and it’s reflected in their own people. Both could be amazing rulers and created a better place if they were both open with each-other. But they won’t, and unless Adamai and in turn Yugo open up and show vulnerability. They don’t have to show all of it, trust is slowly gained. Little by little in a healthy manner. But if Yugo doesn’t then the discourse and tension will continue to grow among all their people. (And if you’ve seen the teaser for a certain upcoming chapter you can see how that’s going 😭😭😭)

Anyway, in conclusion: someone please get them therapy

[geekgirles]

Since all I ask for now is that Amalia gets to call the Osamodas out on their hypocrisy and betrayal, I think it's important to point out Armand never wanted Aurora to rule.

I say this in light of her father claiming she is the rightful heir to the throne when we all know she's actually not.

And I don't just mean her claim on the throne isn't legitimate because a) she's not even a Sadida, or b) she was Armand's Osamodas wife, not even his daughter, which would give her claim some credibility, but because it's clear to see she was never meant to truly be the Sadidas' queen, not even their regent.

I know this all sounds contradictory with the fact that, by virtue of marrying Armand, the Crown Prince, she eventually became his queen, but the thing is, it's plain to see not even Armand wanted her to rule the kingdom on her own, which is what her family is trying to accomplish—although there's also a very high chance they intend to rule through her, rather than let her make her own decisions.

As @vinillain and I have discussed through reblogs, it seems to be implied Aurora was never really meant to rule: not only wasn't she a candidate for becoming her own people's queen, but it is clear to see she was only meant to be given an important position in court but with none of the responsibilities expected from such duty.

This can be seen in her role in seasons 3 and 4; despite being Armand's wife and loving him, she never really acted like a true queen. In season 3 she acted conniving and pretended to have Amalia and the kingdom's best interests in mind when, deep down, all she cared about was strengthening her and her family's power over Sadida politics. And in season 4 she remained passive, aloof, and emotionless throughout. At no point was she shown to feel genuine concern for her husband's people even in the face of an imminent threat.

The most active role she's taken ever since she debuted was playing matchmaker for an unwilling Amalia and trying to find more about the Eliaculus.

From what we've seen so far it's easy to conclude she was always meant to be Armand's consort, but never his actual partner. She was essentially sent to the Sadidas to act as their king's arm candy. Whatever power gap was between them, she never made any efforts to breach it and show her worth.

For all she and her family look down on Amalia, Aurora herself never matured enough to become a suitable ruler, whereas Amalia eventually grew into her mother's mantle; even when his father was still alive, she had already become Queen of the Sadidas.

And I think despite his love for her, Armand knew this. He knew she could never rule the kingdom without him; knew she never should rule his kingdom without him.

Despite his many flaws and not-so-stellar moments, Armand was raised to be king. He was never stupid. He knew the inner workings of politics in and out and how to navigate them.

This is apparent in his interactions with the Osamodas King.

While he maintained a cool head throughout, it was clear to see Armand saw right through his father-in-law's ill-veiled condescension towards his people and his desire to control his kingdom. Which is why I wouldn't be surprised if he had never truly trusted Aurora despite coming to love her.

Because of everything his people had gone through, Armand was perfectly aware his kingdom was practically of no importance to the other races, for they never sent their support when they needed it most. So it wouldn't be far-fetched to assume Armand knew all along the Osamodas' intentions behind marrying him to Aurora went beyond simply providing him with a queen.

Which is why I believe he never intended to let Aurora become regent if he was no longer around.

But my greatest evidence are his last words to Amalia as he was about to sacrifice himself and he put her to safety. I don't have the screenshots for it (so I'd appreciate if anyone could provide them), but he essentially told Amalia she would be their next queen.

That's it. That's all he said. He never said, "Please, help Aurora out", or "You two are co-rulers now", or even "You have my permission to fuck Yugo senseless". He told his sister it was up to her to rule their people, not his wife.

Meaning, between her being the last remaining Sheran Sharm, the second in line when her brother was still alive, and Armand's words, Amalia is the kingdom's rightful ruler, not Aurora. It was never Aurora.  

[wetcatspellcaster]

Metapost: "The Ascendent"

**this is a meta for my fic, Pieces Still Stuck in Your Teeth, and NOT a discussion of the BG3 game canon in any way. If you try and make this into a disk-horse, I will BITE you**

(spoilers under the cut for Chapters 1-23 of Pieces Still Stuck in Your Teeth).

So... remember in the Chapter One endnote when I said I was a Spike/Buffy fan first, and a person second? x

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In more seriousness, there was a number of fictional seasonings/ingredients that went into creating what I felt was the villain of a Gothic horror, and what I felt could turn the Ascendent into something that was both 'fixable', and something I enjoyed writing.

Those ingredients were:

Spike and the idea of 'soulless' vampires in the BtVS canon - do I like this conceit of BtVS worldbuilding and how it's used in the show? No. I think it often underlines how bad Whedon is at writing romance. BUT I do think it gives Buffy this free pass for which vampires she can/can't like or adopt, and I needed some of that for my protagonist. I need a 'I can fix him' moment - BtVS has those in fucking SPADES.

Howl's Moving Castle (this one was accidental, I'm still mad at myself but I can't deny it's there) - man conducts magic ritual for power, removing an essential part of himself in the process that needs to be returned

Picture of Dorian Gray (the idea of an exterior staying pristine while something hidden suffers and decays)

Curse of Strahd (the soulless in Barovia, which I mentioned in Chapter 23)

The idea of default moral alignments in D&D. I have a whole chapter arguing against this in my thesis (mostly bc it's often applied to entire races) but I was fascinated by creating a set of circumstances where I feel like a default moral alignment is valid, actually. 7,000 deaths seems like a good set up. I wanted to imagine a being that was trapped within a default moral alignment, and the laws of its very being prevent it from being good no matter what it tries, and it knows that (this kind of creates a feedback loop with the Spike/Buffy stuff)

The parts of the BG3 canon I took and REMADE (I'm stressing this throughout, I was making a horror story and a horror monster your honour):

Astarion conducts the Rite of Profane Ascension with scars on his back, but has to scar Cazador's back personally, suggesting that um... the Rite REALLY SHOULDN'T BE CONDUCTED BY SOMEONE WHO'S GOT THOSE SCARS. Cazador wasn't going to do it that way, is all I'm saying!!

The idea that Ascended!Ending Astarion is a concentrated version of certain traits that have persisted throughout his story - his flirtiness, his understanding of sex as a mechanism and expression of power, his use of a façade as a mask for trauma he refuses to acknowledge.

The lines alluding to dissociation in the brothel foursome, post-Ascension.

The idea that Astarion seduced Tav to survive or protect himself- in my case, because I made the Ascendent empty save for Astarion's survival instinct, the idea that he would gravitate towards Tav as one of his default modes to potentially survive made sense to me - this is why it becomes an obsession.

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For me, when writing, the Ascendent is a few things:

An intensification of vampirism in a different, fucked-up direction. Yeah, A!Astarion, you can walk in sunlight and you can eat and drink and don't need blood. But you are still a hungering maw of emptiness that feels like it will never be whole or close and connected to the living - just now in a wildly different, metaphysical/existential direction! Welcome to depression, alienation, and otherness!

A soulless being, that knows it is soulless - that initially was very happy with its life but then as the years passed, increasingly spends its every waking moment knowing there is something innately wrong with it that it can't seem to shake, no matter how much it engages with life and all the pleasures of life. (see the 'every meal without savour' speech)

A magically literal metaphor for Astarion's dissociation in moments of extreme trauma, up to and including the fight with Cazador - essentially, the moments when there is nothing but a performance or an exterior, because the self/soul are suffering and they cant' come to phone right now

Astarion's survival instinct. As I say in Chapter 23 - Mephistopheles thinks it is an empty body, who's performance is trying to deny the reality of it's own existence. Rosalie, who has a bit more understanding of Astarion, sees that the performance is not just a coping mechanism but one of Astarion's main modes of survival. The Ascendent is Astarion's survival instinct/techniques for endurance, without any soul or person behind them to protect. This is how I tried to tie in the flirty, hypersexual persona and wrap it with a bow.

I wanted a monster that was undeniably scary, and monstrous to me (oh? you can't fit in or be happy no matter what you do and no matter how hard you try, and you think there's something intrinsically off? how's that autism diagnosis going Emma) but that I also felt sympathy and true sorrow for. I needed to have motivations for him chasing after Tav that I could write meaningfully from and sympathise with.

Not only has Astarion used Tav as a life-raft once before, they've also proven to be the most secure thing he's ever clung to. Of course a rabid survival instinct Astarion would become obsessed, and see them as a potential solution to the problem (this was then intensified by Rosalie also being a walking, overbearing moral compass, and having bound him in a contract in the first week of living, accidentally - a lawful good immoveable objects meets a default moral alignment unstoppable force.)

...Because I also wanted that moral alignment spice!! Wizards of the Coast, default moral alignment is fucked up actually!!! Imagine something trying so desperately to be good - literally being bound in a pact and having been told to be good - but the laws of the universe and its very essence are like "nah mate, we kind of want to destroy and annihilate everything, we're neutral evil personified". That's scary!! that's fucked up!! that's what a birth from 7000 deaths gets you!!!

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So, now for the actual timeline, for people who aren't interested in my silly musings but mostly just want answers lmfao.

Rosalie makes the decision not to intervene in Cazador's mansion, making it seem like she'll support whatever decision Astarion will make there.

Rite of Profane Ascension happens. Astarion conducts the ritual, rips his own soul from his body, the Ascendent is born with literally zero context. Mephistopheles is fucked in Cania, because a bunch of stuff has just gone wrong.

(oh, by the way, the Ascendent knows Infernal as a default language. Bc it's born from an Infernal rite.)

The Ascendent is now default neutral evil, and feeling some kind of way. Rosalie and him break up. He's supposed to have everything, but the one thing he thought was a done deal - his most stalwart suppporter - just rejected him.

Netherbrain defeat (the Ascendent is not invited. Imagine being an all-powerful, hypersexual survival instinct vampire, and your ex-girlfriend neither wants you for sex, nor your power.)

Rosalie accidentally binds the Ascendent (a soulless devil) in a pact demanding that he never kill anyone, when that's literally what the Ascendent's new existence/new default moral alignment is driving him to do. Then, she fucks off and goes into hiding.

Well. The Ascendent can just get another wizard, to help him learn all of Cazador's secrets to cope [Hemlock is recruited].

The years go by! The Ascendent is doing sooooo well. Everything is great, guys! I'm rich, I'm beautiful, I have lavish parties and lots of sex - why do I feel nothing? I'm a vampire perfected - I have no hunger for blood, I can walk in the sun, I can enjoy all the freedoms of a living, breathing man - why do I feel like I'm starving? Why does everything turn to ashes in my mouth? I have friends - oops, I've sabotaged all those friendships with my innate neutral evil destruction. Why can't I feel anything? What's wrong with me? I'm doing everything right? Why doesn't it feel that way?

Also, I can't kill anything to feel better about it, because my hidden ex-girlfriend bound me in a pact.

In this time, to reflect the gradual degradation of the Ascendent's happiness and it's increasing awareness that it is something Other and innately wrong, the reflection starts going weird. Starts going strange. Starts getting a bit fucked up. Almost as if, when he looks in the mirror and sees a person, *nothing* should be what's there. Imagine being a spawn who couldn't see your reflection, and then a vampire who could see it's reflection, but knows that they're innately empty. Knows there's nothing there. I'd freak out a little bit about it as well tbh, I'd go a bit tooth and claw and elongated jaw about it.

The Ascendent finally admits that's there must be something kinda fucked about it. Life just ain't working out, lads. He starts looking for any and all impossible cures that will help with the malaise in his soul (and that innate essence problem, caused by default moral alignment). These include: more bad decisions, such as a house in Cania bc the Ascendent is hoping he'll feel more at home with devils than he does with mortals. All it does is make him feel more isolated and alone.

But eventually, he settles on two things! - Wish (Hemlock's idea), and Rosalie (the Ascendent's idea). Clearly, we just need Rosalie back! Her leaving is actually what fucked him up in the first place - none of this existential bullshit! She fixed us one, she can fix us again.

But looking for Rosalie hasn't worked out. In order to get a shot at her, the Ascendent goes and bargains for his own soul from Mephistopheles. Mephistopheles, adding a new sheet in excel titled 'what the fuck happens when i give this soulless monster a soul to play with?', agrees and starts tracking his new data.

Obviously, just putting the soul back in yourself will fix you. But the Ascendent, the nothingness living inside Astarion's body, will die. Taking the soul back would erase itself. The Ascendent - who is survival instinct personified - would never do this.

So instead, it starts interviewing and cannibalising the soul. Bc a soul is what it needs, this is the closest it's ever felt to being alive. Bc it's made this all about Rosalie, he thinks he's found his solution. The chase is making him feel alive again. It's true love, lads! not the soul.

Wish auction happens - the Ascendent is beaten to the punch by some unknown (hot) wizard.

This avenue cut off, the Ascendent makes the decision to try and win Rosalie back.

Astarion advises that to make her come back to the Gate, he should murder a bunch of people. Because this comes from the soul, not the soulless devil nothingness, it circumvents the pact.

...The events of Pieces begin!

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And finally - the Ascendent tries to destroy Jar!Starion for many reasons in Chapter 19:

The Ascendent knows that it dies, if the soul and the body get reunited (or is that constant high alert survival instinct just no longer needed, because the problem is fixed? you decide.)

The Ascendent values Tav above itself. Tav is going to fix them. Astarion believes he could never fix himself.

Dissociation - that soul isn't me. I'm here, looking at my soul. If I get too close, it'll kill me.

Self-hatred - that soul isn't me. That man made a mistake, and I've had to live with the consequences. He doesn't deserve to live, for what he's made me become.

The knowledge that Rosalie/Tav will only ever want that version of him, not the one that's living and breathing, that sees itself as the most wretched, fucked-up version of itself. So... give them no choice. They have to deal with me and love me at my worst.

And if the Rite didn't work - if the version of the Ascendent walking around isn't the best one, and the one people want... what was it all for? Why does the Ascendent feel like this? Why does it have to suffer?

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....And, that's my little meta post! If anyone has any questions about the timeline or any motivations at any points in the fic, I'm obviously more than happy to explain things via ask/comment, as always!

TLDR: I just wanted to make a Gothic horror. I wanted a dark romance, fucked up obsession vampire/mortal dynamic, but I also wanted a situation that was scary for both Astarion and my Tav. I personally think an Astarion who is so dissociated and separate from reality that he feels that in his bones daily, is scary. It's the lingering impact of the traumas the Rite and those 7,000 souls embodied.

I was literally just trying to make it a horror, for everyone involved.

[class1akids]

Honestly at this point it's our own fault for expecting to not be disappointed by theses chapters apperantly hori can only gives good moments to irrelevant characters therefor said moments are also irrelavent and don't have the impact they would have if given to someone that mattered

I've come to not expect anything else really anytime hori does something axtuly good it's followed by a million not (his characters and stories have so much potential and there all wasted like way are fanfics so much more impact full than the main story 😢

Although I'm a little confused as to what happened to the todorokis?

The leaks came in truly bad quality this week, but even so, it's evident that Hori is still trying to "hide" what happened fully.

All we know for sure is:

Endeavor and Shoto were awake enough to respond to the back-up call and come through the portals (this to me is not a surprise. Shoto especially is in relatively good condition. He only overstretched his quirk but had time for cooldown).

They come from two different portals, but at the same time to do a Flashfire Fist to drive back AFO away from Izuku. (It's a pretty basic move for both of them, and not very powerful, and it maybe because they are down to the last scraps or because of the crowd, they can't do AoE moves).

And then there is this cryptic flashback:

It looks like the robots are putting Rei (?) on a stretcher, while Natsuo is still moving. Toya is hidden. Using pikahlua's TL because the scanlation look inaccurate:

"Quickly, to where Recovery Girl is...!" "The old lady is also at her limit with injured persons... Whether or not anything can be done..."

-> This could refer to either Rei or Toya (or likely both) - basically implying that they are in critical condition and the family is trying to get them to Recovery Girl...

Then Natsuo says - I think talking to specifically to Enji (because he uses "anta") and not to Shoto:

"Even with you here, mom and the others will only be hot."

This confirms pretty much that Toya is there too.

Enji hesitated whether to take the portal or go with his family.

Natsuo basically says that there is nothing Enji can do and his presence could be even harmful - implying that Enji is still overheated (which if you look at both Shoto's and Endeavor's pupilless eyes makes me wonder if they absorbed a lot of Toya's heat)

"So go. Even if it's [just] a little, if you can muster [any] strength..."

Even if it's just a litte is written over Enji's panel, which may imply that he's on his last fumes and his presence here is not necessarily to boost the fight, but for whatever narrative conclusion purpose

if you can muster [any] power - this part is on Shoto's panel. As the Japanese uses "chikara", as in the famous "kimi no chikara" moment between Deku and Shoto, I'm guessing it foreshadows a more powerful attack from Shoto at a later stage (which could include a quirk upgrade if he absorbed Toya's heat - it would make sense or it could include a combo with Toya if he'll show up, which I have a strong feeling he will).

So I think the important thing is that Toya's fate, just like Toga's is left in limbo, as well as there is a strong sense that the Todorokis are running here on fumes, just like everyone else.

My personal feeling is that Hori is setting up a quite hopeless fight with a moment where the star arrivals to the battlefield will be the LoV (possibly because Kurogiri decides that this is the boost Tomura needs), and it will be the tipping point to bring Tomura back who will be essential in stopping / defeating AFO together with Deku (and maybe the other Origins - Bakugou and Shoto).

Bringing in the LoV would achieve tying in the efforts to save Toga and Toya (and Spinner) into the final main conflict, tying together Deku reaching Tenko's/Tomura's fused desire to be the hero of the villains and also for the civilians to see the villains fight against the big bad. It could also foster final conclusion of the big character arcs, including for Enji, Toya and Shoto.

[mdhwrites]

Have you seen the leaked TOH pilot and pitch bible yet? IMO it’s crazy how most of it is better than the final product.

I have! And... I don't know if I entirely agree with that.

What I found most fascinating about it is that a lot of the contradictions and issues of scope with TOH that doomed it are still in the pitch bible itself. Just some quick examples of what I'm talking about: When talking about themes, they talk about Fantasy versus Reality but it's as shallow as it is in the show. After all, one of the episode concepts pitched within it features a plot that has Luz literally going "This is just like in my fanfiction!" and being better able to handle it because of that.

It builds up the emperor of the land and Belos (known as Oberon) when talking about them but NONE of the plotlines include Oberon in the episode pitches or even mention the coven system for that matter. They are still barely a thing to the show with the only episode concept about that part of the show being the one about William.

An utter lack of real stakes like how King has to face the deep crises of a decision of either being a lackey to the people he used to run with while also losing any chance to ever reclaim his lost power... Or he can save Eda and Luz and lose the chance to work with these people again. That's not really a compelling decision, is it?

The pitch also claims that the show will mostly be about Luz and Eda's relationship and how Luz's determination will push Eda to be a better person... And most of the episodes pitched are still not actually about the two spending time together. Just Eda making Luz upset so she goes off to do her own thing, just like the same problem as in the actual series.

You actually have MORE characters in this version which sucks harder for trying to narrow things down, especially since more of them are disconnected from each other than before. At least Boscha, unlike Pascha, has a connection to literally anyone in the main cast.

You also have stupidity with your magic still. "Look! I need to work hard to make small objects float!" And apparently that's enough to make all of Hexside lose their fucking minds. WHY!? In 90% of settings, that is as basic as the light spell Luz learns. It's why it's one of the first spells Harry learns.

Oh and let's not forget "Almost all known portals to the human realm have been severed" but apparently Amity has access to one of those known portals freely enough to attend two schools. It's a small thing but it would cause problems in theory.

BUT.

I will give credit to this: Luz is MUCH more compelling in this version. I think if there is something that is just unequivocally true, it's that. She is way less inoffensively nerdy, instead her interests being more upfront and troublesome, helping explain why that would be why she is rejected and not because, you know, she puts people in danger. Also her rise to power is just better.

Arguably, Luz in canon is a chosen one essentially from episode FOUR onwards. Now, this is up for debate but being given a power almost out of nowhere, with no training, that no one else has, is usually a sign of a chosen in a narrative. Episode 4 is when she gets the light glyph. She doesn't work for it, it's not a big character growth moment, etc. like that. She mostly just oops into it. Making it that Luz ACTUALLY has to work for her magic and the show actually has to explore how the magic works, making it so she has something to learn is just strictly better, especially for the concept of her learning to be a witch. Eda would actually be able to teach her something instead of shrugging and going "Welp, good luck!"

I will say that the bible does also lean more into an adventurous aspect though. This version of episodes would easily be more fantastical and include more magic in them which would help the Isles not feel so much like our realm. I will say the fact that there's also active anti-human prejudice also would be good because then Luz being human would, you know... Matter. Not that the Isles is really given a personality even here besides the oppression they're theoretically under. It's still a very generic fantasy setting.

A lot of the rest though? It's really not that unique or different from the show itself. Lilith is almost exactly the same, Tibbles is just Gus but a demon, there are slightly more restrictions on things like being human or magic but, you know, the show didn't care about its one law, why would it care about three? Even Amity, who does look better on here, is only because it's on paper. This is literally just Amity's pitch in S1 after all. All the reasons people loved Amity are here.

Conceptually it is fine but I am surprised about how not only this got picked up but also how it was greenlit so heavily as to get a pilot animatic, with voice acting, based on these concepts. There's just some very clear cleaning up that needs to be done, basic questions on its own setting and own logic that isn't even playing into the comedy/fantasy angles that could let you let it pass. It's not all of them or even the majority but a skeptical prereader could even raise these basic sorts of inconsistencies like the ones I brought up above. After all, this is half a season's worth of episodes pitched and a fifth of them are still going to Amity and more of them have Luz directly interacting with King than they do Eda.

There's a final thing I have to bring up due to it being why I think the show changed so drastically from this pitch bible to its final form: This is way more complicated. TOH already has extremely decompressed storytelling and too many elements working in tandem. Meanwhile, every character is MORE complicated in this one and less connected to each other, necessitating that each, except maybe Eda, will take more time to get through their stuff. The writing team either had to sharpen how much they could do in an episode or simplify and congregate elements. We see this a LOOOOT in S2A, especially Escaping Expulsion, where it seems the writers went "Even with three whole seasons planned, we don't have enough time to do everything we want to, the way we like to, so we need to start cutting and simplifying even more than before."

One example of this that's really easy: In the pitch bible, Willow is a random witch who lives near Eda. Well that means she'll likely either take time out of a couple episodes as she's introduced or take up an entire episode just for herself. Tibbles is also just on their own, like in the show. Introducing both of these characters is not really an option. However, put them both into Hexside and suddenly you can introduce three characters at the same time organically, like we saw with I Was a Teenage Abomination.

Luz just being gifted magic is another element to this. Her having to actually experiment for every spell and having to have a real system to her spells limits what she can do but also means spending a LOT more time on her magic. You can't just have a flower open up and give her the glyph of the day as easily, nor have her be able to throw her spells around as she wants. Making it so she just needs reams of paper and/or a marker makes it a lot easier and simpler to have her start casting magic.

This version of TOH would have SHATTERED under its own scope while the current version mostly bends and cracks from it. However, if people do use this to go "FUCK DISNEY EVEN HARDER!" I won't be surprised. Grand scope ALWAYS looks better on paper than it does in action. It sounds epic and multi-faceted and complex. The problem is that it still has to fit its format and it is MUCH harder to execute on than a more simple concept.

There's a reason the only perfect project is the one you never do because you can promise the world without ever having to deliver. So, while it's nice to see an earlier version, I am by no means going to say this would have been a better version of TOH.

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

Sorry for anyone hoping for a link to the pitch bible btw. I just don't have one as I got given it as a document.

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

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

A Twitter you can follow too

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

[spooky-pop]

Hey found your blog and your punk rock broppy au. Got to say love what I see so far and what to know more about it like. What movie does this au take place?

When rock branch and poppy meet again after all these years apart what was their impression on each other?

Was it love at first sight ? If not who fell for who first?

Is creek in this au and did poppy have a crush on him like in the canon? What’s branch thoughts about his siblings? Is branch fully loyal to the rock tribe including twt barb plan?

Does branch get jelly of creek or hickory when their around poppy like he did in canon? That’s all I got for now.

Thank you so much!! I also really appreciate the questions and am so excited to answer them since I've been working more on this AU behind the scenes. There are a lot of details and plot points I just have not figured out yet, so there's a chance some things could still be changed, cut out or just tweaked a tad. I don't mind sharing more about this AU since the comics are already in progress haha

Excuse the text wall, haha!

-This takes place around the Trolls 1 timeline, then maybe a little into Trolls 2. The Bergens are still a danger and Branch still accompanies Poppy to save the Snack Pack. Instead of him finding the will to sing again in Trolls 1, he works on facing his past and traumas with Poppy to finally find his happiness.

-When Branch left pop village he was probably around the age of 9 or 10, he and Poppy definitely had some kind of a bond as children but as years passed, they both tried to focus on their own lives by trying to move on and forget about what they lost/left behind. They re-unite in their 20s, and since this AU follows RomCom tropes, they have a similar vibe to Trolls 1 Broppy. She wants to know more about him, and he is very secretive about it all and keeps his distance. There's a lot of banter between them. Very much begins like they dislike eachother but time will fix that :)

-It was not love at first sight for them, but Branch was the one who fell first, and the hardest. He tried to keep that hidden behind his tough exterior though, because he CERTAINLY didn't want to show that he had fallen for the princess of pop, exactly what he swore he wouldn't do since he was done with pop village. Loving her meant he would definitely have to revisit his past he tried running from, which scared him. But he finds comfort in Poppy that he was not provided in many years.

-Creek is in this AU (not much), and he and Poppy are good friends who do flirt a little, she does have a crush on him. Branch absolutely hates him, and of course, becomes a jealous that someone else is fond of the Princess.

-In this AU, Brozone was still a thing and they still broke up and went different ways. They just never contacted Branch again. Branch is very fueled by his anger and resentment, because essentially, they did abandon him and still never returned when he needed his family. (His brothers COULD return in the future, but at this point in my AU, their whereabouts are unknown)

-When Branch left Pop Village, he sort of became a wanderer until he happened upon the Rock tribe. Nobody really took him in, he just made himself at home and they accepted him. He purposely kept his distance from some trolls and focused on himself. Sort of living his life on autopilot. He is still a pop troll at heart, he wouldn't have felt that Barb's plan was right either. The Rock tribe does have heavy influence on him in his personality and his appearance, but inside he is still the Branch that came from Pop.

-And again, yeah! He absolutely gets jealous still, it's a big part of his character haha.

There is so much lore and other stuff I've planned and thought out, also a lot of points I excluded because I don't want to reveal them yet. But I can't wait to make some mini comics sowing som of these scenes :)

[funhouse-mirror-barbie]

The Decay of Complex Characters and Character Development in Helluva Boss (Stolas and Octavia’s Relationship: Part 2 of 2)

Part 1 here

I felt I had to make separate part just for “Seeing Stars” because my other post was getting way too long, and I wanted to really focus on the treatment of Stolas and Octavia’s by the writers.

Please know that this is JUST my opinion and not a personal attack on HB’s writers or creators. I’m talking and venting a bit about my personal frustrations with the series regarding what I perceive as being MAJOR plot holes and inconsistencies in the show’s writing.

As of right now—and I do want to acknowledge this could change, but as of right now—it largely seems like any character development Stolas may have gone through after “Loo Loo Land” has been completely tossed out the window.

I personally believe that the writers of Helluva Boss think that they are writing Stolas to be more complex, but he has yet to have to actually be held accountable for his actions, and for breaking his promises to Octavia.

And the way the writers present him has really come to bother me. So I wanted to talk more about it, and about how Stolas cannot become a well-written, complex, and engaging character until the writers let him actually be imperfect and complex.

To talk about this more in depth, I gotta go over the second episode that features Octavia, Season 2, Episode 2 of Helluva Boss—“Seeing Stars”

(TLDR at the end)

To start, “Seeing Stars” is narratively very similar to “Loo Loo Land”. By “very similar” I mean that it’s almost the exact same plot, but frustratingly more clunky. Here is an extremely short summary:

The main crux of the conflict in “Seeing Stars” is that Stolas forgot about a promise he made to Octavia to go see a meteor shower, and ends up neglecting her.

Specifically, he forgets because he is too busy yelling at Stella over the phone due to their contentious divorce. Octavia feels let down by her father again, and runs away to the human realm to see the meteor shower on her own.

Stolas and I.M.P. panic and go after her. Eventually Loona finds her and gives her a speech that essentially boils down to: “everyone’s got hardships and problems but Dads ESPECIALLY have problems. Your Dad is trying really hard right now. So that should count for something right?”

And that comforts Octavia in the moment. Octavia and Stolas reunite, he asks her why she ran away, and she tells him she was trying to see the meteor shower he promised to take her to. Stolas is horrified that he’d forgotten, starts to apologize, but Octavia cuts him off and tells him “it’s okay”, forgiving him.

I rewatched “Seeing Stars” before making this post to make sure I hadn’t misremembered any crucial plot points.

I thought I remembered that, at the very end of the episode, Stolas apologized to Octavia for breaking his promise and then she told him it was okay.

It turns out I had misremembered things, because the writers literally kept Stolas from saying sorry.

This leads to the main criticism I have of Stolas as a character, especially from a writing standpoint. The narrative does not allow for Stolas to ever truly be in the wrong, or for anyone, including Stolas, to fully acknowledge that he is in the wrong.

And I know that it’s easy to go “BUT LOOK! Octavia says “I know, Dad”! She KNOWS that Stolas is sorry.

That’s fair, but for me personally, I think an EARNEST and verbal apology is needed here to show that Stolas has grown.

I’m very lucky in that I have a good relationship with my parents, but that doesn’t mean we never fought or they never said or did things that hurt me.

I distinctly remember a time when my Mom was apologizing to me for something she did, I said “it’s okay” and she immediately replied “No, it’s not okay. I shouldn’t have done that. I’m sorry, and I hope you can forgive me”.

That really changed my perspective on conflict. I think a lot of people, including myself until then, consider “it’s okay” to be a form of saying “I forgive you”. And I’m not trying to police like…basic language and substitute words. But I DO strongly believe in taking responsibility for when you hurt someone.

In all honesty, I think this scene actually could have worked for Stolas’ character development if he had actually acknowledged that, “No, it’s not. It’s not okay that I broke my promise to you. I’m sorry, and I hope you can forgive me, but if you can’t right now, I understand.”

THAT, to me, shows character development. That would’ve shown that Stolas is, at the very least, trying to make an actual effort to change for the sake of Octavia.

Instead, though, SHE apologizes Stolas for running away to try and see the meteor shower that HE promised to take her to. And the writers refuse to even let Stolas say he’s sorry.

Let Stolas say he’s sorry, writers! Let Stolas be in the wrong!!! I promise it won’t make people hate his character!

I mean, jfc, just look at the fandom around Hazbin’s Valentino. That guy could not be more evil if he tried and a lot of fans can’t seem to get enough of him.

My other issue with the treatment of Octavia in this episode, SPECIFICALLY the speech that Loona gives Octavia near the end.

Because. Oof. There’s a lot to unpack. Firstly:

Maybe it’s just me, but I find the way the writers have Loona frame this situation as being really really weird. To be clear, I don’t think it starts off too badly. Everyone DOES have issues, and that can affect the way they act and treat others and make mistakes.

That said, dads are not inherently more messed up or dealing with more difficulties than anyone else.

Dads have issues the same as any other person, but they don’t get special privileges or passes because they’re dads. They’re responsible for themselves like every other person with issues and difficulties, and they’re still responsible for themselves and their mistakes.

It’s especially frustrating because the writers are using Stolas’ “issues” as a crutch to excuse their bad behavior. This happens a lot with writers trying to excuse or justify their character’s actions. The “issues” can be anything from a difficult childhood, relationship troubles or divorce, a traumatic experience, etc. but these things should never be used as a way to excuse a character’s every mistake and flaw.

Effective writing will use a character’s history to explain the reasons a character acts or behaves a certain way, not excuse that behavior. This leads to characters that the audience can become more invested in, and can form different opinions or interpretations about.

A really great example of this is Bojack Horseman, whose terrible upbringing and abuse definitely garner audience sympathy, but the writers never use this to as a justification for the Bojack’s behaviors. Bojack continually makes really terrible choices that hurt the people he cares about the most, and while we as the audience still sympathize with him to an extent, we still get frustrated with Bojack, and be disappointed by him.

The audience finally gets some catharsis from this frustration when Bojack is called out by his best friend Todd for this, after he finally breaks any remaining trust in their friendship with the following quote:

“You can’t keep doing this! You can’t keep doing shitty things, and then feel bad about yourself like that makes it okay! You need to be better! [Bojack apologizes and then continues to make excuses] …BoJack, stop. You are all the things that are wrong with you. It's not the alcohol, or the drugs, or any of the shitty things that happened in your career, or when you were a kid—It's you. Alright? It's you. Fuck, man. What else is there to say?”

In my opinion, Helluva Boss’ writers seem to be determined to write the exact opposite of this sentiment.

The writers frame Loona’s speech to Octavia as a heartwarming moment—a moment where Loona helps Octavia realize that Stolas cares about her and is trying his best, so Octavia should cut him some slack.

This is, quite frankly, a BAFFLING scene because Loona’s behavior for the ENTIRE EPISODE is her assaulting and yelling at her dad. Like, she has given Blitzø absolutely NO slack before this moment, and then doesn’t give him any in the scene DIRECTLY after this, where she assaults him again while he’s in the middle of apologizing to her.

Not only is it odd to have Loona tell Octavia all of this and then not act on it herself, but the whole scene really reads as the writers trying to sweep Octavia’s very valid and real feelings of hurt over her father’s neglect under the rug.

And look. Trying to be better can be important. Trying to change and be better IS worthy of being acknowledged. But at a certain point, as Todd points out to Bojack, you have to actually be better.

In part 1, I talked about how the end of “Looloo Land” had set things up for Stolas to start being more conscientious of Octavia’s feelings and needs. He took the first step of making amends with her, of listening to her and her concerns and fears.

“Seeing Stars” was an episode that could have shown him being better. But instead. Well.

In her speech to Octavia Loona says this:

And to be fair, Loona didn’t know what hijinks Stolas and Blitzø were getting up to in the city. She probably did think Stolas was looking for her.

…Except…he kind of wasn’t…

During the search for Octavia, Blitzø gets mistaken for a famous Hollywood actor, and he and Stolas are essentially kidnapped to be in a sitcom. When this first happens, Stolas is anxious, clearly upset that there search has been further impeded:

He’s scared that Octavia could be in danger, or hurt. Stolas seemingly wants to find her as soon as possible.

Well. Once they get to the Hollywood sitcom shoot, the following scenes happen:

STOLAS WHAT THE FUCK ARE YOU DOING???? YOU JUST SAID THAT YOU DIDNT HAVE TIME FOR THIS ??? BLITZØ DIDNT EVEN WANT TO PERFORM, AND YOU MADE HIM! WHY?!?! YOU DONT OWE THESE PEOPLE ANYTHING? THE TV PRODUCER EVEN LEFT THE ROOM BEFORE THE SHOW STARTED, NO ONE WAS KEEPING YOU THERE!!!

WHY ARE YOU INVESTED IN THIS AND WORRIED ABOUT THE AUDIENCE NOT LAUGHING?!?! STOLAS YOU LITERALLY JUST SAID YOUR DAUGHTER COULD BE IN DANGER IN THE VAN, WHY ARE YOU SUDDENLY SO CONCERNED WITH MAKING BLITZØ ACT IN THIS SITCOM???? STOLAS YOU DONT KNOW WHERE YOUR FUCKING DAUGHTER IS?!?!?

I just…I’m sorry, I just think this episode is so so clunky and so poorly written. I think it may be one of the episodes with the least consistent character writing.

The scene continues, Stolas gets distracted by how attractive he finds Blitzø, and Blitzø acts in the sitcom for so long that even Stolas looks bored and out of it.

At this point in the story, he doesn’t know where his daughter is, if she’s hurt, or in danger, or even why she ran away in the first place. But instead of that taking the absolute top priority for him, he takes time to watch Blitzø make bad jokes in a wig for the whole afternoon.

Stolas isn’t even the one to get them out of the Hollywood studio, Blitzø is. Blitzø has a panic attack about the thought of Loona being taken from him during the sitcom shoot, and that’s what sparks them escaping.

The two escape the studio and meet up with Octavia and Loona, and the episode ends with Octavia apologizing for running away, and Stolas not having to apologize to her for his mistakes because Octavia already knows he’s sorry.

In Part 1, I talked about how at the end of “Loo Loo Land”, the writers set up the building blocks for Stolas’s character development in regards to his relationship with Octavia. S1 E2 of Helluva Boss ends with Stolas listening to his daughter, realizing his actions hurt her, and acting like he’s going to start putting her first.

“Seeing Stars” undoes all of that development. Which wasn’t even that much character development in the first place. Just the kicking off point for Stolas’ growth as a character.

Reviewing this episode made me realize that Stolas’ character development may have actually regressed. He doesn’t keep his promise to Octavia, he starts flirting with Blitzø when he should be looking for her, and wastes valuable time fucking around with Blitzø on a sitcom set.

And listen, I KNOW that Blitzø got Loona to look for Octavia right after he and Stolas got kidnapped by the tv producers. But after they get out of the Van, WHY does Stolas just continue to go along with it? He was so concerned and scared for Via before, wouldn’t he want to get back to looking for her as soon as possible?? And have as many people as possible working on finding her???

Blitzø doesn’t even want to go on the sitcom and for some reason Stolas makes him! The tv producer had left the room at that point too, and Stolas is a DEMON PRINCE, no one was keeping them there!

Stolas gives the reason for Blitzø needing to perform to be “so they can get back to looking for Via” but they can just do that without having to be in the sitcom?

I think the writers might have written dramatic irony into the story without meaning to? Loona tells Octavia that “[Stolas is] down there. Looking for you”, but we as the audience know that’s not true. Stolas wasn’t looking for his daughter. He was watching Blitzø star in a bad sitcom for 5 hours.

This becomes extra frustrating and gut-wrenching for me when I think about Octavia right before Loona’s speech about how “dads are special and have it extra extra bad and try extra extra hard and that’s super important, even if they fuck up and hurt you”

This scene is absolutely heartbreaking to me. This is a 17 year old girl who has been repeatedly let down by one of the people she looked up to and relied upon the most, who rightfully feels abandoned and like she no longer has a home.

Specifically the line “Why does he hate [my mum] more than he loves me?” hits extra hard.

I don’t know what it’s like to have divorced parents, but I can imagine that anyone who has may have had this exact thought. Octavia needs support more now than ever, and keeps getting let down by the adults around her, and it just breaks my heart to see this young vulnerable girl not really have anyone who acknowledges that what Stolas did was hurtful. That it wasn’t okay, and that she’s allowed to be upset about it.

The reason she exists in the story isn’t to be her own person and to have character development of her own. She exists just to be Stolas’ daughter, and to forgive him for his wrongdoings and make him seem like a “good” person because even though he has issues, he still loves her! That makes him a good dad!

And I don’t know how Octavia is broadly accepted in the HB fandom, but I’ve heard that she may not be liked very well, and I don’t understand how anyone could see this scene and think she’s annoying or terrible.

Honestly, I would NOT be as frustrated and disappointed by the writing in this episode, if the writers and the fandom at large didn’t treat this episode like it had a heartwarming and satisfying resolution. If the writers treated Stolas as a complex person who is able to make mistakes, and who still really needs to own up to his actions and take responsibility for his broken promises, I would probably like him a lot more as a complex and nuanced character.

But the way the writers frame Stolas as being in the right, or being the victim, or being fully justified in all his actions isn’t just bad writing. It’s boring. Stolas is a boring character because the writers do not allow him to be in the wrong, to be morally ambiguous or dark, or to be called out or held accountable for his mistakes.

The writers MAY somehow undo the damage they already did in “Seeing Stars”, but given the way that the writers, show creators, and fandom go out of their way to excuse any morally grey, questionable, or harmful decisions Stolas makes, I’m not going to hold my breath.

TLDR:

-Despite Octavia being hurt by Stolas again, the writers refuse to put him in any situation where he’s held accountable for his mistakes

-The writers use Stolas’ “issues” to excuse away his bad behavior. And specify that Octavia should cut Stolas some slack because he’s a dad and being a dad is extra hard I guess?

-the framing of the episode acts like Stolas did everything in his power to look for Octavia when he clearly didn’t (he was goofing off with Blitzø)

-Stolas is ultimately uninteresting and not engaging as a character because the writers go out of their way to excuse his behavior and mistakes even when he’s in the wrong.

-Stolas cannot be a complex character if he is always absolved of the consequences of his actions and is not allowed by the writers to be better (in my opinion)

Also sidebar—WHY DID HE NOT CALL OCTAVIA ON HER PHONE!?!

In the VERY first episode of HB Stolas is LITERALLY INTRODUCED TO US by calling Blitzø on his phone and watching Blitzø in the human world from hell, without the use of his Grimoire!! HE HAS THE POWER TO DO THAT!!!

I was like, maybe Octavia didn’t have her phone for a SECOND before remembering that LOONA FINDS OCTAVIA BY LOOKING AT THE PICTURES SHES POSTING TO SOCIAL MEDIA WITH HER PHONE.

Like Stolas do you not know ur own daughters phone number. AND YOURE GIVING BLITZØ A HARD TIME ABOUT NOT KNOWING MOXXIE’S?? Also when Blitzø is in danger you can pinpoint his exact location, travel to the human world without the grimoire terrify and reveal your existence to MULTIPLE humans with absolute disregard for being discovered, but when your OWN DAUGHTER is missing and you have NO idea why or if she’s in danger, suddenly you have time to run around LA for a day getting into shenanigans???? She’s your DAUGHTER. No wonder she doesn’t think you care about her because I sure as hell don’t after that episode. Lord.

[americankimchi]

wish i knew what to do with this helpless frustration i feel every time i see people vilify the jedi for their way of life when the person doing the vilification doesn't even understand them properly. it's one thing to criticize and dislike them if you have an accurate picture of who they were and what they're trying to do vs. hating them because you straight up don't understand them at all 😭

[commsroom]

i think one of the boldest and best moves wolf 359 makes in its character development is that, in terms of the major defining events that led him to where he is, eiffel doesn't have a tragic backstory so much as he is responsible for the tragic backstory of someone else.

(the archetype of the everyman protagonist who copes with past trauma via humor does in many ways describe eiffel, but like with every character in wolf, it's the complexity of their circumstances that make them feel like real people with believable inner worlds. they don't subvert the archetypes they represent, exactly; they're just people, complex and contradictory, who ultimately can't be constrained by the expectations or defined lines of the narratives imposed on them.)

eiffel believes this is an intrinsic part of who he is, that he was "just those mistakes"; he externalizes his desire for redemption and that manifests as lenience towards people who lack his fundamental desire for growth. and in failing to recognize his own ability for growth, he presents himself as a doomed character archetype more than a person; he sidelines himself as an observer within his own story. his guilt and self-hatred allow him to in some way abdicate responsibility, to see his failings as inevitable, and it's only accepting his own complexity and capacity to be more, the human quality he recognizes so fervently in others, that frees him from those self-imposed conceptions.

(once my friend kit said that eiffel “defines the tone and the moral compass of wolf 359 so strongly that if you put him into any other series he would turn it into wolf 359 too” and i think about that a lot.)

doug eiffel is wolf 359, in all it believes, and despite his perception of himself as the weakest link, he is so interwoven with both the crew of the hephaestus and the themes of the show that he is inseparable from either. he doesn't always embody the show's values or its morals - in fact, he frequently fails to live up to them as much as he'd like - but he is the one who advocates for them. "it's not just about surviving; it's about being able to live with ourselves after we get off this tin can."

it's a show about communication; he is an intermediary, a vessel for communication - sometimes literally, and he's also just a guy who is still trying to learn how to communicate better himself. what eiffel represents is a flawed, contradictory, unpredictable, irrepressible humanity, singular, and so desperately in need of connection. the show's love of humanity is truer for that. he has genuinely done wrong, in ways he may not ever be forgiven for. he has very real flaws, some of which persist through the entire show, even as he's consciously trying to do better. and he is very much human, and very much loved.

[wutheringmights]

I think on some subconscious level, I don’t ever want to finish writing this chapter

[no1ryomafan]

Forgot to mention awhile ago I started Big O-ITS GOOD-and this is something that hasn’t been touched on yet but is that the robot is sentient, which got me thinking about why this aspect is appealing to me in mecha context pasts “already preferring robots with sentience to begin with”.

There is something both intriguing and horrifying about the idea this giant man made machine your piloting that cannot speak at all is still technically aware. It doesn’t have a free will per-say as it needs you, its pilot, to operate it, to make it move and fight, but it still has its own thoughts and feelings. And whether or not this sentience means anything to humanity-if it freaks out other people, if it means anything for the general scale of evolution and the future as technology continues to grow-you still have the duty to pilot this robot because there’s no other way to eliminate the enemies, and only you can do it. Even if you didn’t choose to, the robot needs you as much as you need it.

[capricornsicle]

something something the villain of the season (the one about how fear can give way to extremism if you're not careful and how easy it is for many, many people to become radicalized by one person's radical hate and how genocide is a bad thing actually regardless of whether individuals of the targeted group have themselves done terrible things) being a black woman who survived an incident of indiscriminate mass murder is perhaps. not the best idea considering the themes involved

[crystalkleure]

>“What are your favourite animals” >*Lists off almost exclusively creatures that most people are afraid of or think are gross [or both], for the given “I am offended on their behalf, they are simply vibing” reason* “...And also dogs!”

One Of Those Things Is Not Like The Others, except it actually is because I was raised by my mother and my mother fucking hates [read: is afraid of] dogs, especially the big ones. When I was a kid I asked for a pet dog once and she got me two cats instead.

[stilltoolazy]

.

[snekdood]

gonna be very annoyed if ppl insist on tryna turn all 5 of my dude characters into women when the majority of other characters in my comic already identify as women

[rosesradio]

.