#being thematically paralleled with a character doesn't make them the character

[the-mpreg-guy]

regarding some behavior from deancrit casfans (im not trying to start a fight talking about them it's just observations from an outsider to that fandom) it's probably because sam fans are the other third of the fandom and overlap with s*stiel fans (im censoring it bc i dont wanna bug them)

and it's a lot easier to paint dean as a control freak and not just being mad over him being mean to sam if you already have “evidence” (whether accurate or not) of him doing it to another character.

and because woobifying characters IS fun people are more likely to perceive dean's behavior as ontologically bad even if it's normal. so it spirals into perceiving all of his actions as uniquely manipulative and bad and finding parallels of him acting like john (when cas AND sam both also do john behaviors, which isn't automatically a bad thing) and because he happened to be suspicious of jack (normal thing to do with Everything that happened, including him menacingly glaring at sam in a nursery with yellow eyes right after castiel died after he promised castiel everything he wanted) they think it's more evidence of him becoming another john.

like there's a real pipeline of deancrit casgirls to s*stiel shippers because they refuse to acknowledge when castiel has messed up (and im sure im also biased in my perception of dean but at least i can acknowledge when characters mess up and dont need to turn them into toxic people who can't be fixed like some other fans)

My opinion on this is that there's a ven diagram of people who ship s/astiel and people who hate Dean. And the people who are in the middle of that ven diagram are insufferable, while the guys who just wanna ship a funky little rarepair are being dragged into what's turning into a spiteship fandom.

As someone who has existed in spiteship fandoms before (whomp whomp, 16yr old Ash was a bitch), it's never never about the ship, it's about sticking it to canon, the popular ship, or whatever the fuck because you're so annoyed that x thing is popular that the only way to get back is to ship something that involves two characters who you perceive were slighted by x popular thing.

Not really sure what's going on in Sam fandom land because I only follow like 2 Samgirls tops, but there's definitely a small portion of the Cas fandom that latches onto any character that can be shipped with him because apparently *checks notes* a demon who molested Sam and Dean, a British fuck who almost got Cas's daughter killed, and the guy who kicked Cas out of the bunker during his tuberculosis era and told Dean they couldn't trust him are all better candidates for Cas's affection than the guy that Cas is actually in love with.

I'm not pissing on rarepairs or on wanting to see your little guy get with other people, but if it's for spite reasons I'm gone. Like sorry that being in love with Dean is one of Cas's core personality traits. Like that's literally his whole thing. You might not like Cas if you can't handle 99% of what makes him tick.

[tangents-within-tangents]

Ooh! Okay, I love all of that! Thank you for sharing lol you just gave me some epiphanies!

I hadn't quite been able to figure out the significance of Crosshair killing Nolan, like that action specifically, and I think what you said makes a lot of sense! Because it totally wouldn't have worked (narratively or like for the character) if he had just quietly defected after the fact.

Crosshair is really complicated, and since I was focusing more on the comparisons to Emerie I didn't get into all the aspects of his full arc (but at this point why not make the post even longer lolll). But I also noticed how often Crosshair identifies himself as a soldier, I actually originally had this exchange in my analysis:

Rampart: All that time, left for dead and yet you still came back. Why? Crosshair: I’m a soldier of the Empire. Rampart: I see. Your loyalty and determination are commendable.

(which side note, I realize that further shows the difference between those two! Crosshair is there to be a soldier whereas Rampart is just there for himself, like he can't even fathom Crosshair's loyalty after being abandoned like that)

Those recurring ideas of loyalty and purpose are directly tied to Crosshair's identity as a soldier, like that is where he finds his purpose and that's why this is what changes his mind:

Nolan: He served his purpose as a soldier of the Empire.

So the idea that killing Nolan isn't a desperate act of vengeance but Crosshair deliberately giving up his identity as a soldier just really clicks for me and makes that arc feel more complete in a way.

If it was purely self-preservation he could have just defected and run away. That would have been just cutting his losses and leaving the Empire solely because it no longer serves him. But unlike with Cody it's not enough for him to just stop serving the Empire. Instead by killing Nolan he actively rejects the Empire and "seals it in blood" by choosing treason and its consequences. It's like in that act he is 'killing' the soldier that he was for the Empire. (And if we bring the context of Mayday into it, it means that he would rather die defying the Empire than die for them.)

This also ties to my other favorite bit of the vulture symbolism! Which is this moment:

When Crosshair collapses and the stormtroopers close in to take him away, what would appear as his lowest point, the vulture soars upward. To me it shows that even in this dire moment Crosshair truly is finally free. It ensures that this is an internal triumph even if it looks like an external defeat. (And after this turning point he never does go back, even when he could have saved himself by giving Hemlock what he wanted in Tantiss)

So yeah thanks, I didn't quite realize that in killing Nolan he was choosing to be imprisoned or killed as traitor. I think that's a death 'redemption' I could get behind! Because it's not a sudden single sacrifice that supposedly absolves them of all wrongs without ever facing the repercussions (look at that you drew the rant for another time out of me lol), it's him 'killing' the version of himself that did those wrongs, rejecting that identity. It's not 'redeemed' through heroic death, it's like by the death itself (if that makes sense). And since he didn't actually die like he thought he would, he still has to live with the aftermath and implications of that change. Viewing it like that, it makes way more sense that the after-arc in S3 is about rebuilding his identity and finding new purpose with his family: "Omega needs all of us". (which also fits with the hand tremors thing (losing his identifying skill), and more possible parallels with the CX troopers since their "identities were erased" (though that plotline was pretty rushed so I don't even know) but I really like what you said about Ventress and Omega helping him realize things!)

But! He's still only facing the aftermath implications for himself, not for those he hurt with his actions, which is why to me his arc still isn't a 'redemption' in that sense. And @laughhardrunfastbekindsblog (sorry I don't want to keep reblogging my own beast of post lol) yeah it is 100% a valid arc/ change, I guess it depends on your definition of redemption, because to me the amends/accountability part is really important (something this posts (@antianakin) touches on, though I clearly disagree with the purpose of those characters' arcs). And to clarify, I'm not talking about the character himself, or what he's been through or deserves or whatever, it's about how it's written and what the story we are actually given is saying. That's what I'm critiquing.

With the above context I see how the change itself is really vital. I can get what you're saying that it "convinced Howzer that Crosshair had changed for the better, and that was good enough for him." And it is in-character honestly (Crosshair's not much for words) and it works for what it is.

What bothers me with those episodes (I guess we can do this rant now too lol might as well) is how the show/writing treats Howzer. Because it really feels like they are saying Howzer is in the wrong for not immediately accepting Crosshair, even though he has completely legitimate reasons to dislike and distrust Crosshair because of his actions. Even Hunter calls Howzer out when in the last episode he was just as rightfully distrusting of Crosshair's change until they talked it out. Crosshair doesn't show any remorse in those episodes, he comes off as pretty smug and dismissive instead, but Howzer still has to accept it anyway, mostly on his own by just observing Crosshair's behavior.

Like I said, Crosshair has changed and that's great, but he still did those things. The show had the perfect opportunity for him to face that here! To show that he regrets his past actions instead of just telling Hunter, and to act on those regrets by making amends with someone who was affected.

Like I think of this scene from Atla for comparison:

Suki: You kinda burned down my village. Zuko: Oh… sorry about that.

It's simple, it doesn't undo the wrong (reparations) but it still does the bare minimum of amends (and more is done with his reconciliation with the main characters). Yeah Suki can see that Zuko has changed by his actions (and he is actively fighting against the Fire Nation to help others) but they don't expect her to just accept that in and of itself, Zuko still shows and expresses remorse, and doesn't shame Suki for being upset about what happened. But with a very similar scene of 'changed person is confronted by a past wrong' we instead get this:

Howzer: Most of my squad from Ryloth is dead because of you! Crosshair: *blinks* Rex: Easy, Howzer!

Crosshair is confronted with someone who he directly harmed, but instead of exploring his accountability in the aftermath of his change they made it about his victim's acceptance and unearned forgiveness.

Crosshair's arc as it is (described at length above) works for me, but this does not. Like if they had done just this differently I think I honestly would be fine if everything else stays the same and Crosshair never actively goes against the Empire. Because it's not even about screen time, the opportunity was right there to tip the scales into an better-written actual redemption but they just didn't use it!

And I think that is why TBB as a whole has been frustrating me lately lol. The writing was honestly so good at times, so I can never dismiss it out right. But there are also so many ways it could have been SO MUCH better. And it was really close too which almost makes it worse! Because then we see these glimpses of what the show could have been to compare it to. The potential was there they just missed it, or often times actively avoided it. (But that truly is a discussion of another time, I've got a LOT of draft posts in the works lol)

Hot take:

Crosshair does not have the Imperial disillusionment and redemption arc of The Bad Batch

Emerie does.

Crosshair has an arc for sure yes but it's not that.

I was thinking about this scene:

and how it got right what this scene kinda didn't:

(It was so close but then bad writing decided to undercut the moment with a joke rip)

And I think it's really interesting that these characters who were more or less raised into the Empire/First Order and chose to leave it are all directly asked why.

But take a look at Crosshair's answers in comparison:

Different context for the asking, yes, but still, compare that to clones like Howzer, Cody, Slip and Cade who left or turned against the Empire because they knew what the Empire is doing is wrong and they weren't just going to blindly follow orders:

Crosshair - Loyalty, Purpose, and Survival

Crosshair didn't choose to join the Empire (though the show isn't very clear or consistent about how much control the inhibitor chips have) but he did, for whatever reason, choose to stay. By the end of S1 we know his chip has been removed and as he definitively says "This is who I am." There were likely still other influences on his decision, but listen to how he talks about the Empire in the S1 finale:

Hunter: Crosshair, I've seen what the Empire is doing. Occupying planets and silencing anyone who stands against them. You know it's not right. Crosshair: You still don’t see the bigger picture, but you will. Hunter: Can't you see they're using you?

Crosshair: We’re not like the regs, we never have been. We’re superior. The Empire can’t protect the galaxy without strength, this is what we were made for. Think of all we could do, together!

Crosshair: You all are meant for more than drifting through the galaxy. It’s time to stop running. Join the Empire, and you will have purpose again.

Hunter: They destroyed an entire city! Crosshair: They did what needed to be done. Kamino, regs, the Republic, that time is over. The Empire will control the entire galaxy, and I am going to be a part of it. Hunter: Don't fool yourself. All you'll ever be to them is a number.

He undeniably knows what the Empire is doing, but he does not care. In fact it sure sounds like he actually supports it and finds self-meaning in it. Hunter spends those episodes trying to convince him it's wrong, he doesn't change his mind. In the end they offer him an out and he doesn't take it.

Wrecker: You coming with us? Crosshair: None of this changes anything. Hunter: You offered us a chance, Crosshair. This is yours. Crosshair: I made my decision.

The next we see Crosshair in "The Solitary Clone" (S2:E3) he follows orders and shoots the Desix governor, right after Cody heartbreakingly tries to do what's right and find a peaceful solution.

Cody: Tell me something, Crosshair. This new Empire, are we making the galaxy better? Crosshair: We’re soldiers, we do what needs to be done. Cody: You know what makes us different from battle droids? We make our own decisions, our own choices. And we have to live with them too.

After this (glorious!) conversation, Crosshair stays. Maybe this began to seed some doubts, but he actually smiles a few scenes later when Rampart assigns him another mission. It seems like for him it truly is as he said in S1:E1 (chip not enhanced yet but still influencing him enough for his brothers to notice he's acting strange):

Crosshair: Republic, Empire... what's the difference.

Crosshair: Orders are orders.

This unethical mission that finally pushed Cody over the edge does not change Crosshair's mind about the Empire, at least not enough for him to take action.

But what does?

Mayday: And here we are, the survivors. Combat troopers stuck babysitting cargo shipments. Crosshair: Mission’s a mission. Mayday: Yeah, I used to say the same thing.

Mayday: After all the clones have done, all we’ve sacrificed. We’re good soldiers, we followed orders. And for what?

This mission has nothing to do with how the fascist Empire treats the galaxy, it's about how they treat their soldiers. It's about how Mayday loyally fought and served his whole life and Lieutenant Nolan let him die

Lt Nolan: He served his purpose as a soldier of the Empire. Crosshair: You could have saved him! Lt Nolan: Perhaps you didn’t hear me, he is expendable, as are you.

Crosshair thought he could find purpose within the Empire, and Nolan shows him exactly what that will be.

His turning point is accompanied with this powerful visual of the ice vulture, a symbol (and threat) of death, and also set up within the episode a symbol of survival:

Mayday: Vicious creatures, but you have to admire ‘em. They find a way to survive.

This critical moment (that gives me chills, oof this episode is a masterpiece!) comes right after Nolan calls him expendable and directly threatens him:

Lt Nolan: And if you speak to me again with such disrespect I'll see to it you meet a similar fate, clone.

then Crosshair sees the vulture's shadow and turns to Mayday's dead body (ahh visual storytelling my beloved) then makes his decision:

Crosshair turns against the Empire not because he believes Hunter was right about this:

Hunter: I've seen what the Empire is doing ... You know it's not right.

but because he was right about this:

Hunter: All you'll ever be to them is a number.

Redemption (both in fiction and irl in my humble opinion) comes with making amends and reparations (which is why death 'redemptions' bother me so much but that's a rant for another time). Unlike Emerie, Crosshair never explicitly denounces the Empire or his own actions within it. He never says anything to specifically show if and how his views have changed from what he said on Kamino. He makes amends with his family (sending the warning message, helping Omega escape, making up with Hunter) but that's about it. The most we get in terms of acknowledgement is this:

Crosshair: I thought I knew what I was getting into with the Empire. I thought I was being a good soldier. Hunter: Nobody really understood what was happening back then. Crosshair: I’ve... done things. I’ve made mistakes. Hunter: I have regrets too, Crosshair. All we can do is keep trying to be better, and who knows there just might be hope for us yet.

Which is nice and all but it's more about them making up as brothers so it's way too excusing tbh ("no one knew what was happening back then" ummm? "The Empire will control the entire galaxy, and I am going to be a part of it" remember? And even if at first Crosshair was being controlled by the chip, the fact that he chose to stay after it was removed* means he condones and is therefore still accountable for those actions).

There's also a bit of self-destructive guilt:

Crosshair: Omega, don't risk anything for me. I belong in here.

Crosshair: Omega needs you both. So I’m doing this alone, it’s what I deserve. Hunter: Don’t even think about plan 99, Crosshair. Omega needs all of us.

(which thank you Hunter for pushing back on the death redemption bs and oh look is that a wrap up for the purpose thing?)

But there's no action taken on his part to make up for what he's done or to stand against the Empire (aside from the bare minimum of help with Tantiss, only after it became personally relevant, which like yeah he had trauma to deal with but still).

While I do think the implications/follow-up of Crosshair's turn should have been handled better in S3 (like rip Howzer! he deserved an apology, but that's a rant for another time), I don't necessarily** think this arc is a bad writing choice. It's just saying different things than we expect:

Maybe Crosshair's story is not about standing up against an unjust system, like we see with many other characters (who deserved more screen time but that's a rant for another timeeee). Maybe his story is about how even those who are loyal to the Empire, who actually believe in it, still suffer under and within it's rule. Not to garner sympathy, but to show that there is no winning.

Crosshair has another 'so what changed' convo in S3:E14 with Rampart, in which they draw parallels to each other:

Rampart: You used to believe good soldiers followed orders. Crosshair: Depends on who's giving them. The Empire betrayed us both. Rampart: And you think you can fight them? That's not you. You're like me, loyal to no one but yourself. Crosshair: I've changed.

(note how he says who's giving the orders, not what the orders are)

"Loyal to no one but yourself" describes Rampart much more than Crosshair, since we often saw Crosshair pride himself as a loyal soldier of the Empire whereas we saw Rampart abuse power to be self-serving within the Empire (like when he killed Wilco to save face). But they were both betrayed either way. Vice Admiral Rampart, snively Imperial opportunist through-and-through, shouts "I was following orders!" as he is arrested for the Empire's purposes.

Even Hemlock, the final boss immoral Imperial scientist, who has to be benefiting the most from this system, echoes the expendability idea:

Hemlock: What I am working on is beyond your understanding. Something so vital to the Empire it makes me indispensable.

Then there's CX-2, also set up as a parallel/foil to Crosshair (fight me), who in the end is discarded as no more than a weapon, a tool that served it's purpose, showing us what would have become of Crosshair if he had stayed.

There is no winning in the Empire. Loyalty is not rewarded, it "doesn't go both ways." Everyone has to fight for their value. Even high ranking individuals** who for a time benefit from the injustice, in the end are just pawns to be used up and cast aside at a whim for the Emperor's gain. Even people who are motivated by self-interest alone cannot survive within this system, the only viable option in this galaxy is to fight the Empire and dismantle that system. (unless you conveniently find a magically safe island to hide away on but that's a rAnT fOr AnOtHeR tImE)

Which brings us back to...

Emerie - Cooperation, Compassion, and Choice

(Okay this post has already gotten away from me but I still want to talk about her to show the contrasts.)

Emerie may not have been given a lot of screen time to really flesh out her development, but there is a lot that is pretty clearly implied with her:

Crosshair: They’ll never turn her [Omega] over. Hemlock: They don’t have a choice. She is a clone, and therefore Imperial property. *Camera cuts to an angle more centered on Emerie’s face*

Crosshair: Give me your access card! Emerie: It won’t get you outside!

Emerie: I tried to warn him what would happen if he did not cooperate with the Doctor.

Emerie: Prisoner? Omega, you are no such thing. It will take time to adjust, but you will acclimate. It is far safer in here than out there.

Emerie: You should go back to your room. Crosshair: You mean her cell?

Emerie: Why children? Hemlock: Children are easier to attain and more agreeable to the subjugations. They are unaware of why they are here and what they possess.

Emerie: They're children. Like I was... Was your plan to discard them too? Nala Se: The Empire will keep them in order to control them.

We don't know a lot about Emerie's background, but it's clear that she had a lot less choice than Crosshair and less opportunity or ability to leave. Unlike Crosshair, we never directly hear Emerie's views of the Empire (and she was most likely 'taken under Hemlock's wing' before the Empire even came to power), but lets look at how she talks about the Tantiss:

"Remain calm. Cooperate and you might survive."

"Don't make this worse, Crosshair! There is no escape!"

"All of us serve a purpose here."

"The Doctor will inform me, if it's necessary."

"It's best not to ask questions."

"Escape is not possible, Omega. This is for your own good."

She honestly does the best she can within the system she is also trapped in. She tries to help Crosshair, Omega, and the vault kids in the only way she knows how (warns Crosshair about the hounds and security, tries to protect Omega from Hemlock, tells Scorch his "actions were extreme" with Jax, insists on overseeing Bayrn's retrieval, double checks his m-count (to give him an out), and tries to find out where he came from). When she gives Omega, and later Eva, the doll, I think it shows just how little she really is able to do here (and it's kinda heartbreaking imo).

The framing of this shot especially (after Jax's escape attempt) visually shows how Emerie herself is trapped/imprisoned:

Despite the fact that very little of this is Emerie's fault, she has very little power and she is doing all she can, the narrative does not excuse her role in the Empire:

Nala Se: What will you do, Emerie? Emerie: There is nothing I can do. I don't have that kind of power. Nala Se: Don't you?

Emerie: I- I was doing my job. Echo: Yeah, I’ve heard that before. You’re a clone. How can you be part of this?

These fighting-the-Bystander-Effect conversations parallel these exchanges:

Hunter: We made a choice, and so did you. Crosshair: Soldiers follow orders. Hunter: Blind allegiance makes you a pawn.

Crosshair: We’re soldiers, we do what needs to be done. Cody: You know what makes us different from battle droids? We make our own decisions, our own choices. And we have to live with them too.

which did not change Crosshair's mind. And honestly, all respect to Echo's disappointed mom glare™ but I think it's clear Emerie had already made her decision, she just needed help to actually be able to do anything about it. When she stopped Echo, with her voice wavering on the verge of tears (ahhh v good voice acting), she clearly had no intention of turning him in. She's on her own in the Empire's most secure facility with very little resources, if she had tried anything on her own she most likely would have failed and been killed

Omega: Emerie, you don't have to do this. Emerie: (sigh) I’m sorry, but I do.

but as soon as she is enabled by an ally, she immediately turns around to help: giving information and getting Echo through security, helping the kids escape, and giving Omega the tablet that allows them to free the other clone prisoners.

Where Crosshair's turn is accompanied by the symbolic imagery of the ice vulture, Emerie's is the removal of her (literally rose-tinted!) glasses:

Symbolizing how she has shed her previous views/indoctrination that altered her perception of the Empire and blinded her to it's wrongs. It's disillusionment.

Emerie's story shows us that even those who are raised and indoctrinated into this system can, should, and will escape (with needed help). Even those who did not choose to be apart of the Empire and are not making the decisions still have the responsibility and ability to act on what they know is right.

Emerie, whose name means 'Home strength' 'Brave' and 'Powerful', and "reflects the importance of leadership and authority in the workplace".***

While Emerie is only in one more scene after her turn, so the wrap up is a bit rushed, she still very simply does what Crosshair does not:

Emerie: Because I was wrong about this place. And I'm trying to do the right thing.

Echo: I’m sure Senator Chuchi would find what you have to say very helpful for our cause. Emerie: I have a lot to make up for. I’d like to help out however I can.

She admits wrong, takes accountability, commits to making amends, and leaves with Echo to go take on the Empire (which hopefully we will get to actually see more of some day).

So, in short, she's showing us how redemption is done right!

---

Notes:

*Whether this writing choice was good/logical/in-character or not is another discussion entirely, but I'm going off of what we were given, what the show is presenting in the canon text and (reasonably inferred/intentional) subtext. Crosshair is pretty multifaceted and I could only touch on so much here. There's a lot of ways to interpret his character/choices, but I tried to avoid the realm of speculation or fanon explanations (even if they sometimes make more sense lol).

**History and political theory are not my area of expertise at all, so I have NO idea how well this aligns with real-world fascism stuff and therefore what implications this storytelling choice could have. I think the message of like 'if you think you could survive or gain power by doing what the Empire/fascist system wants you are wrong' could be good (like how everyone is actually harmed by the patriarchy type of a thing), but I hesitate bc maybe there are those who would benefit, since it's a hierarchal system, right? If anyone more knowledgeable than me has incite to share, by all means

Either way, I do think it works in-story and in-universe though. It's just in the execution. The main problem (even from a strictly theme/character arc stand point) is the lacking follow-up/consequences for Crosshair in S3. Like you gave your character accountability by removing the chip and I think that's great setup for an arc but you gotta follow through with that and actually hold him accountable!

***I'm always curious when clones have 'normal' names, like why did they chose the name Emerie of all things? So I looked it up. Idk how reliable sources are for name meanings so take it with a grain of salt but it's still fun. Fits pretty well, and clones names have definitely had significant meanings in the past (like how Rex and Jesse both mean 'king') so I'm pretty sure it was intentional.

Anyway, thanks for coming to my tedtalk

[deception-united]

Let's talk about foreshadowing.

Foreshadowing can add a lot of depth to your writing and make it more exciting for the readers. They create a sense of coherence and satisfaction when future events unfold as hinted—or shock if they don't.

Here are some tips for effectively using foreshadowing in your novels and books:

Plan ahead. Foreshadowing works best when it's woven into the fabric of your story from the beginning. As you outline your plot, think about key events and revelations you want to foreshadow, and strategically place hints and clues accordingly.

Use subtlety. Foreshadowing doesn't have to be obvious or heavy-handed. The best foreshadowing is often subtle and understated, leaving readers with a sense of intrigue and curiosity rather than outright prediction.

Establish patterns & motifs. Look for opportunities to establish recurring patterns, motifs, or symbols that can subtly hint at future events. These can be visual, thematic, or even linguistic cues that tie into the larger narrative arc of your story.

Create tension. Foreshadowing is most effective when it creates tension and anticipation for the reader. Use foreshadowing to hint at potential conflicts, obstacles, or twists.

Reveal gradually. Foreshadowing doesn't have to be limited to one-off hints or clues. Instead, consider how you can layer foreshadowing throughout your story, gradually revealing more information as the plot unfolds.

Pay attention to timing. The timing of your foreshadowing is crucial. Introduce hints and clues at strategic points in your story, building anticipation and suspense without giving too much away too soon.

Revisit foreshadowing. Ensure that foreshadowed events are eventually fulfilled or addressed in the story. Revisiting earlier hints or clues can provide a satisfying payoff for readers and reinforce the narrative coherence.

Balance subtlety and clarity. Foreshadowing should be subtle enough to intrigue readers without giving away major plot twists too early. Aim for a balance where foreshadowing is noticeable upon reflection but doesn't detract from the immediacy of the story.

Let's look at some ways to incorporate foreshadowing:

Symbolism: Symbolic imagery or motifs can serve as subtle foreshadowing devices. Think about objects, settings, or descriptive details that can serve as symbolic foreshadowing. A recurring image or object, for example, might subtly hint at future events or themes in the story.

Dialogue clues: Characters can drop hints or make cryptic remarks that foreshadow upcoming events. Dialogue is a natural way to introduce foreshadowing without being too obvious.

Character reactions: Pay attention to how characters react to certain situations or events. Their emotions or responses can foreshadow future conflicts or revelations.

Subtle descriptions: Incorporate subtle descriptions or details that hint at future events. These can be easily overlooked on a first read but become significant upon reflection or when the foreshadowed event occurs.

Dreams/visions: Dreams, visions, and other forms of altered consciousness can be effective vehicles for foreshadowing—they can hint at an upcoming event, or explore characters' subconscious desires and fears. This method can sometimes be either blatant or subtle depending on how it is incorporated.

Foreshadowing through setting: Use the setting to foreshadow events or developments in the story. For example, a stormy night might foreshadow conflict or turmoil ahead, while a serene setting might signal upcoming peace or resolution. (On the flip side, this can be used to catch readers off guard, like a "calm before the storm" type of situation.)

Parallel storylines: Foreshadowing can occur through parallel storylines or subplots. Events in one storyline can subtly hint at future developments in another, creating anticipation and intrigue.

Recurring themes: Identify recurring themes or motifs in your story and use them to foreshadow future events. These thematic elements can serve as subtle hints or clues for attentive readers.

Misdirection: Foreshadowing can be used to misdirect readers and create suspense by hinting at one outcome while actually leading to another. (See my post on misdirection for more!)

Happy writing! ❤

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[fire-of-the-sun]

Noctis and The 'Black Moment' That Never Was

Given the recent discovery of an earlier version of a Final Fantasy XV scene featuring Noctis being imprisoned by Bahamut in Angelgard instead of the Crystal and him showing genuine fear about his destiny (here), I'm reminded of how unfortunate it is that the final game didn't explore the reaction to his fate as well as it deserved and how it could have been one of the most significant scenes in the game. In light of this new scene, I want to use it as an opportunity to address this vital plot point, how it affects Noctis' arc and the story as a whole and why what we got just didn't quite hit the mark.

THE 'BLACK MOMENT'

In typical story structure, this plot point would represent the "The Black Moment" or "The Dark Night of the Soul" among other titles. Taking place before the climax of a story, this pivotal moment is intended to feel like all hope is now lost and showcase the protagonist at their lowest and, in many cases, physically alone. To overcome this, these scenes demand that they gain new insight and understanding - essentially to realize the lesson meant to be learned that defines the thematic core of the story - to pull them out of their despair and carry them across the threshold to the final act. In the above image, you can see that this event precedes the "Road Back" which, in the case of this story, is obviously represented by Noctis returning to the world and regrouping with his allies before entering the climax to face Ardyn and fulfill his calling. Of course, everything leading to the end hinges on the 'Black Moment' beat, so let's explore how each version of this scene tried to tackle this and how they could have been improved:

SCENE COMPARISON

In the original version of the scene, Noctis is physically imprisoned in a dark and gloomy cell in Angelgard - a fitting choice that helps to highlight the tragedy of his circumstances and reflect how he feels trapped by his destiny as well as parallel Ardyn's own imprisonment. Noctis verbally lashes out at Bahamut and expresses genuine anger and fear towards the newly discovered truth of his impending demise.

"'Returned to naught'? I just... fade away? Wait - no! Lemme out of here! - Noctis

Though this missing scene does a better job portraying a stronger reaction from Noctis than the final game, it does still fail to give credible evidence to validate his decision to accept his fate beyond the player simply selecting an option to continue. As such, Noctis and the player may feel more coerced into saying 'yes' here without actually going through the time and processing necessary to truly accept it. Though I'm sure this scene doesn't fully represent the developer's initial intentions and there could have been far more to it, as it stands, it's still not enough to create a successful 'Black Moment".

"Only at the throne can the Chosen receive [the power] and only at the cost of a life: his own. The King of Kings shall be granted the power to banish the darkness, but the blood price must be paid. To cast out the Usurper and usher in Dawn's light will cost the life of the Chosen. Many sacrificed all for the King so must the King sacrifice himself for all. Now enter into Reflection, that the Light of Providence shine within." - Bahamut

In the final version of the game, the essential elements needed for this scene to work are... present to a degree but could have been greatly improved as these aspects are implied rather than explored. After being told the news of his impending death, Noctis does make a distressed expression, but he never gets to voice or process his feelings about it and the moment quickly moves away to show him being forced into slumber.

This is supposed to be a huge turning point. A gut punch to the character and audience and it deserved a stronger reaction - one more akin to the panic and anger that is showcased in the original scene. On the heels of this devastating news, discovering Ardyn's true identity and nefarious intentions and finding himself utterly alone without his friends, Noctis is understandably at his lowest and we need to feel that. Light shines brightest in the dark and the darker we allow this scene the be, the brighter hope can shine after and the more satisfying it will be.

By way of processing, we see a brief montage of footage from previous moments in the game to show Noctis reflecting on them and then he awakens 10 years later having completely worked through all of his trauma, grief and guilt and the sudden transformation naturally feels a bit jarring. Progress is assumed through the passage of time and the natural maturation that comes from age, but this simply isn't enough. There is a lot to unpack here and it deserves to be. The game can't simply rely on a time skip to produce a grudging acceptance. It needs to be a choice - one that he makes wholeheartedly and that the audience fully understands.

I will say, I do like physically seeing the power entering Noctis via the Ring of the Lucii in this version rather than implying he's powering up off-screen, but it's something he should earn after accepting his fate rather than it being forced on him without his consent. Gaining the power he needs to save the world needs to act as the reward for choosing to do so.

DIGGING DEEPER

So, what is necessary for him to grow here? What is the thing that truly awakens the inner King in Noctis and brings him out of the depths of his despair? What makes him choose to willingly sacrifice his life? Though it's an amalgam of a number of things, above all, it is love. Love for his father, love for Luna, love for his friends, love for the people he's met and the world he lives in. Love that counteracts his fear. He has to remember what and who he's doing this for. Though the cost is steep, he has to determine it's worth it to fulfill his duty and save the world.

Of course, Noctis' opinion about his calling changes throughout the story. After Luna first introduces him to the reality that he is the Chosen one as a child, he's hesitant at first, but promises he won't let her down. He has no real idea of what his task will truly be but shows enthusiasm anyway most likely because it was Luna herself who showed such belief in him. As an adult, Noctis begins to struggle with his new reality after the death of his father and shows great anxiety about the mounting responsibilities thrust upon him including his kingly duties, upcoming marriage and the growing burden of his calling. After the loss of Luna, his dedication to continue feels largely driven by immense guilt and need for revenge. In Episode Ignis, after Ignis suggests they end their quest due to suffering so much loss (and now knowing about Noctis' fate), he responds:

"Are you kidding me? That's exactly why I have to keep going - because if I give up now, their sacrifices would have been for nothing!" - Noctis

Though not wanting their sacrifices to be in vain is noble, this should not be his main driving force, especially if his desire to press forward comes from a place of pain and contrition more than anything else. He even refuses to put on the Ring - the symbol of his Kingship and destiny - which shows his lack of true commitment to what is expected of him. At this point, he still has a lot to process and understand before he can fully accept the reality of a fate he is still largely unaware of and truly let go of the fears and anxieties surrounding it.

Noctis has had little time to process his emotions on his journey thus far and the respite afforded by the 'Black Moment' now allows him the opportunity to do so. Whether through playable content that permits Noctis and the audience to tangibly explore his past and current emotions or a prolonged cutscene in either the prison or Crystal, we definitely needed to see him confront what's happened thus far - the good and the bad - and grow from it.

In the Dawn of the Future version of the story, we learn more about what Noctis was dreaming about in the Crystal which included witnessing some of the history of the world, seeing insightful pieces of the lives of characters such as Ardyn and Luna and even getting to interact with his father again. Given this was added to the book and therefore indicative of the developer's intention to feature it in Episode Noctis, I wonder if it had always been their desire to explore his time in the Crystal this way but never got the time to realize in the final game. Noctis actually getting to see and interact with the past and other significant figures would have made for a far more effective 'Black Moment' given its prolonged introspective and revelatory nature.

THE LIGHT IN THE DARKNESS

To help guide and comfort him as she always has, I believe that somehow seeing or hearing Luna's spirit again in some way during the 'Black Moment' would have been essential given her narrative purpose and provide a satisfying reference back to her dying promise to him:

"When the world falls down around you and hope is lost. When you find yourself alone amid a lightless place. Look to the distance, know that I am there and that I watch over you always." - Lunafreya

Like the moon shining in his dark prison cell in the old version - the literal light in the night sky - she is the reminder of love and hope to cling to when the darkness threatens to swallow him. This dialogue is so accurate to this scene that I feel it was foreshadowing it specifically to payoff here. Also, if they had gone with the idea of Noctis drawing his power from the moon instead of the Crystal, her presence would be even more significant here and it certainly seems like the original version in Angelgard attempted to spotlight her to a degree as the translated dialogue after he accepts his charge reveals:

"No one tells me anything. I'm always late accepting. Luna, I'm sorry. I will fulfill my duty." - Noctis (Translated by K as in Kei)

This situation creates an even deeper connection between them as, to save the world together like they were destined to do, both Noctis and Luna have to die and surrender their personal desires for a future. As in life, Noctis has to continue to follow her lead and example to become the man she always knew he could be. If she could be dutiful and walk boldly to her fate, so can he and that knowledge would be paramount in helping to encourage him to complete his journey as he remembers his promise not to let her down.

Of course, to truly accept his death, Noctis would naturally have to mourn the life he won't get to live. So many aspects of his life have been derailed already and, after the loss of his father, his home and his fiancé, he now has to face that he has no future beyond being a sacrifice. This is a reality that Luna had to face as well, which would help him better understand what she had to go through and even come to terms with her death as he comes to terms with his own. By letting go of the guilt he feels and truly recognizing that it was an inevitable and accepted part of her calling and not a product of his own mistakes, can he start to forgive himself for everything else, too.

"[...] That may be but it's my choice. If only... if only I could hear his voice once more. If we could laugh together as we did as children. If we could live out our days together as we once dreamed. [...] Forgive me, I vowed to only cry where prying eyes could not see the tears in mine. [...] No, she is no different at all. She wants exactly what they do: to be with the one she loves. But want though she may, it is not to be." - Lunafreya

In a moving flashback, we see Luna grieve the life she wanted and knew she would never have but emphasize that, despite her sorrow, it was still her choice to "throw her life away" and one that she accepted fully with humility and grace. We see her persist to the end due to her strong sense of duty and, most importantly, her love and dedication to Noctis and the people of the world which is what he must use to guide him as well.

To me, this moment feels reminiscent of the campfire scene where Noctis also tearfully voices his acceptance of his fate while allowing himself to uncharacteristically reveal the pain of it, too. Though Noctis has had a decade to process these feelings by this point and fully come to terms with them, he's still a person mourning the sudden finality of his life and the now fleeting moments he'll get to spend with his remaining loved ones. The emotional strength of this scene could act as a reflection of his initial despair as the pain becomes fresh once more but, this time, Noctis is more readily able to tame it. As he stands and looks to each of his friends in turn, reflecting on their friendship and his love for them, he allows that love to outweigh fear and grief. As we watch his tears turn into a smile, it is a perfect display of how he's grown from the 'Black Moment' and a fitting final scene to the game.

"So, I... I've made my peace. Still, knowing this is it and seeing you here, now, it's... more than I can take. Well, what can I say? You guys are the best." - Noctis

All of this emotional progress would also lead him to simply start believing in himself and his worth. He has to remember that he has the support of so many who truly have faith in his ability to fulfill his duty and it's something he needs to accept in himself, too. If they had gone with the Angelgard prison version, a place once defined by punishment would herald Noctis' liberation and, instead of succumbing to darkness like Ardyn, he found light.

METAMORPHOSIS

By reflecting on and embracing his past and remembering what drives him, Noctis would then be ready to finally accept the reality of his calling and begin his metamorphosis, both physically and emotionally, into the King of Light. The man that emerges 10 years later is wise, mature and at peace with his fate. Though the sudden change may not feel as congruent in the final game without taking the time and necessary steps to get there, there are still many moments depicting just how far Noctis has come after the time skip that leave an impact regardless. Beyond the campfire scene, another great example that comes to mind is his conversation with Ignis, showcasing that he can now look back on his life fondly and doesn't hold onto negative emotions:

"You know, looking back, it wasn't all bad. [...] And our fair share of trouble too... but I don't have any regrets. Luna and you guys brought me this far and now I'm on my own." - Noctis

We can also see how much he's grown in his final battle with Ardyn. Not only is he physically stronger, but he's also gained the mental and emotional fortitude to withstand Ardyn's denigrations regarding his efficacy as the Chosen One and his guilt about his father and Luna. Though these barbs would have hit their mark in the past, Noctis is now resistant to them as he's fully processed those emotions and no longer gives them credence. Noctis has tasted the darkness Ardyn once knew but come out of it intact due to the strength of his relationships that ushered him through it. Unlike Ardyn, he is not alone and he fights for love instead of revenge and that is why he succeeds.

"Yet when your father died, you were off playing with your friends! When your beloved died, you lay watching powerless to stop it! You think 10 years is a long time? It is nothing to me! I have lived in darkness for ages!" - Ardyn

Despite what some might think, defeating Ardyn in the physical world is not the Climax. It's in the throne room that Noctis must face the true test of his calling and finally allow himself to be sacrificed. This is where the themes and the lessons he's embraced from the 'Black Moment' rise to the forefront and lead to Ardyn's ultimate demise. It is here that Noctis walks to his death without visible fear, summoning his own executioners with steeled resolve. There are no tears. No second thoughts. Just an unwavering determination to fulfill his calling and save the world once and for all as he assures his father to trust in his ability to do so.

"I'm home. I walked tall and though it took me a while, I'm ready now. I love you all. Luna, guys, dad. The time we had together, I cherish." - Noctis

Through dialogue, the scene reminds us that Noctis' relationships are his driving force and, in what could have been an even more moving parallel to the 'Black Moment', the flashback footage of his loved ones that he remembers at his lowest once more is what helps him endure the agony of his sacrifice and is enough to sustain his strength to continue to the end.

"It's finally over." - Noctis

As Noctis utters these final words at the culmination of years spent in turmoil facing the obstacles of his unjust fate, Noctis dies with a small smile on his face, relieved that his struggles are finally over. He has restored light and hope to the world, fulfilled his calling and can now rest with his lost love knowing he succeeded in safeguarding his remaining loved ones and provided a future for generations to come. It's a bittersweet conclusion to his life - one filled with great strife and heartache but also great love - love that was essential to save the world.

In another parallel between them, Noctis' end reminds me of Ravus' words regarding the death of his sister, Luna, in Episode Ignis and further showcases how much Noctis succeeded in following her footsteps:

"I always knew that [Luna] would face [her] fate without fear, fulfill [her] duty without regret. But part of me always hoped... she would get the chance to live and love as she pleased. [...] And, as in life, I know she will confront that challenge with a smile on her face." - Ravus

CONCLUSION

In conclusion, allowing Noctis to have a stronger reaction to the devastating news of his fate and exploring his passage to acceptance to provide necessary character growth would have been a huge improvement and further embodied and enhanced the heart of this story, one that, though touched upon to a degree, is lacking the immense impact it could have had. Though this game is full of powerful, moving moments, a more successful 'Black Moment' could have been one of the strongest and added more weight to an already emotionally resonant conclusion.

Thanks for reading! If you enjoyed this meta, please like and reblog to help spread it around and check out my #ffmeta and #ffedit tag for more!

[fruitcakebro]

I really hate how Garroth's betrayal is treated, but more specifically what caused it. An illusion of Laurance and Aphmau kissing? Really? That was enough to make you betray both of them?

Y'know what would have been more thematically interesting, less shitty-trope-focused, and have the potential for interesting parallels with other characters?

If he saw something indicating that Aphmau was going to hand him and/or Laurance over to Garte for the siege to be called off.

And Garroth being Garroth, he immediately starts catastrophising. There's no way his father would stop at getting just him and Laurance. It would be them, then Kaitlyn, then Lucinda, then Dante and Nicole, until the town was left defenseless, and then they'd attack. And Aphmau would have to marry Zane and it's only a matter of time before that gets her killed or worse. He knows how his father thinks, and it's not a stretch to say that Garte was behind the invasion, and Zane was only to put an intimidating face on it without technically being directly involved.

It's especially easy to believe that if you're an older brother who's desperately trying to grasp at straws for reasons your only remaining little brother is still a good person.

And then there's also that gut-wrenching terror of going back to his marriage with Scaleswind. Of giving up his friends, his calling, and -let's face it- his own bodily autonomy. If he goes back, he is nothing. He exists to keep quiet, produce an heir, and smile for portraits. With the things he did to get away, there's no chance he could be lord now. It's that or execution.

And Laurance doesn't even have that option. And he's a Shadowknight. Even if he DIDN'T have the extensive record of openly opposing O'kasis he would be on death row.

But then Zane gives him a counter-offer.

Garroth comes quietly, hands over an amulate that hadn't done Phoenixdrop any good anyway -Zane insists he only wants it for an unrelated project, and even so isn't that a nessecery risk?- and the rest of the town -including Aphmau, Laurance, and Kaitlyn- go free.

And he doesn't even have to go back to the marriage. In fact, he can even still be a guard, just for O'kasis.

If he only agrees to follow Zane.

Look me in the eye and tell me Garroth wouldn't accept that offer.

And of course, Zane betrays this deal immediately when all the people he wants to get rid of convieniently land in front of him. And Garroth trys to say this wasn't the deal, and Zane does not care.

"Aww, Big brother. The only lie I told you was that you were an important enough piece to change the rules. You were never even a player."

[biocrafthero]

Posting my card analyses I wrote in discord about the cards

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The stem of the glass makes the apple also look like a wine glass or a chalice

water looks like blood

DNA helix has red and blue colors on the two ends and nothing in the middle (red and blue appear all over this set and the helix is a new piece of symbolism for n25)

The apple in the water links back to all previous apple symbolism in the game. The skin of the apple is slightly peeled off

Mafuyu is the only one wearing this amount of white. By contrast, Kanade is wearing the most amount of black (more on that later)

Back to the cracking glass, its likely that Mafuyu would fall into the water(?) if it broke

Mafuyu is looking at the apple in the water. Based off of previous cards, this is probably meant to imply that she was the one who dropped it into the water

Mafuyu's card is the only one that isn't listed to the side by 45 degrees

The ferris wheel has wings on it, similar to symbolism from the Immiscible Discord event (another Kanade focus)

The ferris wheel, along with the shadows in the backgound, look fake. It looks like a shadow cast by a stained glass window, the spaces between the spokes of the wheel colored with an alternating red and blue palette

Kanade and Mafuyu's cards have balloons with strings. In Ena and Rin's cards the balloons don't have strings

Thank you to oomf for rotating the card for me btw

She is the only character seen holding onto any of the balloons. The string is highlighted with purple the closer it gets to her hand

Clocktower in the background has the hour hand at 1

Kanade is wearing the outfit with the most amount of black in it, contrasting with Mafuyu's outfit

The distortion effects on the card make it almost feel nightmarish

Kanade is wearing a specific kind of accesory called finger armor. Usually, the points of them are very sharp. This puts her in a very specific role in this setting, where she is the only character who wields something sharp in a world of fragile things (sharp objects popping balloons)

More bug symbolism on clothing, again like the Kana3 event's trained cards

Her expression is a really spiteful looking one. It's somewhere between angry and determined, so I'm choosing the emotion of spite to describe it. She never makes faces like this, only during Main Story and Kana3 was she ever in an emotional state like this

Some other things I brought up is the blood/water from Mafuyu's card reminding me of the saying "blood is thicker than water", the full saying being "the blood of the covenant is thicker than the water of the womb" which is meant to say that the bonds we create with other people will always be stronger than the familial bonds we are born into

The carnival/theme park setting also feels like its calling back to how in Mafu3 we learn that she got lost one time at Phoenix Wonderland as a child

The nightmarish appearance of Kanade's card thematically contrasts with the dreamlike nature of the memory that Mafuyu recalls during Mafu2

A friend pointed out that the ferris wheel's shadow in Mafuyu's card, paired alongside the bug in the center, makes it look like the bug is caught in a web

This Rin card is likely Rin witnessing Kanade passing out onto the floor due to Kanade overworking herself (like she did back in the flashback during Kana2)

This card from a valentines event parallels the Mafuyu card

This card is likely Ena attempting to get Kanade to eat/drink something so that she doesn't collapse again. Kanade as usual seems to be trying to wave off the kind gesture because of how little she values her well-being and how much she prioritizes composing. What I like is that, while Ena does look annoyed at Kanade, she shows a lot of concern for her (its very noticeable with the position of her eyebrows trust me)

Rin's pose here reminds me of those tiny ballerina figurines inside of music boxes

I don't have much to say about Ena's card either but I really like her expression. It makes me curious as to her role in this event....

Event logo is very similar to the logo for Immiscible Discord. Someone on instagram posted about this so I'll try and repeat their points

The glitching effects are very similar (obviously the colors are similar because its the colors of all the unit members)

The lines on the music sheets are all covered with glitch effects. As shown with her frustration

The apple is behind the music lines (idk correct term sorry) to show that Mafuyu's heart is unreachable

The music lines are wavering but steady out near the end. While the main obstacle is not overcame, focus has been regained

Anyways here's all of the leaks we have at the time of me posting this that other people uploaded to here (including the song and 2dmv) I will now promptly explode

[dreamsy990]

GOD DESIGNS TAKE 2 im much happier with these ones. also calypso and circe here now. once again gonna discuss all my ideas behind the designs and the changes i made to the old ones THIS TIME WITH PROPER GRAMMAR. you guys should consider yourself lucky. so yeah closeups and explanations under the cut

(lineup for scale btw)

So some general notes before I get into the specific designs. These guys are mostly an excuse to make designs that can be just about anything! I operate off the idea that gods can choose how they appear (within some limitations), and so they can just look however they like. The big in-universe limitation with them is that any scars or injuries they may have can't be hidden in any way. For recognizability reasons, I try to always include their main symbols or some allusion to their domain in their designs, and for personal preference, I like to give all the gods weird looking eyes.

Aeolus

My Aeolus design hasn't changed very much at all since my first sketch of them. I like the idea of Aeolus as sort of fluid in shape, mostly just looking like a bunch of clouds that reshapes itself however they like. This sort of abstract and a little cartoony aspect of them led to me giving them a silhouette like an old cartoon character! Their design honestly isn't meant for coloring in this style, but whenever I do color them, I like to make it mostly light pink and blue. Subtly trans-colored Aeolus my beloved.

Hermes

Hermes mostly just changed with coloring. I have an obsession with very limited palettes, and I feel a little bad giving one to Hermes of all characters, but honestly I'm the most proud of his design. I gave him a messenger bag in some of my earliest sketches of him and I've loved that element ever since. The biggest change here is the jacket! Not period typical at all but it's so iconic to Troy and COME ON HE NEEDED IT. I think it makes his silhouette a lot more interesting, even if I simplified the rest of his outfit to compensate. I might do another pass to try and add some color back to him, but for right now this design feels very fun.

Athena

My Athena design has stayed very consistent since I settled on committing to the bird aspect, so thank @irunaki for being an owlthena truther (SOMEONE PLEASE REMIND ME TO DRAW IRUNAKIS ATHENA BTW). Not that I color her much like an owl. This pass at Athena I mostly used to simplify the blue. I needed to include it on her design, but I've been struggling with how for a while, and adding it as just a subtle accent on a mostly grey and black design felt very fitting. Visually she might read more like a magpie than an owl, but that's a sacrifice I'm willing to make!

Anyway, Athena here is meant to read as very visually closed off, with her face partially obscured and her wings wrapped around herself like a cloak. I want her to have a lot of distance between herself and others at most times, and I think that does nicely. The shadow over her eye was an aspect I added before I found out she lost an eye, which is a funny coincidence. I also designed her to both parallel and contrast my Odysseus design. They both have cloaks that partially obscure them, they both have scars on their faces (although Athena is able to hide hers), but they have opposite color schemes (Athena being mostly blue black and silver while Odysseus is red white and gold). On a personal note, I like the idea of Athena resembling Poseidon. Not for any thematic reasons, I just think it's fun. So she has a grey-ish skintone like him (to a lesser extent, but still) and long black hair, too. I love designs that resemble other designs.

Apollo

I believe I actually originally took inspiration from Gigi's Hermes, But I think he's different enough by now that the resemblance doesn't really exist anymore. He was also the start of my idea to draw the gods with weird looking eyes, so I refuse to change his. I don't actually have all that much to say about him? My original notes for him were that he should be a WHORE and I hope that idea has stuck lmao. He's probably the oldest design here (minus Athena, but my early sketches of her are pretty unrecognizable) and yet I'm still very happy with him. My biggest struggle with design is that I DESPERATELY wanted to color his hair like GinjaNinja's oc Kynthia but I have NO CLUE where to start with coloring like that. So we must suffer. Thaaats all I have to say on Apollo. I think a couple people in the Epic discord really liked him lol.

Hephaestus

I FORGOT TO DRAW HEPHAESTUS THE FIRST TIME OH MY GOD. I'M SO SORRY HEPHAESTUS FANS I LITERALLY FORGOT HE EXISTED. His design gave me the MOST trouble in coloring, I had to completely redo it partway through. I'm still somewhat unhappy with him, but oh well. I like Hephaestus looking very much like a sort of intimidating father who's actually really sweet, and I think I got that look across. He's got a resting bitch face but he is so nice. I gave him glasses on impulse, and it sort of completes the dad look to me. He's got some burn scars under his gloves from working in the forge, for an extra detail. I made all the other gods scars gold, but I think burn scars work differently than normal scars? I need to do more research, sorry! I love Hephaestus though. I'll probably end up doing another take on him if I feel like drawing him again, but it's nice to have at the least something down.

I liked the initial idea behind my Aries design, but it felt very poorly executed before. I'm a bit unhappy with this take still, but I like it better than I did before! I decided to make all the gods scars gold, so his are recolored accordingly, and I made myself bring the red back into his design. Again, he's meant to have a resemblance to Athena while still contrasting her. So he's also very animalistic, with him being more of a dog of some kind (I DEFINITELY took the dog idea from someone else but I CAN'T remember who). He's got roughly the same outfit, but a scarf instead of a cloak, so he looks less controlled and closed off than she does. Anyway, I dislike this specific drawing of him, but I like the general idea of this Ares, so I'll figure it out eventually. Definitely the one I'm least happy with here. I like the drawing without his helmet, though, I think he's cute :>

Aphrodite

So my Aphrodite design initially wasn't very thought out. I originally just sort of threw something together and called it a day, and I wasn't happy with it, but I also wasn't sure which direction I'd like to go with her. This time, uh, I actually have the same problem. I ended up liking this take on her a lot more, though! She takes a lot of inspiration from Rose Quartz, which WAS on purpose actually. There's also once again a lot of inspiration taken from Gigi's Aphrodite design, specifically in the outfit. I feel like with Aphrodite there's a lot of temptation to just give her a dress, but I like her looking a little too casual for any given scenario. I like this one a lot.

Hera

THIS ISN'T MY PEAK DESIGN BUT BY GOD I'M JUST HAPPY I MADE THIS STUPID DRESS WORK. The original inspiration for this idea comes from this video by June and their design for their character Hokoto in a Miraculous au. That specific design for some reason is INGRAINED into my mind and every time I draw a character in some way inspired by peacocks, that's what comes to mind. I think this design is pretty distinct from that one. AUGH I don't have much to say on her just look at my favorite old lady I love her she's so pretty.

Poseidon

ABSOLUTE CRYPTID!!! SEA MONSTER ENERGY!!!!!!! I was like "lets make poseidon a little cunty and a little bit of a weird creature" AND IT WAS THE GREATEST DECISION I HAVE EVER MADE. Cut out the blue from his design entirely to just be grey, and I think I like that decision. I also think the Epic discord liked him because I sent my sketch of him and someone responded with "why he kinda" so I TAKE THAT AS A WIN!! Absolute bastard man I hope Odysseus stabs him more.

Zeus

HATE THIS GUY HATE THIS GUY HATE THIS GUY. Absolute freak man I hope Hera brutally murders him. Anyway, I love this design, just not this specific drawing of it lol. I wanted his hair to look like clouds originally, but wasn't sure how to do that without stepping on Aeolus' toes, until I had the sudden idea that they should be stormclouds instead! So that's pretty cool. His scarf kinda looks like lightning. Also. Bro put your tits away. That is all I have to say on Zeus.

Circe

Didn't want to copy Gigi's design here, and I think I did a pretty good job of not doing that. She had brown eyes originally, but I asked the Epic discord what they thought and they decided yellow eyes looked better on her (AND THEY WERE RIGHT). I gave her yellow roses too (not sure if they read as roses though), because 1) aromantic Circe is real and true and 2) I just liked the idea of her having the least romantic version of a flower very associated with romance as part of her design. Her ass is not into you! I hope she kills and maims! Wanted to give her a snake earring but you couldn't see her ears here so. Just assume she has one of those.

Calypso

Okay, so this Calypso design basically appeared fully formed in my sketchbook a little while ago. I've changed very little except adding red flowers. Why? NO REASON actually there is a reason. I was writing a Calypso-centric fic and I mentioned her having bright red flowers in her hair and then I just made that part of my vision of her. Gave her uh, a weird fish net thing for lack of a better word? Because it made her more interesting and gave me island vibes. Which is what Calypso should be doing! I wanted to include more red on her design so the flowers didn't feel a bit out of place, so I gave her some red on her other accessories. I THINK SHE'S CUTE AND I LIKE HER. Man these notes got less and less design-related as I went along, huh. Oh well, I'm done now. Those are my god designs +2 because I consider nymphs their own category (Is Circe a nymph? I'm pretty sure she is but I don't care enough to check)

[cosmerelists]

If We Had Cosmere-Themed Chess Sets...

Now that I think about it, these might simply exist. B-But anyway, here's how I think a chess set could be constructed thematically from various Cosmere books.

[Spoilers! I wouldn't read these unless you've read the series mentioned in the title]

1. The Stormlight Chess Set

King: Elhokar. He is the king and also, and I say this gently, he doesn't do much or go very far, typically. Just like the king in chess! Queen: Jasnah. Is the queen...albeit at a different time than her brother is the king, but eh. Very powerful. Can move anywhere. Might be the strongest piece on the board. Bishops: Kadash and Pai. I just think they should be Ardents, and I picked my favorite two. Knights: Renarin & Adolin. Renarin because he should be the piece that moves in the most unique way. No one else moves in an L shape! And Adolin? Well...not gonna lie. I just think Adolin should be a horsey piece. Rooks: Dalinar and the Sibling. Dalinar because he needs to be a piece that is strong. That moves in a firm, straight line. That can do that castle move which is about protecting the king. And the Sibling because they are literally a tower. Pawns: Bridge 4. Main purpose was to be sent out to die, although if they make it allll the way across the board they can get a very special powerup and become one of the most powerful pieces on the board.

2. The Mistborn Era 1 Chess Set

King: Kelsier. Yes, the game is supposed to end if the king dies. No, Kelsier-King does not play by the rules. Queen: Vin. I mean, she's a Mistborn, which to me is parallel to being the piece that move in any direction as far as it wants. Very powerful. Bishops: Hammond & Dockson. Stand on either side of the queen and king. One can only move on black squares, and one can only move on white, which symbolizes how Ham & Dockson are on the same side but rarely see eye-to-eye. Knights: TenSoon & Marsh. Knights make hard turns as pieces, and these are characters who are always making hard turns: TenSoon from one side to other, from one body to another (and yes, I gave him the animal piece. Sue me). And Marsh from human to Inquisitor to, uh, Death I guess. Rooks: Demoux & Spook. I can't tell you why rooks read as "true believers in Kelsier" to me, but they do. And I kinda like these two as a pair. Pawns: The Skaa army that Kelsier tries to recruit. Sorry to those men.

3. The Mistborn Era 2 Chess Set

King: Harmony. Can't do much himself, but does direct the other characters. If he gets killed (shattered), the game could be over for Scadrial. Queen: Wax. Harmony's sword. Can zoom all over the place killing other pieces. Bishops: Steris & Marasi, as the resident believers in Survivorism. Knights: Wayne & MeLaan. Yes, I'm realizing that I see kandra as the little horsey pieces, I guess. And the knights can't move straight. And neither Wayne nor MeLaan are straight either. Rooks: Ranette & uh...Marsh again? Am I forgetting someone? Why are there so few characters in Era 2? A-Anyway, Ranette and Marsh definitely make sense because they're both, uh, support characters. Ranette making weapons. Marsh dropping info. And the Rooks are there to support the king! Pawns: All the kandra. Pawns of Harmony, every one. Bleeder is the really angry one determined to make it across the board and get promoted.

4. The Elantris Chess Set

King: Raoden. As a dead guy trapped in Elantris, Raoden doesn't have a lot of moves he can make. But dang is he really good at doing a lot with a little. Queen: Sarene. Sarene, on the other hand, has a LOT more freedom of movement and she uses it. Bishops: Hrathen and Dilaf. Hilarious to have them on the same side as Raoden and Sarene, I know. But listen. They gotta be the church pieces. Knights: Galladon and Karata. Since knights trace out the letter "L" and the Elantrians need to draw symbols in the air to do magic, I thought...wait. I swear this made sense in my head. Rooks: Kiin and Eondel. Kiin because the rooks kinda look like they're wearing a crown and Kiin was due to become king, and Eondel because he's the guy who has the strong private army. Pawns: I think it would be fun if the pawns were people with the Shaod, since they could become really powerful but they aren't currently.

5. The Warbreaker Chess Set

King: Siri. Not only does Siri spend the whole book being shuffled from one room to another (like the king can shuffle one square at a time), but a major plot point is Keep Siri Alive when the other side tries to kill her, so. Queen: Susebron. I do want Siri and Susebron to be king & queen, and it just works better this way. Once he gets his powers figured out, he's an all-powerful sort of guy. Bishops: Lightsong & Blushweaver. They're literal religious figures. Knights: Vasher & Vivenna. Mainly because they're warriors. Rooks: Parlin & Llarimar. I know Llarimar should be a bishop because he has the hat, but I like the Returned gods as bishops. So I made him the rook--and Parlin too (as soon as I remembered he existed. Sorry, Parlin). They're both there to support/protect another character. Pawns: I think they should all be soldiers from the Lifeless army.

[ghouly-boiiiii]

Does Max give anyone else major twist villain vibes???

Okay I haven't talked about Max much yet, but I think it's kinda wild to see people talking about him like he's just this sweet innocent cinnamon roll when my read on his character was the COMPLETE opposite.

I mean yes, he does seem very sweet. He's very soft spoken. Naive in a way like Lucy, but not as much. Kinda vulnerable. Got a killer smile. And some of the moments with him and Lucy are super cute and adorable. But damn if he doesn't have a DARK side!

Like I've heard people say that Max is stupid or that Aaron Moten's acting is bad, but hell no. Aaron Moten sold me on his acting during the interrogation scene. Max was scared shitless and I FELT that. I think Max was meant to be played as a character who lacks understanding about certain things and seems disconnected from people due to both being brought up in basically a cult and having an inherent lack of empathy.

You think about the fact that he admitted he wanted Dane to get hurt, someone who's supposed to be his best friend. How he coldly sat there and watched Titus die. And before that stood there and watched him get mauled by a bear, almost like he was fascinated by it and wanted to see what was gonna happen. The fact that he tried to kill Thaddeus the moment he became a threat, even though the two of them had appeared to have bonded and developed a genuine friendship. And let's not forget he was willing to let all of Vault 4 get plunged into darkness just so he could keep playing with his power armor.

Max wants to be a knight, he wants to be a hero. And I think he tells himself he wants it for the right reasons, but I think what he REALLY wants is power and recognition. Which is really what every (okay maybe not every, but a lot) good villain wants, right? Because at the end of the day Max wants what Max wants. He's selfish, even though he doesn't think he is.

And sure, he's nice to Lucy. And he went balls to the wall to save her when he thought Vault 4 was gonna execute her. But she's a pretty girl who helped him and offered him a safe home. When she gave him the proposition that if she helped him bring back the head, he would have the Brotherhood lend her some knights to save her dad, he KNEW he couldn't make that promise. But he made the deal anyway. So he doesn't REALLY care about her or what she wants.

And that blank stare he gets when he gets mad? ACTUALLY terrifying. The guy's got serious psychopath vibes. Literal anti-social personality disorder, if you ask me. In fact the first thing I thought about when Max let Titus die is this kids going to end up going to the dark side lol.

And I think that would work really well thematically if they plan on giving The Ghoul a redemption arc beside it. There are so many parallels between Lucy and The Ghoul, and they have such a strong connection to the beginning when the bombs dropped. I get that Max is there to represent the Brotherhood and he's from Shady Sands, the town Hank destroyed, but it felt weird that he didn't seem to be AS important in the grand scheme of things compared to Cooper and Lucy.

But if Max turned out to be a badass twist villain to thematically contrast Cooper's redemption arc, while Lucy remains steadfast to her commitment to goodness and the golden rule I feel like that would really round it out. It would make sense if you consider a lot of people have pointed out that Lucy, Cooper and Max all seem to represent different play styles and different moral alignments. And I think it'd be pretty crazy if the writers of the show set out to make it seem like Ghoul is a bad guy and Max is a good guy, but then it ended up being the opposite.

I mean, there are definitely hints all over the show that The Ghoul isn't as bad as he may seem. And Max has already done some pretty messed up stuff, so I'd say the possibility is totally there, and I'd be here for it!

Who's with me???

[felikatze]

I think Happily Ever After and The Cage both explore some similar topics in inverse ways and once again the Prisoner and the Damsel are twisted mirrors of one another

Pristine Cut spoilers and discussion of abusive relationships below. One suicide mention but it's STP what do you expect tbh

Compilation of rant I went on on discord 👍

prisoner and damsel are very much always parallels since u take the same path to get to them so they're both versions of the princess that you the player Trust, right. and the Greys are a betrayal of that trust if you kill them, and all that. obvs w the prisoner being reluctant trust and the damsel being unconditional because Knife.

but HEA and Cage are both about being Trapped. In Cage, the Princess has seen the same thing happen twice now, she's disillusioned, she's never going to escape. It will be The Same Thing, Forever.

WHICH IS. THE EXACT SAME AS HEA. The Princess believes she is never going to escape. That it will be Just This, Forever. And both of them believe that it *has* to be Just This Forever even if they don't *want* it to be.

Both of this is shown through an Externalized Force. in Cage, that is the Princess' body, which she has conceived as separate from herself. The body simply acts as it must, which she has no input over. Ignoring, of course, that she can *make it stop.*

And that's the same way HEA can't imagine she'll ever escape the Smitten! She's afraid and scared of change, of the torches going out!! But she wants it more than anything!!

Yet these two routes are foils for each other, too. Bcuz in Cage, it's the Princess who enforces the pattern, and in HEA it's the Hero. (part of him, anyways.) What's interesting here too that both of the routes result from a breakdown of communications.

I said in my big long rambly Cage post, but Cage route doesn't happen bcuz Fate, it's bcuz the Princess wants the Hero to carry her head out and he just *doesn't get it.* He just didn't understand what she wanted.

And the leadup to HEA, everyone in Hero's head is upset because they can't communicate to the Princess what is freaking him out, and Smitten tries to... well... show her, I guess.

(Post-rant addition: Hey, both the Prisoned and the Smitten kill themselves to get their points across. Add that to the parallels tally!)

also like abusive relationship metaphors on both ends tbh. Smitten doesn't respect Princess' autonomy at all. I think part of that is the end of Damsel means he doesn't think she *has* any interiority when it's Hero + Paranoid/Opportunist who want the Princess to be a person instead of a doll, which causes her to be a Person Again in HEA. But Smitten is, again, just so stuck on the vision of Damsel who no longer exists.

+ you could also read Damsel chapter in the context of HEA as just seeing that this is the first person who could conceivably save her so she is leaning in HARD to the romance angle because she sees it as the best way to finally get out. Got herself into the romance out of desparation and now she's stuck and regretting it.

So TLDR Smitten doesn't actually respect Princess as a person and just wants her to be this perfect image he has of her, and we see also in HEA how he literally restrains Princess + Hero and deliberately scares Princess when she even dares voice her own opinion. Smitten sucks so bad in this one and it's shit of him but also thematically interesting and again a good escalation of his character.

Cage on the flipside is the typical "I can't help myself" excuse. See, *she's* not at fault here. It's her *body* doing this! Really, nothing could change this. And u see the rebuttal of that angle from the Hero's dialogue options ("You're making a choice. You're choosing violence *right now.*)

No matter how often she says she's just a head, she's still the one who physically restrained the Hero (wow, just like the Smitten!), it's her who refuses to listen to anything the Hero has to say (wonder who that reminds me of), and it's her who is hurting him, on purpose, to feel better about herself.

the "good" endings to these chapters (as much as there are no wrong endings) meaning leaving with the cage's head / dancing with hea under the stars, both of these only occur once Hero/HEA are finally heard and acknowledged. Cage is so rattled that the Hero didn't bring the knife that she finally actually listens to a single word he's got to say and the two can break out, and the final torch in HEA only goes out once Princess says "I'm so tired of this." and has the courage to say what *she* wants and is *listened to.*

in conclusion (x2): STP good 👍 i love you missus the cage

[starlight-bread-blog]

Why I No Longer Ship Zvtara

Warning: This is a very anti zvtara & pro kataang post. This is your chance to leave.

As some of you may know, I am (or rather was), a Zvtara shipper. But lately I've been shying away from the ship. A lot of the arguments I used to believe in, for me, don't hold water anymore. And given how vocal I was about shipping Zvtara, I feel like I owe you an explanation. In this post I will go through common pro Zvtara & anti kataang arguments and unpack why I can no longer support them in good faith. (I will kinda burn through them though, it's just that feel like I owe you this).

"Zvko and Katara's character arcs & characters are parallels"

This is interesting because I wrote an essay on this very subject, and I still stand by everything I said in the essay, but only as a platonic reading of it. See, A:TLA is full of parallels and symbolism. Zuko also has parallels with Aang, Katara has parallels with Azula, etc. In a show like this, the parallels between Zuko and Katara don't carry enough weight to justify some specialness. They have a great, incredibly well written relationship, but in my opinion, the extent of it can remain platonic without standing out.

"Tui and La represent Zvtara"

Tui and La are The Ocean and the Moon spirits and very explicitly represent Yin and Yang. I can't see Yin and Yang as Zutara for two reasons:

1) Yin is the moon, feminine and shade. The moon & feminine, that's Katara. But Yin is characterized by dark, wetness, cold, passivity, disintegration etc). Katara might have an edge, but she is not dark. Not to mention passive. And disintegration seems like the opposite of a waterbender. Katara fundamentally is not a Yin.

2) Yin and Yang is a dynamic. A self perpetuating dynamic of two opposites creating and controlling each other. Katara and Zuko never created each other. While you can argue that they control each other by being "capturing the avatar" vs "protecting the avatar", the only time this conflict of interest ever turned into a dynamic was in the north pole, and by then Zuko would go on a season long journey far away from Katara.

"Making Zvtara canon would be thematically cohesive"

I also wrote an essay on this subject, and just like my other essay, I still stand by a platonic reading of it. I even went back and edited it to make that reading more prominent. The thematic cohesion is already achieved through their platonic bond. In any show, naturally the relationships between characters are going to reflect the themes, that's just how writing works. It doesn't mean the relationship should be romantic. They already have a thematically cohesive relationship, making it a romantic one doesn't add anything.

"Aang idealizes Katara"

For context, there are some instances where Aang is dismissing Katara's anger. For example, in The Chase:

Toph: You're blaming me for this?

Katara tosses aside her sleeping bag and gestures with her hands, challenging Toph to move closer. Aang jumps in between the two.

Aang[Desperately.]: No! No, she's not blaming you.

Katara[Angrily.]: No, I'm blaming her!

Rather these instances reflect of idealization, or merely of Aang's peace seeking nature that's trying to de escalate the situation, is up to interpretation. I choose to interpret them as the latter, because of The Southern Raiders.

Katara: We're going to find the man who took my mother from me.

Sokka pauses and stands up, surprised.

Zuko: Sokka told me the story of what happened. I know who did it and I know how to find him.

Aang: Um ... and what exactly do you think this will accomplish?

A really common talking point in the Zvtara fandom is that Aang just assumes that Katara is going to murder her mother's killer, instead of simply confronting him. Either way, he knows\thinks she's talking about murder. If he'd idealized her, he'd make a different assumption.

"Kataang harms Aang's character arc"

This is referring to the dilemma presented to Aang in The Guru. He had to let go of his attachment to Katara in order to master the Avatar State. The assumption is that his chakra was blocked, therefore he didn't let go. I disagree. We see him open his seventh chakra right before Azula shoots lightning at him.

One might argue that nothing changed about Aang's relationship to Katara, so the dilemma rings hollow. But something did change, Aang was romantically braver than he was before. He got more confident. Compare his flirting from The Headbend (b3) to The Fortuneteller (b1). It's night and day. And if you ask me, this is the natural consequence of feeling less attached.

Furthermore, when he explains to the GAang why he couldn't master the Avatar State, he cites Azula's lightning as the reason:

Toph: So, what's your strategy for taking him down? Gonna get your glow on and hit him with a little Avatar State action? Aang: I can't. When Azula shot me with lightning, my seventh chakra was locked, cutting off my connection to all the cosmic energy in the universe.

He couldn't master the Avatar State because of Azula's lightning, not because of his attachment to Katara. (I heard some people say this was confirmed that Aang was still attached, but I'm a big believer in Death of the Author so I don't really care if it's true).

"Kataang was one sided"

The general consensus in the Zvtara fandom is that Kataang is framed from Aang's perspective, and while the show teases us about Katara's feelings to create a "will they get together or won't they" tension. But can all of these hints really be contextualized that way? Some can, others, not so much. For example, Katara is show to be jealous of Aang in The Headbend when he dances with On Ji, and when they dance she gives him a loving look; in The Cave of Two Lovers, Katara smiles when she suggested they should kiss, and she blushes at the end of the episode. All of these moments cannot be swept under the rug in favor of a reveal that Katara didn't love Aang.

"Katara passing herself as Aang's mom is maternal"

I never really understood this argument, if I'm being completely honest. For two reasons:

1) In Howl's Moving Castle, Sophie works as Howl assistant and falls in love with him, but she's cursed, looking like an old lady. There's a scene where she too has to pretend to be his mom, and it turns into her realizing her feelings towards him. She becomes young again, a girl Howl's age. It's a beautiful confession, while pretending to be his mom. No one criticized that, becuase pretending to be someone's mom for the sake of a mission isn't maternal.

2) Sokka is also there. I don't think it's controversial to say Sokka isn't at all a parental figure to Aang. That's because the point of this joke isn't that Katara actually is motherly towards Aang, it's that they aren't actually similar to [Aang]'s supposed parents and this entire situaton is very silly. The implication behind this joke isn't that Katara is maternal towards Aang, but that she isn't.

SO! That's all I'm covering. Now, I hope I can put this subject to rest and discuss the many other great aspects of A:TLA.

[amaltheas-garden]

This snip from S7 script

"Jon has truly never seen a girl like this before. Her beauty, her strength, her grief and the pain in makes him feel... they all push him to the realization that he loves her

What do you think D&D were thinking when they were writing this? Did George give them the notes about jonerys falling in love or he told them Jon and Dany will have an affair and D&D took that to mean it's love? In the books, most are convinced there will be a marriage for love between them but we never got that in the show. Why would D&D not have them marry if it's such an important mileage in their relationship? All we got was the "parallel' with R and L but that's actually not a parallel because we were shown RL getting married.

I'll preface this by saying I haven't watched any season in full past 3, so most of what I know of the later seasons comes from yt clips and posts on here.

This is going to be in three sections:

Why did J/D not marry in the show?

Why J/D won't marry in the books

Why J/S could happen in the books despite not happening in the show

1: On the first point, idk what d&d were going for, and I absolutely have no clue what grrm told them regarding Jon and Dany's relationship.

The main point of contention seems to be in reconciling the J/D romance and Dany's death, with a large portion of the book fanbase expecting a J/D romance and marriage. I know it's an unpopular opinion, but I just don't think Jon and Dany will be the main love story of the next books. Regardless, the short answer to 'why did d&d not have J/D romance end in marriage if it's an important milestone in the books' is that they won't get married in the books either.

2: As far as using the show as an indicator for the books, I'd say focus on where characters end up, not how they get there. For instance, Sansa and Theon got completely butchered because d&d saw an easy way of cutting corners. They knew they needed a Theon pov to know what was going on w/ Ramsay and Winterfell, and knew Sansa had to go from pawn to player and meet Jon at the Wall for the eventual retaking of Winterfell. So, they thought instead of doing separate Theon-Sansa storylines with a few girl-in-grey red herrings and spending money on a tourney scene and boring Vale politics, lets just skip over the Vale stuff, have Sansa be Jeyne and kill two birds with one stone! With Arya, they sent her off to Braavos to become a badass, cut out the thematically important Stoneheart stuff, and then just shuffle her back to Winterfell. And Bran, the worst offender of the bunch, is practically cut from the show before being brought back to be king. That's all the evidence you need to know D&D only cared about taking the shortest, simplest route possible to (grrm's) predetermined endpoints. (I might have one-sided beef with brando sando, but d&d reallyyy could have benefited from hearing Journey BEFORE Destination!)

I'd also point out that book-show personalities are different: Sansa is still a young girl desperately trying to still cling to hope and belief in goodness and kindness like the heroes in her stories, Arya is a traumatized child who just wants to go back home while also trying to balance her desire to protect innocents and take revenge against those who wronged her family, Bran had all his dreams taken by one man's actions and now has to find his place in the world, and Jon was intended to be the subversion of the classic fantasy-hero archetype. But in the show, Sansa is an ice queen, Arya is badass sword girl, Bran is there, and Jon is a dumb stereotypical hero. Show Jon just doesn't behave in a way book!Jon would, so I'd expect a lot more complexity in book!J/D's relationship than straightforward romance. Point being, D&D are fine having characters end up where grrm told them to put them, they just don't care for the getting there part (also known as a story). If J/D was supposed to be a romance ending in marriage, they would have done that. Jon lives, Dany dies, Sansa rules the North, Bran becomes king, Arya continues her adventures are the points we should take away from the final seasons. The journey of how we get there is something we'll only find out when grrm publishes the books 🤡.

3: And because this is a filthy Jonsa blog, and I must connect everything back to it:

Some (most) of this is going to contradict what I just said, but bear with me. Dany's death was clearly meant to be the big shock twist of the show. The main criticism of her arc was that it came out of nowhere and was underdeveloped. D&D had to accomplish three things: J/D meet, Dany dies, and the audience doesn't see it coming. Easiest way to do that is have J/D romance, tease a possible marriage to unite the North with Dany, then have a half assed rug pull where she goes coo coo for cocoa puffs and her former lover stabs her. Regardless of the sincerity of the feelings, a romance subplot was the easiest way to insert melodrama, Stark infighting, and make the audience believe there could be a happy ending between the two. Was it done well? no. But could I see what they were trying to do? yeah.

So how would book Jonsa come into play and why would D&D ignore that element? Simply put, if Jonsa happens, it would have started developing in S6, and if Jon knows he feels for Sansa in *that* way, it makes the idea of Jon going team Dany less likely, and in turn makes the audience more suspicious of Jon's true motives. This will be even worse in the books, seeing as Jon will have (hopefully) developed a closer relationship w/ Sansa, got his beloved baby sister back, and the last of his half-brothers. The close sibling bonds keeping him allied with House Stark means Dany's main in with Jon so to speak would be through a romantic relationship, and if that place is already occupied by yet another Stark, it becomes pretty obvious that Jon will never fully be on her side. This is a problem, because we pretty much know the Starks are supposed to come out on top, so being in conflict with them isn't a good sign for Dany's endgame. Making Jon and Sansa's relationship platonic/familial instead of romantic makes a happy J/D endgame feel more likely to the audience/ makes her villain turn & death less obvious.

Grrm is a self-proclaimed romantic at heart, and I find it very hard to believe we won't get a sincere romance involving his favorite Byronic hero. This is pure speculation on my part, but I tend to think Jon will entertain a marriage with Dany as a way of securing the Starks' safety/ making peace between Dany and the North in a very obvious act of Duty over Love. Having those good ol' forbidden feelings develop between Jon and Sansa in Winds, being separated by Jon's decision to enter a politically advantageous relationship w/ Dany only to discover they're cousins and could have been together adds a nice dimension to the Starks v. Dany conflict. And Dany dying in the end means Jon has the choice to choose a love marriage over duty. But if we assume (and I'm aware it's a BIG assumption), that Jonsa is a book possibility, then the romantic aspect was played down in the show to make Jon's betrayal of Dany less obvious and preserve the shock value of her death. And at that point, they couldn't really end the show with a Jonsa marriage because there was no basis for it (not that that stopped them from doing King Bran I guess but whatever... a girl can dream). If I were to make a snide comment on the ending, GoT did like doing surface level girlboss moments, so Sansa ending up as a solo queen instead of a sappy Aragorn-Arwen love story was consistent with their other character decisions. (I honestly do love Sansa's coronation scene and there are some good metas on Sansa-Elizabeth I, so I don't want to dismiss that possibility entirely, I just think D&D's track record of throwing Arya/Sansa/Dany into the same stoic/badass stock character blender might've influenced their choice to downplay Sansa's possible romantic storyline despite it being a central theme in the books).

Just to summarize, Jon and Dany didn't get married in the show because they won't get married in the books, the book relationship will be much more complicated than the show version, and D&D's character writing in terms of their internal journey doesn't matter that much since they overtly changed character personalities from the books, and only care about characters getting where they need to go regardless of how it comes about. Assuming book Jonsa happens, this subplot was abandoned to prioritize shock value and keep audiences guessing who would win till the literal last episode. And because of the scrapping of a romantic relationship between the two, their respective endings were modified.

[iamnmbr3]

I find very interesting that both Draco and Harry seem to get each other so well even though they barely know one another.

Honestly this is what fascinates me the most about their dynamic, because while Draco serves as Harry's foil, their parallels are just so symbolic.

Both children of a war they didn't choose, both boys fated to pay for the sins of those that came before, both loyal, both marked by something. Harry using Draco's wand (that worked so well for him) to defeat Voldemort.

And really, Draco is the kind of challenge Harry loves. Canon Harry didn't want admires (which is why is so beyond me that he'd end with Ginny of all people). Harry wanted someone that understood him, that would stand up to him when they thought he was being an idiot, and who in the whole saga we know does that?

So yeah, ironic that J.K. R unintentionally wrote that lmao

I completely agree! The parallels are fascinating on a thematic and character development level and are part of what makes the idea of a relationship between them so interesting and compelling to explore. Also, on a practical level it means that they have a surprising amount of shared experiences that would help them bond and understand each other in a way that is really quite unique. Each in his own way is surprisingly isolated and internal despite being seemingly surrounded by many people and I think they could reach each other in a very special way.

I also totally agree about it being strange that Harry ended up with a fangirl. Controversial take but imho Ginny's shallow admiration of Harry isn't really that different from Romilda Vane's. They're both kind of obsessed with the idea of Harry without actually knowing much about the reality of him. (In book 5 Ginny was starting to overcome this and was getting to know the real Harry while also coming into her own but then she very much backslides in book 6 and 7. Also while Ginny did make some progress Harry really didn't. He never learns much about her or her interests, fears, hopes, dreams etc.)

Draco (prior to his family's downfall) spends a lot of his life surrounded by sycophants and admirers and yet he doesn't really respect them and seems to crave a real friendship. After all, even before he knows who Harry is he tries to reach out to him in Madam Malkin's even though he obviously knows Harry isn't one of the children of the wealthy blood supremacist pureblood families who are already familiar to him. Because perhaps he wants something more, something real.

And similarly Harry doesn't want to be worshipped or feared. Part of what draws him to Cho initially is the way she can match and challenge him at Quidditch (who does that sound like?) and her humor and sassiness when they play each other. He likes someone who can push back and challenge and interest him and match his wit. And this isn't Ginny. That's Draco. Perhaps someday Harry reflects on how Ginny always did what he wanted and said what he respected, and Draco never does, and somehow that has made all the difference.

[softantlers]

why do you ship lottienat when nat said "maybe lottie dying wouldn't be the worst thing" on 2x08? gen question bc i just wouldnt want to ship two characters where one of them says the other dying isnt a bad idea

kay, i'll bite.

i think a thing to consider here is that no one really is suggesting that they're canonically together and making out in the shadows during season 2 -- what people enjoy about this ship is the possibility between the character's, the tension, and all of the thematic parallels. it's an enemies to lovers kind of vibe.

so following shauna beating the shit out of lottie & lottie recovering, natalie says something about maybe it not being a bad thing if lottie dies to coach. i'll point out here that season 2 for me kind of represents an evolution in how natalie views lottie, like their relationship is pretty core & they get a lot of moments together as foils over the episodes. tbh not to diminish your point, but when natalie said that, my first thought was "that's so high school of her." it tracks with her frustration/resentment over lottie's influence on the girls. natalie also follows it up by talking about how everyone has changed because of lottie & coach asks if she's jealous. again, the jealousy thing? so high school to me.

personally, i don't think natalie is the type to actually wish ill or death on anybody. she's having a moment of frustration after witnessing extreme violence & not able to understand how they got to this point. tbh i can almost see echoes of the victim blaming she likely directs toward herself wrt her own dad in the way she says that. like in that moment, she's feeling that lottie let this get out of hand -- likely in the same way that she probably blames herself for her dad's death... i think it presents an interesting insight into natalie's character tbh. when shauna points out in season 1 that she has all this guilt & she's dragging other people down? i mean... she's not wrong.

okay going further though. another thing i would touch on is that season 2 is when natalie carries jackie's bones back to the plane. she has a moment with jackie (although they didn't particularly get along before she died) where she sends her off, so to speak, and mentions that she's made everyone jealous one last time. here you can see a bit of natalie's suicidal ideation come into play. honestly, i'm not sure that she thinks dying is the worst thing, in general, at least not that deep in the winter. (i won't make this too long by going into it, but i think that fundamentally changes when she finds purpose as the leader in the spring, re: the way she tells ben that the suicidal feelings will pass.)

another thing: if natalie actually wanted lottie to die, why wouldn't she have suggested they eat her? natalie was fully participating in the queen draw just like everyone else. at that point, everyone pretty much agreed that lottie was off the table. it's telling that there's no scenes where she argues that they should eat lottie. in fact, when she draws the queen, she's fundamentally moving toward dying in lottie's place. by the end of the season, it's my impression (and it's so delicious) that her feelings toward lottie start to change a bit. when lottie gives her the leadership, there's a switch there & for the first time in the winter, natalie feels seen for all her efforts (instead of passively ignored by the other girls). i think it's extremely meaningful to her that lottie did this for her, even if she doesn't have the words to explain it.

anyways, i hope that answers the question? (i know you said /gen but with the state of things i'm always worried they aren't in good faith.) anyways, i don't think that line really needs to be taken so seriously tbh.

[theprinceandthewitch]

See... part of me actually wants to know what Dana's thought process was with Luz's and Hunter's relationship.

Like... why did she decide to make Luz's type of boy "angsty warrior princes" even though Luz's type of boy could have been literally anything else?

Why was Luz's relationship with a prince highlighted as important since WBW? Even going to far as to make Luz write a romantic scene between her and a prince in Sense and Insensitivity. Hunter would not make his debut until season two, but they felt the need to bring him up in SAI.

Why wasn't there more of an effort to make sure Willow was there for all of Hunter's important moments?

Why did they keep hammering in the Lunter = Caleb/Evelyn parallels, even when Luz was dating Amity? If you want to argue Luz had to be there for all of Hunter's moments because she's the protagonist, it doesn't explain why they wrote these parallels. Especially the ones that came up in Hollow Mind and Thanks to Them.

Why is Luz honest with Hunter in Thanks to Them when she has never been honest with how she feels with any other character -- not even her girlfriend? What makes Hunter different from anyone else? She could have just kept how she actually feels to herself and it would have changed nothing. It's not like Hunter wouldn't have given his speech to Luz if she didn't tell him how she feels... cuz she literally tells everyone how she feels after Hunter comes back to life. This decision is strange and unbelievably haunting... because Thanks to Them brought up the Caleb/Evelyn lore in an episode where Luz's relationship with Hunter was the focus... oh okay... i guess this is nbd then. Like I'm just supposed to not make a big deal abt Luz being honest without having the truth forced out of her... okay. I guess i also shouldn't make a big deal about the other choice to have Hunter know Luz's secret in Hollow Mind.

You really just did that for reasons that are toooootally not shippy, huh? Mhm, okay! Sure, I believe you! [this is sarcasm, btw]

Why did WAD make Willow stand in front of Flapjack's grave with Hunter, even though the only other character with significant ties to Flapjack is Luz? WAD even made it clear Luz feels guilty about Flapjacks death... but she still isn't shown to pay respects to Flapjack post timeskip... WAD is gaslighting me into thinking Willow has significant thematic ties with Flapjack... as if she has a deeper relationship with that bird than Luz did. And just to make it even worse, they give EVERYONE Flapjack tattoos even though no other characters besides Luz and Hunter are tied to Flapjack. Especially Amity... like girlies first and last conversation with Hunter was when he made her feel bad about her relationship with Luz in Eclipse Lake... but the show is gaslighting me into thinking Amity and Hunter are friends or something. TOH LOVES tricking me into thinking certain character relationships exist...

I'm not going to ask why Hunter is unconcerned with Luz not coming through the portal right away in FTF because I already know the answer. This episode exists almost exclusively to make sure Hunter's arc ends with him holding pinkies with Willow. FTF is really funny for pulling this little stunt at the beginning because it's completely out of character for Hunter LMAO. Not sure why they've made such a big deal about Luz's and Hunter's relationship, just to pretend like it doesn't exist in FTF; only to then bring it up in WAD by having Hunter and Amity guide Luz out of the illusion... nightmare thing. They just cant stop bringing up Luz's relationship with Hunter even when both of them are dating someone else, it's so crazy.

[bibibbon]

You know? It's kinda of funny how LOV fans treat the whole "I want to be a hero for villains" of Shigaraki as something groundbreaking, when the same concept was already introduced in the series (and was done better) with Nine.

Unlike Shigaraki, Nine literally meet his team members when he saved their lives. In Chimera's case it was when a bunch of racists were about to execute him just for being a mutant.

Nine also was a hero for them in a more thematic level, as he not only save their lives but actually give his team mates a reason for live and fight. He offered them the chance to fight for create a better world. For me it's quite remarkable how Nine despite being a homeless and chronically ill person, go for save people he view as equally oppressed by the world.

He was selfless enough to sacrifice his own health using his quirk to save Chimera despite it was destroying his body, and without expecting nothing in exchange for share a dream Nine a hand to people at their lowest point.

That's much more of an "All Might for the villains" or whatever Horikoshi tried to make Shigaraki in the final moments. Or hell Nine even acts better as a foil to Deku in the sense both are selfless individuals who fight despite their bodies are crumbling, just for the save of the persons who are important to them.

How ironic is that Nine, the original movie villain that was supposed to be just a prototype for the "final villain" of MHA, ended executing the same themes way better than Shigaraki.

Hi @nyc3 👋

A main reason as to why people treat shigaraki's I want to be a hero for the villains ideology better than nine's is simply because I assume a lot of people forgot the plot of the 2nd movie or haven't read the one shot manga chapter mha leauge of villains undercover. All of this is a shame because I heavily agree that nine's version of I want to be a hero and hope for the villains is executed and built up 10000x times better than shigarakis and nine had a fraction of the screentime that shigaraki got which is saying a lot.

Actually rewatching the film and rereading the manga one-shot has showed me that nine and shigarakis arcs are pretty similar with nine's having a better execution and shigaraki having more wasted potential.

The movie sets it clear that nine and shigaraki are supposed to be foils for one another so it makes sense that they would share parallels. However, you would expect that by the time nine is defeated that shigaraki would naraatively prove to us that he is ultimately the better character but in truth he doesn't and nine's downfall by shigaraki ends up being quite disappointing to me.

Another problem within the narrative is also the lack of interactions that nine and shigaraki have. I think that nine is essential to helping shigaraki and start to infulence him to realise that he is just a puppet and should develop a goal outside of just destruction. If shigarakis goal stays as destruction then the destruction of what? Everything? And how would that benefit anyone including him?

Nine like you said meets his teammates and saves them. He sees his teammates suffer like him and chooses to help them and they choose to help him. There is a clear relationship being developed and all the characters come together for the same goal, with similar backgrounds and varying styles yet they work.

When nines team see him in distress they run to help him and vice versa. The team has trust and overall everything that a lot of the leauges dynamics and development lacks.

Nine seeks destruction but his path is clear. He seeks to liberate and let nature flow its course with the strong overtaking the weak and finally being leaders instead of feared and abused because they don't fit into the small little box that is the mha's status quo. Nine plans to get stronger while being fully conscious and knowing the consequences. He makes a logical and heroic decision where we see him realise that he is trading his own autonomy and agency in becoming a lab rat all in exchange for power and a slim chance at achieving his goal.

This is all contrasted with shigaraki and his actions. We don't see his goal of destruction develop into a much more consistent and precise idea like destroying the giver and status quo. We don't see shigaraki fully conscious to come to the conclusion that yes the doctor is evil but he needs power. We lack everything from shigaraki and the information of chapter 419 just makes his character worse as shigaraki was a lab rat through and through.

Horikoshi tries to make shigaraki the better character but nine outclassed him in every way possible from the traumatic beginnings, to the developed flawed goal and to the final bitter end where we see nine crumble due to various factors 1)shigarakis decay and 2) his illness whereas shigaraki dies due to afo still being a lab rat that fulfills his purpose.

All of this reminds me of the ask that said mha's manga ending is a sloppy edited 2nd movie ending (except I was only looking at it from a hero perspective but it even applies to the villains)

Nine deserved better!