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aroaceleovaldez · 1 year

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Tumblr kept breaking when I tried to reply to the ask about this since the post is too long, so answering this here finally:

A non-comprehensive list of misc things I’d change in HoO, since apparently people wanted me to elaborate further (Re: [This post]). Semi-off the top of my head since I don’t feel like re-reading all of HoO with notations right now. Also this will be followed up by a Things I Would Change About TOA post as well at some point, since that was also requested and kept breaking, but my brain is exhausted from getting this post set up so that will wait. I will link it [here] when I complete it.

Going under a read-more cause it’s very long. Literally Tumblr crashed like three times while I was trying to answer the original ask:

As said before (and what is a given):

1. Goes without saying - fix all the distasteful offensive character descriptions/traits. Similarly, fix the whole "these characters inexplicably look down upon their cultures" cause that's stupid and it's really annoying every time one of the Argo 2 crew brings up something about their cultures only to immediately go "but THAT'S SILLY and WEIRD."

2. Remove Calypso from the active plot, rather than the current canon retconning that doesn’t work saying that she was never actually released from Ogygia like she was supposed to be. There's no excuse for why she wasn't, unless it's supposed to be the gods sent Leo to release her to fulfill that promise, but that's not really implied to be the case at all. There's no excuse for the Olympians to just go back on their promise, since Hephaestus is established to visit Calypso regularly and basically is her only friend. It isn’t the type of thing he’d let be overlooked given all the characterization we know about Hephaestus, and given they are explicitly friends it can’t be that Olympus just “forgot” either. Also Calypso doesn't actually add anything to the plot of HoO or TOA besides serving as a love interest for Leo (not even a motive, just a love interest that "fixes him,” because he already has motive in saving Jason from being the hero of the prophecy and helping save the Argo 2 crew/camp/etc from Gaea etc etc. Leo's romance arc completely derails the established depressive spiral/destructive character arc that's been set up for him and it basically ruins Leo's entire character. He's a tragic character! Let him be tragic until he's done being tragic and then the end of BoO and TOA can be him starting his recovery arc! (I have some thoughts for how Calypso could work removed from HoO but an active character in TOA but that’ll be for the TOA post.)

If Leo still ends up on Ogygia, then have it be clear that Calypso's already left and the island is abandoned (which imo is WAY more narratively compelling for readers of the first series, because you already know the context of the island, but for readers who don't have that context it leads to this being an interesting mystery - who was Calypso? What was this island and why do all the signs/notes left by her imply she wasn't always alone but usually was and was desperate to leave?) and Leo has to collect the scraps left behind to build an escape for himself while he goes through a fun identity crisis. At some point maybe Hephaestus shows up and Leo gets an interaction with his dad that probably does not help his identity crisis and then he goes back to the Argo 2 to have a further identity crisis about how the rest of the crew got along in his absence (a good identity crisis or a bad identity crisis? depends on how they did without him! you decide! I personally like "they managed okay" and Leo feels Really Horrible About That Cause It Feels To Him Like They Don't Need Him. I like Leo's tragic arc, okay? It's compelling.) Iirc Leo’s also the only member of the Seven who doesn’t get to have some kind of direct conversation with their godly parent, at least in-person, so yknow. It’d be nice to have. Also if you want Aro/ace Leo Valdez this is the perfect spot to put it while he's having his identity crisis on Kiss Kiss Fall In Love Island, or when he gets back.

3. Jason's stab wound in BoO is not healed by the Power Of Friendship, and instead they use the Physician's Cure for that so it doesn't feel like they're literally deus ex machina-ing their way to cheating death like 3 times in the same book. It makes more sense to use Potion Of Don't Die on Wound Of Excruciatingly Painfully Slowly Killing You instead of Whoops You're Already Dead, Just Get Better. Ctrl+Z That Real Quick.

Given they already used the Physician’s Cure on Jason, Leo doesn’t die/get revived at the end of BoO. Instead he just almost dies, probably lands in CHB’s woods somewhere, and is found and patched up with the series ending on him being on the mend and starting on the path to healing and getting help for his Numerous Issues that he was putting off for The Entire Series. Which parallels nicely to Nico basically having the same thing (overexerting his powers to near death, ends series getting medical treatment/being on the mend and the indication that he’s moving on to a happier period of his life). Again, grand happy ending rather than aggravating fake-out.

Further notes:

- Heavily tweak Ella's character cause I get what Rick was going for, but the execution is… not awesome! Please, there's already so much ableism in HoO just. hmm. We can do better.

- Jason and Piper break up in HoO, probably around MoA when they start seeing Percy and Annabeth interacting and after they’ve had time to hang out with each other and realize their arranged relationship is Kind Of Fucked Up, Actually. (Probably something something them having gotten to spend time actually getting to know each other between TLH and MOA while they’re both at camp.) They have no problems with each other specifically and do genuinely like each other, but it just gets really awkward given all the memory manipulation and being set up as a "picture perfect couple" - emphasizing stuff like them both being children of really famous movie stars in their universe, or Jason as a son of Jupiter/Jove (an "all-father" type god) [and Juno - mother figure goddess and goddess of marriage]/"son of Rome" and Piper as a daughter of Aphrodite (goddess of love, also Aphrodite/Venus indirectly is associated as a sort of "mother of Rome" due to Aeneas). They just feel like they have too many expectations being put on their relationship and even though they do both like each other it feels too forced for them, but they’re comfortable staying just friends. This just gives way more opportunity for low-stakes character conflict among the Argo II crew outside of Monster Of The Week Chapter so things don’t feel unreasonably busy and chaotic and we actually get some consistent development. Just a nice mini-arc to follow in the downtime. Also while we’re here, more directly establish Piper’s bisexuality earlier on. If she’s already having an arc where she’s contemplating her romantic life, throw in a couple of nods to like “Piper thinking about her old childhood crush on Shel, the kid of a family friend she’d see when her and her dad visited Oklahoma” or something. Literally anything just to establish some kind of set-up to her getting a girlfriend later. Just for consistency’s sake.

- Bunkernine has a very good post about wishing the Argo II didn't have the magic plates from CHB, which I agree with in concept. Like I was just saying, MoA through BoO lacks a lot of little moments where we get to really focus in on the characters, probably in part because Rick was struggling to juggle so many parties given this was his first foray into writing a major cast that size. We can definitely cut out a lot of the random unnecessary fights and dramatic moments that don't really do anything for the plot and instead replace them with little moments of casual life on the Argo II - the scenes like those that do exist in HoO are some of HoO's most memorable moments to me! And they'd help a lot with how the characters never felt fully and properly fleshed-out. Let them exist as a cohesive group without two-to-three of them being absent at any given time! I don't think we necessarily have to remove the magic plates entirely because they do solve a fundamental problem ("where are these kids getting food?") but like, there is nothing stopping them from still cooking and just using the plates to get ingredients! Let these kids bake or something! Even just for fun! Though also I have personal headcanons about the Argo II crew's cooking skills and I really like the concept of like, during HoH or something at like 3am everybody hears something and they all suspiciously shuffle into the mess hall. And it’s just half-dead Nico standing there in his PJs making food for himself because Dammit They're IN VENICE and he’s FROM VENICE and they DON’T HAVE TIME TO STOP AT HIS OLD FAVORITE RESTAURANTS THAT MAY OR MAY NOT STILL EXIST and he Hasn't Had A Proper Meal In Weeks so By The Gods He Will Make His Mom's Old Recipes At 3am before he keels over from this quest. He just stares at everybody and goes "What are you all looking at. go away." and the rest of the crew just shuffles away awkwardly and leaves him to it. (Is Nico’s 3am meal actually good? Who knows. It is left a mystery.)

- Tweak the god characterizations. Remove the "gods splitting" thing and maybe play more with different aspects of gods/verisons of gods across history/city-states/etc presenting themselves instead. The Roman gods are not wholly equivilent to the Greek gods and it's actually really interesting from a historical perspective, and I think there's a lot you could do with that but instead it gets flatted in HoO which is sad to me. Just generally though, with the god characterizations, like. [uncomfortable pagan noises]. Which is almost impressive because it is difficult to write the Greco-Roman pantheons poorly since a good portion of them are basically just very complicated metaphors turned into personifications and characters. So they work fine for narrative purposes when applied accordingly, and yet! and yet!! Rick managed it! He managed to really bungle it in HoO and TOA. Because instead of leaning into the aspects of metaphors and dynamic characters he just fell into 2D tropes, gimmicks, and stereotypes. Off the top of my head the only deities written Okay in HoO is like. Hades/Pluto and Thanatos. (even Chiron in TOA is extremely lackluster, it's sad.) In the first series it ranges from “okay” to “actually really interesting” so it’s sad to see that drop-off and I would like it to be fixed.

Some potential examples for this: Play with the historical ties combo of like, Athena, Minerva, Enyo, Bellona, and etc! Annabeth and Reyna parallels! if the first 2 books are about the trios, let MoA be about Annabeth and Reyna and both their connections to Athena(/Bellona). Let Reyna be a second half in the Athena prophecy! It'd be cool and fit with her thematically and would set-up the whole Getting-Blessed-By-Athena thing later in BoO and make that scene feel so much cooler!

- Also retcon the whole "Hestia appears as an 8 year old for no reason" thing. And maybe also Artemis only appearing as a teen, because while Artemis has a mythological excuse, Hestia doesn't, so it just feels weird and at worst comes off as a little aphobic (depicting a character who explicitly is uninterested in relationships/romantic love as a child despite them being an immortal god with no basis for appearing as a child or even being comparatively young to other gods) with how it relates to aphobic tropes about disinterest in romance being "childish".

- Remove the "no children of Minerva" thing. Also maybe emphasize the aro/ace vibes there cause Athena being implied to be the only ace character in the entire series who a.) isn't literally a child/teen nor appears as one, and/or b.) hasn't had an unfortunate relationship that makes them disinterested in romance, but also at the same time being the only one out of herself/Hestia/Artemis to have relationships of some sort (having kids, implied to possibly be romantic but unclear) issss bad! actually! Bad tropes, don't like that. (Again aphobic tropes of disinterest in romance being “childish” and something that can be grown out of, or a result of trauma. Also it feels weird that the only a-spec characters in the series are all women. Can we have a male a-spec character please.) Just let Athena be aro/ace and vibing and occasionally having brain children cause she can do what she wants and everyone is aware of this and chill with it (And being a-spec doesn’t mean she’d be disinterested in having kids). Also maybe make her feel less cold cause "a-spec character is cold and loveless" is also an aphobic trope that PJO!Athena falls into, actually.

- Speaking of aphobic tropes, fix the Hunters! Please. Please just redo the Hunters of Artemis entirely. Holy cow. I wrote up an entire alternate oath/rules set for the Hunt because it's just so weird and poorly done. There were male Hunters of Artemis in Greek Mythology! Multiple! And most of them were chill! The "swearing off all romance" thing is also questionable, because depending on what versions of myths you’re looking at it’s potentially implied the Hunters had romantic relationships among themselves. And in Greek Mythology all the Hunters were definitely not all pre-teens. And it feels especially bad that the only adult Hunters we ever see are explicitly ex-Hunters who are heavily implied to be not ace and definitely aren't aro and are also implied to have "grown out of" being disinterested in romance. (That gagging noise you hear is me being sick of how many aphobic tropes the Hunters are juggling).

The version of the Hunters i have written up is, and I quote (from my notes): "Hunters can be any age, species, and gender identity (so long as they are comfortable enough being occasionally referred to as “Huntresses,” “Sisters,” “Maidens,” and etc). Relationships between Hunters are allowed so long as it will not endanger/distract from the Hunt or endanger any other Huntresses. Having a child is not allowed within the Hunt and any Huntresses who wish to do so must leave (purely because having a pregnant person/young child on the Hunt is dangerous, and safety is the number one priority - especially as Artemis is a protector of youth and goddess of childbirth. Once they turn like, 12 they can join, that’s fine. Everyone knows middle schoolers are the optimal combination of bloodthirstiness and ability to wield a weapon)." Also, just as like, a side-thing, I wanna see a clear-sighted mortal Huntress, because we're told thats a thing but we never see them. Closest we get is like ancient semi-immortals and Technical Nymphs, or other Huntresses who are of unspecified mortal/demigod status.

- Similar deal - fix the Amazons. they're… better but still a little wonky.

- Some slight tweaks to the Cupid Scene - Nico still has a confrontation with Cupid cause that is a very compelling scene that works well for Nico's character and informs a lot about him (and serves a purpose in a very meta way - not so much for the plot but reflecting something the first series did occasionally which was a kind of showing an example of a situation, usually a negative situation that either mirrors or directly references a type of situation a kid may find themself in, and explains and shows sympathy for the character being hurt in that situation. Which is notable because the demographic for the series is young middle schoolers and particularly neurodivergent kids, who are probably approaching a lot of new social situations or may struggle with empathy. It acts as an introduction to “unfortunately this is a bad thing that happens sometimes, and it hurts people, which is why you should be nice to this kid. Look at beloved character. Here’s an elaboration on why they’re hurt so you can understand.” So for the purposes of that, the scene of Nico getting outed would likely remain, but it would still keep the very overt “WOW THIS SUCKS, THIS IS A BAD SITUATION.” stuff) Most of the tweaks are just slight adjustments to minor prelude dialogue and/or setting, like. Jason does not forget that being gay is a thing for a second. And etc. But Nico having a very literal metaphorical conflict about grappling with how he views the concept of love by LITERALLY GETTING KICKED AROUND BY THE GOD OF LOVE is actually kinda badass from a narrative analysis perspective. This is exactly what i meant in the previous bullet points about the gods in a lot of myths and classical stories playing the roles of personifications of metaphors and that being used well. Admittedly I'm 50/50 on tweaking Cupid's general attitude in the scene itself, because a more hostile Cupid lends itself better to the meta use of the scene as described before but a more sympathetic-to-Nico Cupid who is nonetheless still kicking the shit out of him is interesting from a metaphor standpoint (something something Nico overcoming internalized homophobia but in the very literal form of it’s the god that literally presides over protecting gay love [yes that is an actual thing Eros/Cupid is the god of] beating him up).

- Remove Reyna's “prophecy” entirely. It's stupid and pointless and doesn’t make sense with her character at all. Just say she's ace. There is not a single scene in any of the series that ever indicates that Reyna believes that she can only be happy if she’s in a relationship and that’s some kind of internal struggle she needs to overcome. The closest we ever get is Reyna being upset that her best friend disappeared and when he returns she finds out he had forgotten about her completely. Which does not apply to the “prophecy” at all. We just don’t need it.

- Absence of "a character" can work! Jason's lack of personality and backstory can work but it works best if it's absence is felt and properly explored. This works best if we get more information about Camp Jupiter from SoN and from the other Roman characters, especially Reyna (and maybe even Nico referencing his trips there!) because that inherently informs us about what Jason's life was like there. Have other characters note things about Jason and highlight the fact that this is absent from Jason's own POV! He's lost that part of his life! It was taken from him! That's such an interesting dynamic to have and explore! But we don't get any of that!

Side-note: Part of the problem with Jason's amnesia is that it feels so awkward especially compared to Percy's amnesia because we already know what Percy can't remember. We have the context that informs his character, even though he can't remember it, so that absence is felt and it feels really compelling! Also, Percy is unfamiliar with Camp Jupiter, and we're unfamiliar with Camp Jupiter, so it feels new and interesting (even though we don't actually get much about it so we never actually form any real attachment to it and that's a problem later on in every subsequent scene when we're supposed to care about what happens to Camp Jupiter but we. don't). The reason it doesn't work for Jason is because we don't know what's absent and we already know CHB. Jason also already knows about demigods and stuff, so if you're a new reader starting at HoO it just doesn't work. Because Jason already knows everything and we're being led from his POV primarily for that portion of TLH, and even Piper and Leo's backstories both heavily include being pushed around by Gaea/and or Hera/Juno, so if you aren't familiar with the universe you're just being hurried along and it ends up feeling weak. At least with Percy even if you don't know the contexts of his backstory, we can feel the implications of other characters referencing things about him extremely often, so you feel the weight of his memories being gone, and he doesn't know about the roman gods and you, the reader, aren't expected to know much if anything about it either. We don’t get the full demigod debriefing (but that's also the second book) but we at least get a Camp Jupiter debriefing. The first two books are a bit messy in those specific regards with setting up the camps for the series, and we don’t really see the camps much for the rest of HoO (except for CHB, of course).

This is personally why I stand by that if we ever get a roman series it should be a three-part series from Reyna's POV, because leading with Jason is basically like trying to lead PJatO with Annabeth - a demigod raised in camp and surrounded by the knowledge of this stuff their entire life. It doesn't work as a character who's acting as an introduction to this world for the reader. There's no real clean way to work that out for HoO unfortunately, since literally all our protagonists are given established pasts involving knowledge of Greco-Roman mythology being real and half of them are either already at camp or have been to a different camp. I'd say best solution would probably actually be leading from Piper for TLH and tweak her character set-up slightly in that she Does Not Know What's Going On At All re: Gaea and the Giants. She just knows Something Happened To Her Dad and she's the POV we follow into TLH, because that mirrors Percy in beginning of TLT well (with Sally being kidnapped)! It's a fun call-back for the old readers and a good lead-in for the new readers.

- Fix Nico backstory inconsistencies caused by Rick almost making his birthday in March and confusing himself over it. He's 12 in TLO, 13 in HoO. He was born January 28th, 1929, and got put in the Lotus Hotel and Casino in 1939 (If you wanna be cute, we can specifically say May 1st, 1939, to reference the musical). Hazel is one month older than him chronologically and one year older than him post-revival. Something something also smooth out the inconsistencies about Nico being raised in Italy and how Maria met Hades and stuff. Fill in the rest as you will.

- I do stand by that the entire PJO timeline is not one-to-one with the real world. That's always been a thing with the series. We're basically condensing everything from ~1998 to ~2020 into an 18 year timeline. We don't need to be exact with things. Don't get too bogged down with it.

- Make the whole "injuries caused by celestial bronze/imperial gold for demigods makes their souls self-destruct" thing specifically relating to cursed weapons/materials or feature some more volatile abomination combo weapons like Backbiter (with Backbiter being described as unstable due to being both celestial bronze and mortal steel). (Ex.: the spear used to stab Jason in BoO is just cursed, and maybe Octavian's catapult plan is a "well i put a bunch of mortal steel and imperial gold in a pot and melted them together a bit and now it really wants to explode so im gonna just chuck the entire thing and hope it kills everyone lots and lots <3" which is tbh significantly more dastardly and fucked-up, which makes Octavian a bit more compelling). Having it just be a plain trait of celestial bronze/imperial gold doesn’t make any sense and is only referenced like twice in HoO and never again in basically the entire three series. Again: consistency.

- Make a more prominent reference to the whole "btw there are retired adult Romans just living wherever but they're legally required to help any campers who request aid" thing, cause you could totally do something really fun and cool with that but idk what.

- PICK A THEME! First series theme was family! Second series theme is….. we don’t know! It felt like maybe a theme was intended at some point but we lost it. Forging a new life for one’s self/choosing your own path/etc could be a good theme, or something similar. or found family. or both. We’ve got a bunch of characters absolutely ripe for “I didn’t think i’d get this far and now I have to like, actually consider what i want to do in life. huh” arcs! (Frank! Leo! Hazel! Jason! Percy! Nico!) Do something with that!

- Lean more into the characters having aspects inspired by myths, or legends being mirrored in plot points: 7 against Thebes, the Argonauts, etc etc etc. The first series leaning into it heavily worked really well! More of that! HoO and TOA suffer a lot from lack of mythological basis to lean their plots on, despite there being plenty to work from. It instead just kind of messily mashes random misc myths (haha, alliteration) together into a very incoherent plot. Annabeth is known to be explicitly based off Atalanta, Percy is mostly based off Perseus and Theseus, Leo has loose connections based off of Demophon of Eleusis and possibly also his brother Triptolemus, etc etc. There’s stuff to work with! Poke around at the mythological figures of the original Argo and maybe match them up a bit (though most of the Argonaut myths were used in Sea of Monsters, so focus more on the figures/archetypes rather than just exact myths of what they did. For more plot-things, maybe consider Seven Against Thebes, though admittedly the plot of that is just Kinda Depressing.)

- Slightly related to that - lean into Piper presumably mirroring Orpheus! Or even if she isn’t supposed to, let her do that, because it fits with her thematically SUPER well. Her charmspeak is OP and that needs to be appreciated. In canon she brings Jason back from the brink of death in TLH and just straight up gives Festus a soul/free will/sentience. Let her go Orpheus-mode on everybody. You can even tie that in with the half-hearted snake theme that Rick tried to throw in there that didn’t work at all. We can make this work, just lean into it. It’ll be fun.

- Remove scene of Nico confessing to Percy at end of BoO. it’s just. random and feels sudden and OOC. Give Nico time. You could maybe replace it by having him come out to Reyna on his own terms while they’re on their quest discussing their adventures thus far and them having a very sweet little emotional moment rather than it being a weird out-of-place afterthought comical scene.

- Remove Bob and Damacus. They’re just half-literal dues ex machinas for Percabeth in Tartarus that don’t make sense. It feels extremely cheap and doesn’t fit with the established mythos of either figure (and Bob feels extra awkward without the context of knowing Sword of Hades). If they do run into a figure who helps them out in Tartarus, Arke could possibly be a good option - especially since in SoN Percy meets Iris. There’s a lot potentially you could do there with Percy mistaking her for her twin and stuff like that. If we want a figure to more-so take the role that Bob fills (Nico encouraging an immortal to be sympathetic to Percy and thus indirectly helping him later) that role could be filled by Nyx instead of making her a minor antagonist - imply Nico encountered Nyx in Tartarus or something and she took pity on him as someone who also understands the dark, and he told her about Percy and so Nyx is willing to help Percabeth escape. Plus imagine how COOL a Nyx & her children vs Tartarus/Titans/Giants fight would be. That’d be a significantly more memorable scene than the Tartarus fight scenes we did get. (“Why would Nyx help though?” One of Nyx’s kids is LITERALLY a goddess of friendship [Philotes], we have excuses.)

- On a similar note, this is more of a TSATS thing, but for goodness’ sake STOP THROWING CHARACTERS INTO TARTARUS. You’re overusing it! It only works when we use it sparingly! In fact, just in general Tartarus works better the less we see of it! Nico going through Tartarus once in SoN-MoA, yes, that works! Especially since we have almost no idea what happened to him down there, just that it was Terrifying and Horrible and he Barely Survived. Not going into much detail means we get more out of it. The only exception to that really was when Percy realized that Nico saw Tartarus as it truly was the entire time, because that’s one hell (ha) of a punch to the gut in terms of added information! Percabeth falling into Tartarus in MoA? Eh, fine, sure, because we’ve established that Nico (who is implied to be more resilient to that environment on virtue of being a child of Hades) talked about his experiences down there so they know what to expect and how to survive. Though it does kind of just feel like Rick went “Oh wait hey I can use this to make angst!” and then overused the hell out of it. It feels way weaker in general in HoH because of how much detail we get, because Tartarus has been built up so much until that point that literally anything we get will feel lackluster in comparison, especially with how it kind of feels like Percabeth just. breezed through it with little more difficulty than they’d usually face on their quests. Solangelo jumping into Tartarus in TSATS is honestly just a blatant “Oh boy we can make Solangelo into Percabeth 2!” and it doesn’t work at all because NICO HAS ALREADY BEEN TO TARTARUS.

The only way you could make Nico going into Tartarus two times work is if he fell into Tartarus a second time to replace Percabeth falling down there. Because we’ve established he knows what it’s like down there, he survived it once, and he is actively sparing someone else he cares about from suffering his same fate. And then he can return once again even closer to death and A Little Fucked Up and it turns into a rule of threes where we know “Oh, Nico can’t go back to Tartarus again because if he does he’ll Lose Himself Completely” which is way more interesting than romance angst for the sake of romance angst. Especially since again, we don’t see it, it’s all only implied. Also it then also turns Tartarus into even more of a “Nico is probably the only demigod who could ever even hope to survive Tartarus” which keeps Tartarus as an ominous thing. Percabeth falling into Tartarus lessens that by a lot because it implies that it doesn’t matter that Nico is a child of Hades; that had absolutely no bearing on his ability to survive down there. TL;DR: Stop throwing characters into Tartarus. Either throw Nico in twice in a row and no Percabeth or Nico and Percabeth once only and never touch it again.

- More heavily set up Percy’s emotions/mood/etc being influenced by water around him. If we keep most of Percabeth in Tartaurs, then this would really make the Achlys scene pack a bigger punch. Up until HoH everything is “oh how quirky” but the minute Percy’s surrounded by the rivers of the underworld and the acid/poision you get hit with the “oh shit” realization that Percy Is About To Get SCARY.

- Maybe have Annabeth keep her blindness from Tartarus, or trade Jason having glasses to her having glasses as a result of that, since vision is actually an aspect of Athena so it kind of fits her more, thematically-speaking.

- Change the judo flip percabeth scene in MoA to Annabeth picking Percy up and spinning him around in a hug/swinging him into a dip cause that’s cuter, makes more sense given Percy’s PTSD, and still highlights Annabeth being very strong and showing off in front of the Romans while they’re still being lovey-dovey.

But also, related to that, you could potentially make a sub-arc for Percabeth throughout HoO (so that they actually have like. some type of character development that fits them rather than them feeling stagnant the entire time) about Annabeth learning she doesn’t know as much about Percy as she thought (learning about Gabe [since as far as we know she actually doesn't know much if anything about that!], seeing his behavior change with different types of water, etc) kicked off by the judo flip scene, and possibly vice versa (Percy learning more about Annabeth’s time spent traveling with Thalia and Luke, growing up at CHB, her relationship with Athena and other campers at CHB, etc) so they gain a deeper understanding of one another. If Percy keeps his curse of Achilles, that could also factor in (contrasting Percy’s “perfect” image [relationship, near-immortality] against Annabeth realizing she doesn’t know as much about Percy as she thought [could also parallel that dynamic to Jaspiper, which opens opportunities for Annabeth/Piper and Jason/Percy bonding] [Or Annabeth/Jason and Piper/Percy bonding! I want more Annabeth/Jason and Piper/Percy parallels so bad. They’re almost there but we never get them. Please.]/ the Argo II crew learning about Percy’s past) with Percy being more prone to seek out conflict or solve problems with violence due to the Curse of Achilles and eventually recognizing that [possibly after Tartarus] and it scaring him just as much as it frightens Annabeth. Maybe at that point Percy tries to make some sort of deal to rid himself of the curse.)

- Maybe also explicitly parallel Percy getting the curse of Achilles with Nico’s help to Poseidon giving his lover Caeneus iron skin. There’s no really smooth way to do it, but maybe even just a during Nico’s pov him going “I heard about this myth once and got an idea. It didn’t work.” Just for that added through-line of connecting the series and further establishing “yeah, no, Nico’s been gay this whole time. this isn’t a new thing. we aren’t pulling this from thin air.”

- Give Piper a different weapon than the knife from the beginning cause she stops using it eventually anyways. Also just... no cornucopia. That part is just stupid and there’s no point for it. If we have to keep it as a plot object, give it to someone else - Nico could work because then there’s actually at least a valid relation there regarding his godly parent (yes, Pluto sometimes has cornucopia associations). Also Nico having a cornucopia would be kinda funny in a subversion of expectations thing. Maybe even have Nico go on a little exposition-y rant complaining about Hades/Pluto versus Plutus (the Greek god of plenty/wealth, later merged with Pluto).

- Similarly, either remove Diocletian’s scepter (if we have multiple characters who can boss around skeletons, why do we need an entire separate extra object whose sole purpose is to let them boss around skeletons?) or let Nico keep it but it loses its abilities, so it’s literally just “well now he has a cool bashing stick for bashing things.” Or let him use it as a cane to highlight him being disabled!

- As I slightly touched upon in a previous bullet point, give Piper more connections to her dad’s community in Oklahoma - where’s all her family friends? Tristan is a major pop culture figure in the Riordanverse, so it’d make sense that people from the community he grew up in would like. know him? But all we ever hear about is Piper’s Grandpa Tom. Even though apparently Piper is already good enough friends with Shel presumably before Piper moves to Oklahoma that the two start dating soon afterwards. Heck, again, have Piper reference Shel specifically. Just at any point. For any reason. Just to establish that she knows people her own age that exist outside of CHB.

Similarly, flesh out the background Romans in Camp Jupiter more in SoN and possibly also BoO, particularly the ones Jason references by name but we never see anything of, besides at most maybe more background references. Highlight them either through the SoN trio interacting with more characters while at camp (and we’re left to glean specific details of Jason’s past through others, which would make Jason more compelling and how these details are absent from himself but present to those around him, playing into his memory loss more) and possibly also through Reyna (and maybe Nico)’s POV(s) in BoO. (And maybe if we get a Reyna POV in MoA, then there as well).

- Let Reyna use magic! We establish that she studied under Circe and then never see anything come of that other than referencing her Tragic Backstory™. It could be a fun point for Reyna and Hazel to bond over, even!

- Remove the random “Hunters of Artemis death fodder” scene with Orion in BoO. There’s no reason for that. It’s just kinda dumb and feels bad given it’s basically just “We’re gonna kill a bunch of nondescript allegedly a-spec coded characters now for no reason. <3” like ???. That served no purpose. It just felt weird.

- Also just as a like, logistics thing - change the route Team Statue takes in BoO from the huge jump over the Atlantic into Peurto Rico into them traveling up into like the UK, then over to Iceland and Greenland and then Canada and down the east coast rather than the huge jump and up the east coast. The smaller jumps make more sense given the entire POINT of their quest taking as long as it does is that Nico can’t make extremely large shadow-travel jumps at that time. Plus if they’re traveling south then they could pass through Maine and we could maybe cameo Nico’s old school and that’d be fun. The pit-stop in Puerto Rico doesn’t really give us much that we couldn’t have just gotten from Reyna explaining it anyways. If they pause in Maine that can be where Nico and Reyna have a heart-to-heart about their tragic backstories and past experiences with horrible ghosts that they had to exorcise.

- If Team Statue travels a northern route we can make jokes about Nico learning specifically 1930s British English before he moved to America. The gang goes to London and Coach proceeds to incessantly make fun of Nico for not only using British slang, but using OUTDATED British slang (which is made weirder given he doesn’t have a British accent).

- Also extremely tiny detail but a specific acknowledgement that Piper was helping out Nico once they got back to the ship when Nico’s getting rescued from the jar. Since Piper just kind of drags him off-screen. Just any kind of follow-up to that. Like Nico doing his classic “You were vaguely nice to me. I would now Die For You.” Just them having basically any kind of interaction or acknowledgement of that scene, mostly cause I think it’s funny.

- Let Annabeth keep her laptop, and get rid of the sphere of Archimedes cause it just feels kinds pointless and random? We don’t really have any emotional connection to Annabeth’s laptop (and her hat gets replaced in Demigods & Magicians anyways) so her losing it doesn’t really feel impactful at all. Maybe have Leo use Annabeth’s laptop while she’s in Tartarus and that acts as the point of guilt for him rather than weird random curse stuff with a random new introduced object. Instead of “oh no fortune cookie thing or whatever” it’s him feeling guilty he saved Annabeth’s laptop but couldn’t help Annabeth herself. Especially since Leo would also have his Ogygia identity crisis in the same book so he can feel extra bad about himself for a bit, to lead up to his role in BoO nicely (sometimes a character negatively spiraling is more narratively compelling than them having positive development for the majority of the series and that’s okay! Let him be tragic but again he gets a happy ending and an implication post-BoO that he’ll begin a road of healing/recovery surrounded by loved ones. It works out.) AND there could be a very sweet moment once Annabeth gets back from Tartarus and Leo gives her the laptop back and it’s a huge relief to her that one of her prized possessions was in safe hands while she was gone and that she has it back when she thought she might have lost it.

- Further highlight Jason’s whole Greek/Roman/etc identity crisis. Bonus points if we go further into acknowledging Jupiter/Zeus’s epithets and roles and Jason having some epiphany that the Romans look to him with the expectations of Jupiter/Juno as king and queen of the gods making him some kind of perfect leader, but he’s not that at all. He’s the son of Jove and Juno, father and mother of the gods. He doesn’t want to be a general or praetor or anything like that, he wants to spend time with his friends and family at a summer camp where they’re safe. He wants to regain the childhood he lost being raised as a perfect soldier and get the chance to go to school and learn about his long-lost family and do cheesy summer camp activities. He is a wolf but he is not a creature built for the hunt - he is part of a pack.

- Touched upon it briefly in a previous bullet point but Curse of Achilles can stay/go, does not particularly matter to me either way. I do think it’d be funny though if Percy does keep the Curse of Achilles that he also randomly gets the Nemean Lion’s pelt back. Initially maybe as like a gift from Hera/Juno to help him cover his Achilles’ Heel while he’s running around with no memory just as insurance so he doesn’t die (with bonus points of the Romans being introduced to Percy either wearing the stupidest looking coat ever or wearing just a straight up bullet-proof lion’s pelt, which would even further solidify his “Are We Sure This Guy Isn’t A God In Disguise” vibes). But then later on into the series it’s just kind of part of his outfit or maybe even a running gag. The praetors have their magic bullet-proof cloaks, Percy has a very silly looking bullet-proof fur coat that is sometimes a whole lion.

- Keep Hazel’s blackouts. There’s not really a reason for them to disappear altogether for her? They’re somewhat tied to her powers and are a consequence of her coming back from the dead, which also helps keep the concept running in the series that death is a consequence that can’t just be easily evaded, even while we’re operating with the Doors of Death being open. That way future deaths in the series don’t feel like they could be as easily negated/avoided. Also, Hazel is disabled! This is a disability of hers! Why are we somehow magically getting rid of it without even an explanation as to why? Heck, if we’re getting rid of Piper’s knife, Hazel’s dreams when she has her blackouts could be used to supplement the dagger’s insight into the future, since we’ve already established that Hazel gets prophetic dreams sometimes anyways. Also fun thematic matching for the Death Sibs with them both having disabilities and random ways to glean the future (Hazel’s blackouts, Nico talking to ghosts). Her blackouts would probably improve slightly over the course of the series but never fully disappear, and it ends up mostly a thing of she can tell when they’re about to occur and prepare quickly for that or let someone know before she passes out.

- Get rid of Frank’s curse in SoN instead of waiting until The Tyrant’s Tomb. If we’re going to get rid of it eventually anyways, do it during the big scene of him freeing Thanatos. Let him have his cool big moment of embracing his destiny and that breaking the curse the first time he does it rather than him doing it twice but it only breaking the curse the second time? Also if the curse is broken earlier on then Frank’s entire arc gets to be about him realizing he has a life to live, since in SoN a major part of his character is that he’s not afraid of death because he’s used to the idea that his curse could kill him at any point. He’s actually pretty reckless for the beginning of HoO because of that. If he realizes that he no longer is at risk of dying at any given moment because he thought about candles too hard, then that opens the opportunity of him having a whole existential crisis about what he actually wants to do with his life and him looking to the future for once.

Bonus opportunity for this - maybe Frank actually gets fire powers as a result of his curse breaking. Ares/Mars has an association with fire so it would fit for him as a son of Mars. Plus, then we could also have an even more overt dynamic of Frank and Leo acting as each other’s parallels and foils and the two of them slowly growing more used to one another and actually becoming close friends. Lots of bonding over getting used to their fire powers and overcoming their mutual fears of fire and probably also solidarity in having lost their moms. Just - the boys are bonding! The boys are bonding. Fire boys hours.

- Related to Frank’s curse, give Hazel and Frank parallel narratives of them realizing they have a future ahead of them (Hazel re: getting a second chance at life and Frank re: realizing he’s no longer at risk of spontaneously combusting) and them grappling with trying to figure out what they want to do with their lives and how they want to live them after everything is said and done. And also being motivated for once to make it out the other side in one piece because they’re determined to not waste the opportunity they’ve been given. The two of them coming to terms with realizing they have a future if they can make it through this (which is also a fun contrast to Leo and Nico actively almost sacrificing their own lives for others and having essentially an opposite character arc for the majority of the series).

- Especially while Frank (and Hazel) are having these arcs, going back to the idea of Leo getting stuck on Ogygia alone for a bit - very strongly contrasting the arcs of Frank’s mental health improving over the series while Leo’s is very steadily decreasing (until BoO at which point again the series ends with Leo getting help and beginning to improve/heal).

- Also further emphasizing Leo and Nico’s parallels throughout HoO. They’re both autistic on top of the usual adhd/dyslexia and have issues with social interactions and care a lot about Hazel and are having a majorly bad time throughout the entire quest and are pretty depressed, etc etc etc. Again, parallel narratives at the end of BoO with them healing and things looking up for them - I think I’ve mentioned that like four times now you get the idea.

- Make Frank ADHD/dyslexic. There is literally no reason for him not to be and him being the outlier for being neurotypical feels weird and doesn’t fit with the literal entire worldbuilding we have for demigods. If it’s part of “demigod instincts” or whatever then Frank should be ADHD/dyslexic! And it’s not even a “the Romans aren’t ADHD/dyslexic” because we’re explicitly told they are! They are specifically also ADHD and dyslexic! So why isn’t Frank? There’s no reason. It annoys me.

- The Frank/Hazel/Leo “love triangle” can stay but it’s significantly more one-sided. Frank is mostly just intimidated by Leo for multiple reasons (mostly fire-related reasons) and Leo is mutually intimidated by Frank (because Frank is bigger than him and Leo is scared of everyone, really, but especially people who are bigger than him, because they could beat him up. Which is basically everyone). Hazel is not romantically interested in Leo and Leo is not romantically interested in her, though they are very close and do have a very confusing time trying to figure out the whole Sammy situation. Frank still misinterprets this as Hazel and Leo being romantic. Leo does not realize Frank is misinterpreting that as them being romantic and think Frank just hates him for the general reasons that Leo has found people usually hate him for no reason over. Leo wants nothing to do with that situation though. Eventually they all sort it out and become a very strong trio.

- Again as I briefly touched upon before, maybe give Reyna a protagonist role in MOA if not an outright POV. Probably an outright POV, with the main POVs of the book being her and Annabeth. Again, themes of historical associations between Athena and Bellona and playing with that, alongside making Reyna more of a prominent player earlier on in the series and letting us see more of the Romans. Use this opportunity to heavily parallel her with Annabeth (and also highlight her parallels with Percy, and Annabeth’s parallels with Jason).

- Really I just want more Annabeth/Jason and Percy/Reyna parallels. There’s so much you can do there. The blond(e) gifted kid/smart aleck raised at camp and their best friend, the former newbie raised with a difficult home life. Percy and Reyna both have dogs (Mrs. O’Leary / Aurum and Argentium) and pegasi (Blackjack and Skippy). And a sibling they don’t see often (Tyson / Hylla). You could have notes about Jason and Thalia and Annabeth and the dynamics within that and how those internally parallel each other. Or more about when Reyna encountered Percy and Annabeth while on Circe’s Island. Really anything more about Reyna’s time on Circe’s Island. Heck maybe you could parallel that to Percy’s difficult time in school, since Circe’s whole thing was that she was training the sorceresses living there, so that’s kind of like a school environment. Paralleling first quests between Reyna and Jason with the events of the first series with Percy and Annabeth. Etc. etc. etc.

- We are taking BoO and just. Throwing it out the window, really. We don’t have time to unpack all of that. Just start mostly from scratch, same extremely rough overarching elements are there.

- Also actually just. Rework the whole main prophecy too while we’re at it. It kinda sucks. It’s just kind of a weak prophecy. “To storm or fire the world will fall” or whatever; we can do better. I don’t have the brain power to write a better prophecy right now but just [see my recent post] for notes about what I think makes for a good prophecy in the series and why the main HoO one is kinda lame.

Footnotes:

Again, I will be following this up with part 2 electric boogaloo: Things I Would Change About TOA* (*That I can say without spoiling Deadangelos too much) at some point and I will link that when I make it. If you made it this far, gold star.

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antianakin · 2 months

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So I was recommended Out With Lanterns by SkyBean in this post about other potential masters for Ahsoka back in October, and I've finally gotten around to finishing it (as well as most of the other fics in the series) and I HAVE to say something about it because I feel like this fic has changed my brain chemistry just a little.

For reference, Out With Lanterns is a fic where Ahsoka is chosen by Mace to be his Padawan about a year or so prior to AOTC and follows her life and training with him through the clone wars.

Since this is a fic rec, I'm going to put a few warnings out front. There's absolutely going to be spoilers for this fic because I have a lot to say about it, so if you are interested in the basic premise and don't want to know any of the details so you can experience it for yourself, please don't read past this paragraph. This fic is NOT Anakin friendly, in any way shape or form. It isn't what I would consider a character bashing and he only shows up like 3-4 times total in a fic that's 300k words long, but it doesn't try to be particularly kind to Anakin when he is there. It's also not super kind to Padme or Anidala, unsurprisingly. The fic is completed, but the series is still ongoing. This fic takes the war a LOT more seriously than the show did and it doesn't shy away from some of the darker things that can happen in a war or the violence that the characters might have to go through as a result of fighting in it. Some of the other fics in the series continue past Order 66 and look more in detail at what life might be like for Jedi who have to go on the run and constantly fear persecution. It's dark, it's painful, it's harrowing, but it's VERY very good. This fic is also INCREDIBLY pro Jedi and Jedi friendly.

On to the spoilery bits.

I've been sort-of on the fence about Ahsoka since her show came out last year and it's embittered me towards her character quite a bit, which is sort-of sad because I HAVE really enjoyed her in the past, but nothing about her current trajectory is anything I like or find interesting and in fact it feels like it's leading that branch of Star Wars in a direction I find actively distasteful. And it's hard to look at her character and not REMEMBER where she's ended up, it's hard to look at her in TCW and Rebels and not see all the things that were signs of where she was heading.

But this fic has done a lot to make me like her again. This fic is written by someone who so clearly understands what made Ahsoka a really compelling character initially and focuses in on that in such a way that it makes me remember what I HAVE liked about Ahsoka. It allows Ahsoka to be incredibly flawed, even as she grows and develops and matures, she still makes mistakes and struggles and needs guidance from her master. But those flaws don't make her incompetent or a bad person, quite the opposite. Ahsoka, by virtue of having a real Jedi Master instead of Anakin, ends up capable of acknowledging her own flaws and learning from them. She knows where her strengths and weaknesses are and is able to make decisions with that in mind, and when she makes mistakes she doesn't sit there and dwell on them, but she DOES let herself learn from them. Ahsoka in this fic does not feel like a mouthpiece, she feels like a real distinct character and I LOVE THAT about her.

I love the ways we see her become the Jedi she can't be in canon due to Anakin's influence, the ways she retains so much more of her Jedi heritage as a result of not learning from him, and how that helps her SO MUCH MORE than anything Anakin's training does for her in canon. I also love seeing how much of MACE gets reflected in Ahsoka, the things she specifically picks up from him, both good and bad.

I love the complexities of Ahsoka's relationship with the clones and how it develops from the first initial overtures to the deep friendships she has with them by the end to the complicated feelings she has after Order 66 and after discovering the chips. Her relationships with the various clone characters she interacts with don't feel like they're all the same, they're distinct from each other the way they should be because the CLONES are distinct from each other. I like the balance she has to manage between being their commanding officer and their friend. I like that she can love them and recognize that there are things about the clones that she doesn't want to replicate in herself because it would make her a worse Jedi. In particular, she understands that there's a REASON the war feels very "normal" for the clones and so their reaction to the horrors of it are very different than hers, but she doesn't want to end up becoming numb to the horrors to the point that war starts feeling normal to her because she feels like it would end up making her a worse Jedi down the line. I love the complexity of that, the lack of judgment towards the clones but the recognition that their experiences are very different from hers and she cannot and does not want to be like them in this.

I also love that there's equal attention paid to Ahsoka's relationships with other Jedi and how distinct THOSE feel from each other because the Jedi are also individual people and not a monolith. Her relationship with Adi Gallia is very different from her relationship with Obi-Wan or Agen Kolar or Kit Fisto and Nahdar Vebb. She learns different things from each of them, intentionally or not, and she likes some of them better than others. I love how much Ahsoka loves her own culture and the different ways we see that expressed, from needing to meditate every day to the many times we hear about her interacting with younglings when she's at the Temple. Ahsoka finally FEELS like a Jedi again here and that identity actually means something to her in a way I think canon has sort-of forgotten or intentionally dismissed.

One of the things I think this fic REALLY does well is taking Ahsoka's general irrelevance to the Skywalker Saga and making that a GOOD THING. Ahsoka being Mace's padawan changes nothing. The people who die in canon still die. The war still happens. In general, the missions we know about from TCW still happen and happen almost exactly the same way. Anakin still marries Padme and still joins Palpatine to save her and murders the Jedi. Ahsoka's addition to Anakin's story changes exactly nothing about it because it CAN'T. She isn't the reason he falls, she doesn't save him and never could have, everything he does happens with or without her. So removing her from his story changes exactly nothing about it. But the change in her position within the narrative does change HER. SHE'S impacted by the narrative far more than it can ever be impacted by her. And her irrelevance to the Skywalker Saga doesn't mean she isn't a compelling character anymore, she's almost MORE compelling now than she's ever been before specifically because she's more outside of it and can see it from that perspective. Ahsoka is compelling because she's AHSOKA, not because she's Anakin's padawan the way Felony seems to think. She can be compelling WITHOUT HIM if they would just believe in her ability to tell her own story. And she doesn't need to be relevant to the Skywalker Saga in order for her story to be important simply for being HERS. She has a story to tell and it's a good one, even if nothing major changes because of it.

I love the way that that is woven into the fic because I kept EXPECTING things to change due to Ahsoka not being Mace's padawan. I kept expecting her presence to save some of the people who die during TCW, I kept expecting endings to change somehow, and they just... don't. And even when it DOES, right at the end, when she escapes with some younglings and an injured Mace, and they apparently go on to create an underground Jedi Order, it doesn't change the end of the story in the OT. Luke and Leia still go to Tatooine and Alderaan, they still end up fighting on and over Endor as the final battle, Luke still goes off alone to face Anakin and Palpatine and that confrontation goes exactly the way it did in canon. Ahsoka's presence and the things her new backstory have changed in the background of the narrative have no actual bearing on the major Skywalker Saga. But there are more Jedi survivors in this AU than there are in canon, an entire Order that has been slowly piecing itself together in secrecy for the last 20 years, and even though that doesn't change the actual story, it's not nothing. It's not insignificant that they survived and they're there.

And I think the last thing I will discuss that I absolutely adore about this fic is Anakin's padawan. This character is an OC created seemingly to be a foil for Ahsoka, a mirror into the person she could've been had she ended up with Anakin instead of Mace, a reflection of her canon self even though neither Ahsoka nor this new padawan would ever be able to know that. I love the way that this allows the author to make that comparison for the readers without it being super in your face about it. Ahsoka isn't facing a literal reflection of herself and the new padawan IS her own person with her own personality and struggles, but she still definitely feels like "who Ahsoka would've become if she hadn't been saved by Mace."

The new padawan isn't supported by Anakin, but she's really close with Rex. She ends up feeling almost DEFINED by her years with Anakin and can't really connect to her Jedi upbringing anymore after Order 66 even though she spent far longer without Anakin than she did with him. She's young enough that she can't see the truth about his darkness and defends him to others no matter what, even though she admits after Order 66 that there were signs she can see now and blames herself for not being able to see the truth of them then. She succumbs to her own darkness because it's the path Anakin guided her down and she can't quite figure out how to get back onto the path of a Jedi, no matter how much Ahsoka and Mace try to help her. She's lost, floundering in her own darkness because the person who was supposed to guide her towards balance ended up isolating her from the rest of the Jedi and making her feel dependent on him and then he discarded her like she never mattered to him at all.

And I LOVE how broken and shattered she is, I love how consumed she is by her pain and grief and anger because she's known little else for like two years, I love the way she lashes out because she doesn't know how to control it, I love how difficult she finds it to act like a Jedi anymore, I love how much she feels like she doesn't know who she is anymore. THIS is what I wanted to see Ahsoka struggling with in the aftermath of her revelation about Anakin. THIS is the kind of person I wanted Ahsoka to be in the Ahsoka show. THIS is why I can't agree with anybody saying that she came across as particularly unkind or prickly or broken at the beginning of that show because she really isn't. She's BARELY upset every so often, she's SO calm and in control at all times. I wanted to see her ANGRY, I wanted to see her LOSE CONTROL, I wanted to see her lashing out at people who are just trying to help her because she's lost all sense of who she is in the wake of realizing the person who had guided her on her current path became a monster and she has no idea how much of that has impacted the person she's become and how much it will CONTINUE to impact her going forward. I wanted to see Ahsoka GENUINELY STRUGGLE with the things that have happened to her and see her REALLY changed by it all before being able to come back to herself in the end. And that's not what I was given. Not until this series entered my life, anyway, and it's not even technically happening to Ahsoka herself.

(I'll also point out here that at no point does the padawan ever say anything Jedi critical. Even as an Ahsoka foil who is partially representative of canon Ahsoka, she never falls so far that she blames the Jedi for their own genocide. So despite how much more she's struggling than canon Ahsoka does, she's still a better person than canon Ahsoka has become.)

So if you hated the Ahsoka show, loved the Kenobi show, and want something that's immensely Jedi friendly and Anakin critical that takes things like the war and Order 66 and the ensuing Purge VERY seriously, give this series a whirl. It's definitely an epic (and it's not done yet) and I had to take breaks every so often by reading something a little more light-hearted, but it's SO worth it.

#star wars #ahsoka tano #mace windu #the clone wars #fic #fic rec #anakin critical #anakin skywalker critical #anti anakin #anti anakin skywalker #i'll leave this in the tags but the fact that ahsoka HATES anakin immediately and never changes that opinion gives me LIFE #it gave me like five years of my life back - the fives years stolen by the ahsoka show probably #ahsoka telling anakin's padawan that he was a piece of sith spit from the moment she met him sent me

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lindisworld · 3 months

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Close || Matt Murdock x Reader

Summary - Soulmate Au! In which [Name] has Daredevil as a soulmate and Matt unwillingly wants [Name] in his life. However Fate does its job and always brings them together.

Chapter two.

[Name] was cuddled up in bed, she was cocooned in her blanket. She scrolled through countless of news articles. One that was uploaded an hour ago talking about the recent mass killings in a place not too far from her. Replicas of the stories went on, some with different narratives but all coming to the conclusion it’s another Fisk wannabe or a terrorist.

Once Fisk was taken down and exposed of his illegal activities, people thought it was the end. No more hell breaking loose. Though, it doesn’t seem to be the case.

Minute by minute, more articles were published. People were posting questions online if any information was leaked or any one knew anything. Citizens were the last to know until it’s too late. The firsts would be police and the list goes on. However, people don’t have much faith within the government considering the amount of people who were exposed during the Fisk scandal.

[Name] felt warm substance drip from the side of her head, as she instantly unraveled herself from her blanket and ran straight to the bathroom. She looked into the mirror but was interrupted by a loud bang from her rooftop.

Her heart sank as she quickly washes away the blood, checking for any gashes that could be found on her face and head. Luckily, nothing was wrong. She couldn’t ignore the gut feeling that compelled her to investigate what the loud noise was. She began to walk back to her bedroom into bed, pretending she didn’t hear anything. It’s late at night and she certainly doesn’t want to leave the safety of her room. However a feeling in her stomach was suffocating her within seconds. The sensation grew stronger and more intense.

Before she knew it, she was heading towards the rooftop. It was as though an invisible force guided her every step, the feeling still gnawing at her but not as strong as it was before. The more she walked closer to the rooftop, the feeling subdued. Her mind running through every logic and reasoning as to why she shouldn’t be allowed on the rooftop around late at night.

With the amount of crimes that has been occurring, this isn’t the safest thing to do. [Name]’s heart hammers against her chest, sending an urge of adrenaline coursing through her veins. It was the only thing keeping her on her feet. The throbbing sensation around her temples intensified into a full blown headache.

She inhales a deep breath, trying to calm her heart down, her fingers making contact with the cold doorknob that leads the way onto the rooftop. With the turning of the door and a slight push, the door opens slowly. The emptiness of the rooftop was evident. It taken her eyes a few seconds to adjust to the dark, the moon providing little to none lighting.

[Name] seen a silhouette of a man who laid unconscious on the ground. She stood in the same spot frozen, thousands of alarm bells ringing in her ear indicating she might be at risk. She tried to convince herself to leave and act as if she didn’t see anything.

Despite the obvious signs of danger, her gut intuition returns in a more intense way, almost in a nauseating sense. Something that just screamed at her to help the man. Cautiously she began taking small steps towards the figure, her intakes of breaths becoming more quick and labored. [Name] needed to relax before she passed out from hyperventilation.

“What do I even do?” She mumbled under her breath before kneeling beside the man. It was the so called Devil of Hell’s Kitchen. However he renamed himself as Daredevil. It was obvious blood was seeping out of his mask. [Name] built the courage to pick up the man, who weighed probably more than her. The suit probably putting a little more weight to him.

[Name] coincidentally encountered a video of firefighter demonstrating on how to properly pick up a person who’s unconscious. She repeated the firefighter’s steps through her head like a mantra. It took her a couple of tries, before successfully carrying Daredevil into her apartment. She still struggled with his weight when she reached her door.

She cursed herself under her breath, once again trying several times to open the door. This was one of the most eye opening things to experience. Which includes the world calling her weak in several ways.

[Name] stumbles inside her apartment, making way to her couch as she gently sets Daredevil on her couch. She lets out a tired huff and walks into her bathroom, grabbing the necessities she needs to take care of the Devil who’s present in her living room. On her way out, she grabs a few clean cloths and a sanitized bowl which she filled with lukewarm water in her kitchen sink.

[Name] sets everything on the table, putting on a pair of fresh surgical gloves. A sigh escapes past her lips more times than she can count.

Her fingers traced over the horns and the crack that was in the middle of the mask. Something must’ve broken it. The quality felt expensive and professionally made, it gave another layer of protection to his head. Her fingers landed at the edge of the mask, ready to pull Daredevil’s mask off, until a hand reached over hers, stopping her in the process.

“N-no.” the man’s deep voice groggily said, his voice an octave lower, almost like it was forced to keep his real voice hidden. Despite the silence after, his hand gave a firm yet tender squeeze to [Name]’s hand, almost in a way pleading for her not to take off the mask without needing to use any words.

“You’re bleeding from your head, mister. It needs to be treated so it doesn’t get infected, please let me check it out.” [Name] retaliates against his plea, “if you’re worry about your identity. I won’t tell anyone.” She adds, hoping she’s convincing enough.

Daredevil let out a cough, blood trickling down his chin. Out of instinct, [Name] dipped a clean cloth in the lukewarm water, cleaning the blood off of his lips. Her eyes filled with worry, if she can’t get access to his face, how can she help?

[Name] continued to drag the cloth around his mouth area, keep it clean from any more blood. “You won’t let me help, the least you can do is rest on my couch until you’re better to get home.” She states, now cleaning the mask from the blood that may have spilled on it, not knowing if it’s his or someone else’s.

Her eyes skimmed the rest of Daredevil’s body, checking for any more injuries. Not that anything was visible with his body suit. “Your mask is off limits, can I check for any injuries on your body? Nothing weird of course.” She quickly says the last part, making sure Daredevil doesn’t take her as a pervert or anything of the sort.

If only Matt wasn’t so badly hurt from the fight, he would surely joke and tease her about it. Matt opted on giving her a nod of approval, allowing her hands to fiddle with his suit before she gently pulled it off of his body. Matt took note of her gentleness of her hands, yet no matter how much they trembled out of anxiety, she still kept a calm and collected demeanor.

When Matt was shot in the head, his mask giving him the protection he needed. He didn’t expect to land on [Name]’s rooftop, let alone having her come up to take him to her apartment. He felt every single body ache as she helped him wiggle him out of the suit. A groan leaving his lips every once and awhile.

Matt believed soulmates were a curse, especially him having one. He willingly subjected [Name] through countless of beatings, most nights were of him laying in his apartment with seas of bruises skittered along his body. On fatal occasions, Matt receiving a few stab wounds. The aftermath would require Claire having to stitch him up, but the question remained; who was there for [Name] to mend her wounds?

“Thank you,” Daredevil mustered up the strength to say, “I appreciate you doing this for me.”

[Name] shook her head, “it’s the least I could do for you.” She responds with a worried smile. “I have some clothes that might fit you. Don’t think the suit is comfortable right now.”

She got up from her spot and went to her room, rummaging through her cabinet, looking for a specific pair of shorts and a jacket. Once the items were found, she walked back to the living room, gently setting the clothes down.

“I got a jacket and shorts, the jacket is when you’re ready to leave and want to keep your head covered. Shorts is so you’re comfortable.” [Name] explains, before nudging his arm, “I’ll put the jacket first so you’re not cold at night.” She says.

“You could’ve left me out there, why didn’t you?” Matt questions, his muscles ached as he gently laid back down once the jacket was on him. He heard [Name] get up and rustle around a nearby closet, grabbing a blanket for him.

“To be honest, something my intuition told me to save you. I wouldn’t know what to call it, mister.” [Name] responds. Hearing her call him mister was amusing to say the least. Matt wanted to keep on talking, however his body was suggesting something different. His body needed to recuperate and relax. In [Name]’s home, he felt a sense of security.

[Name] didn’t know that he also felt the same intuition in his gut, something that told him to stay awake until she comes. He had already sensed her presence, the minute her heart was pounding. Matt swore to himself to never let [Name] know his true identity.

Matt’s body kept him awake for this long. His tiredness got the best of him as his eyes fluttered shut, his conscious slipping into pure bliss.

[Name] was hoping for a respond back but instead she got silence. She peek over at Daredevil and let out her final sigh of the night, putting a blanket over him. [Name] knew by the morning, he’d be gone.

[Name] was right, Daredevil left by the morning. Once the sun was up, he gathered all the strength to leave her apartment, leaving nothing except for a weapon. It looked like a baton which must’ve slipped out of his suit when she helped him out of it. She picked up the item and gently placed it on her living room table, [Name] assumed Daredevil might pay her a visit once he’s well enough to come get his weapon back.

Even before she woke up, Matt's ears were met with the unmistakable sound of someone he knew well, scrambling up the staircase. The familiarity of his best friend’s heart beat, Foggy Nelson. It was perfect timing as Foggy seen Matt leaning against the wall, immediately going to support Matt’s body. His body’s been through enough trauma and knocked out unconscious. This time Foggy taking Matt under his safety back to Matt’s apartment.

An hour has passed since Daredevil’s disappearance in [Name]’s apartment and her making it to work right on time. It was slow this morning, people weren’t in the mood to be out and about after a massacre happened somewhere in the city. [Name] sent home all her staff, it made sense to close up the store midday. It wasn’t uncommon for slow days like these. Almost little to none customers walking in. So in the meantime, it was just her and the random person in the coffee shop.

[Name] built in a tv near the corner of the shop for any customers who would watch the news as they drank their coffee. [Name] also recognized the importance of staying up-to-date with current events in Hell’s Kitchen.

“It’s a bit hellish out there,” A man grumbled, his eyes focusing on the coffee cup displayed in front of him, “They got what they deserved.” He says with a scoff, his expression a mix of amusement and derision, as if finding satisfaction in witnessing the repercussions that he believed were rightfully deserved.

[Name] jolted out of her concentration, her eyes still focused on the tv, but still acknowledged the man. “It was gang related, they now just confirmed it. People thought it was a terrorist or Fisk wannabe who killed them. ” She mumbles loud enough for the man to hear.

“People make believe a bunch a shit they wanna hear instead of the truth,” The man responds.

“Shit, the gangs bought illegal activities to Hell’s Kitchen. Whether it’s drugs, guns, sex trafficking or money laundering, hell there’s probably more inhumane things they do without the public knowing.” [Name] explains, “Fisk is gone and everything criminal related is a free for all.”

”The innocent people who get murdered for getting in the crossfire of gangs isn’t fair, you know. Their lives shouldn’t be cut short because they were there in the wrong time. Someone needs to put the gang’s ass to the ground.” [Name] rants, the man listens attentively to her. His face emotionless, she couldn’t dictate what he was thinking. Whether or not, she gave her opinion to the wrong person.

“Everyone who was involved will get their ending. They’re definitely getting what’s coming. It’s unfinished business.” He said almost in a menacing tone, he voiced anger, not towards her but towards someone else.

“Maybe I oughta join the people who’s murdering them, I know damn well police ain’t doing anything.” [Name] jokes, knowing she wouldn’t take another human’s life. Let alone live a life of a criminal. The man lets out a dry chuckle at her response.

“Name’s Frank.” Frank briefly said and takes another gulp of his now cold coffee. “ I’m [Name].” She introduces herself and gave him a pleasant smile.

“In under different circumstances, we would’ve been great friends.” Frank truthfully told her which causes [Name] to raise a brow. Different circumstances? She didn’t bother to question and brewed another pot of coffee.

“Here’s another hot coffee, we’ve been talking for awhile. Coffee must’ve gotten cold. Don’t worry about paying. It’s on the house.” [Name] said, filling another cup of hot coffee once it beeped indicating it did it’s job. She placed the cup in front of him, warning him that it’s hot.

“Thanks.” Frank said, blowing into the cup, trying to cool it down enough to drink. “For the free coffee. Also you got the right mindset. Not many people see it the way I do.” He added.

“Yeah, no problem Frank. Some people are close minded, defending the wrong side.” [Name] said casually, as she reached out to take the cold coffee from his sight and promptly carry it to the sink located nearby. Suddenly ringing invaded her ears. She brushed it off without much concern as it was a common occurrence. It didn’t fully affect her until when she saw Frank’s mouth move in motion yet she was unable to comprehend his words.

Her brows furrows in confusion, she grabs the tv remote, turning up the volume. [Name]’s heart races in a panic, quickly rushing towards Frank. She gets his attention with finger snaps, she pointed towards her ears and shook her head. Every movement she did, her ears didn’t pick it up. It was just an uncomfortable silence.

“I-I can’t hear.” [Name]’s voice trembles, tears brimming her eyes. It’s one thing when her ears ring, but it’s another thing when she can’t hear anything around her. She didn’t know how to function with her sense of hearing gone. [Name] grabs her phone, calling Marci who was on speed dial.

“Hello?” Marci answers the phone on the first ring, Frank cleared his throat and grabbed the phone from [Name].

“Your friend, something’s wrong with her. Need you to come check on her.” Frank kept it short, he didn’t want to waste any time on getting [Name]’s help. Even if it was a short encounter with her, she seemed like a good person.

“Who is this? I’m coming right now! Fuck. Keep me on the line.” Frank heard papers rustling on the other line, he set the phone down and clicked the speaker button. He was ready to walk towards the entrance door to flip the open sign to close. But a trembling hand stopped him.

Frank glanced up at [Name], her frantic expression made him sit in place. He observed as tears streamed down her face, her entire body trembling with fear and desperation. Her left hand held a death grip on his arm, and the right hand pulling at her earlobes, snapping occasionally hoping to regain any sense of hearing.

The deafening silence that enveloped her had left her desperate for any sign of sound. At the wrong time, a customer walks in causing Frank to turn around and ushered them to leave.

“We’re fucking closed today. Come back another time,” He snarled at whoever it was, the person got the hint and immediately left the shop. Probably never coming back to her shop again.

“You’ll be okay,” Frank said loudly and slowly, allowing [Name] to read his lips. The door swung open again, Frank ready to yell at whoever it is.

“Lea-“

”[Name]!” A voice interrupted him as the figure ran past him to get to [Name]. She was quickly taken in by an embrace. [Name] let out a choked out sob and cried into Marci’s white blouse, staining it with tears.

“What happened to her?” Marci asked, “We were chattin’ and she began to panic about her hearing. My guess, she can’t hear us at all.” Frank shortly explains, not wanting to create any more small talk.

“Take care of her, will ya?” Frank gave [Name] a small pat on the back and walked out of the coffee shop before Marci could bomber him with unnecessary questions. Being friendly with people isn’t his thing anymore.

a/n: not proofread!! not sure if i wanna have Frank Castle as a love interest or not? lmk what yall think 🙏

ps. i might change up the story as i write, not sure tho

#matt murdock x reader #matt murdock #marci stahl #marvel #foggy nelson #karen page #frank castle #daredevil x reader #daredevil fanfiction #daredevil #matthew murdock

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hunxi-after-hours · 1 year

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hey, anon from the anti-authoritarian wuxia ask a while back, took a looksee through Stephen Teo's The Wuxia Tradition and the essays about danmei you mentioned in your response, which was really great and insightful! i think what's so interesting to me about the modern wuxia tradition as we understand it now is that its purpose from the very beginning was to be nationalistic propaganda, which obviously carries into contemporary wuxia adaptations and new works today. (1/7)

(long ask, long response! conversation begun here; everything else under the cut)

but what makes the genre compelling to me is that wuxia offers so many glimpses into these potentially transformative visions of a radical future- wuxia presents a vision of a society in which communities have the autonomy to express themselves, support each other, and create their world through creative and collective activity. and all of this is facilitated by the the nebulous jianghu setting, which is this alternative space more or less free from the grip of the imperial state, (2/7)

which it unintentionally ends up being just by virtue of existing far from the imperial core. and obviously class hierarchies imposed by wealth and power still exist within the jianghu, but like, that autonomous nature of the jianghu is something I'd be curious to see be developed and pushed further. what would it look like within a wuxia narrative to explore the idea of an intentionally and explicitly anti-imperial, stateless, classless jianghu, and what would it take to get there? (3/7)

that vision of an alternate autonomous society is built upon these very rigid worldviews that don't challenge the audience (i.e. nationalism, pale-skinned conventional beauty standards, xenophobia, the idea of disability as something to be overcome, etc) that were baked into the inception of the genre, and which undermine said radical potential. and i guess that's my gripe with danmei too. (4/7)

i feel similarly about people who treat the consumption of danmei as an inherently progressive political act as I do to the way I feel about neoliberalism: it presents a facade of progressivism without actually meaningfully existing in opposition to oppressive structures. and, like you mentioned, both danmei and wuxia have yet to hit that moment of reckoning. i'm aware the direction these things go are massively shaped by geo-sociopolitical forces outside of the creators' control, etc. (5/7)

but so many people benefit from access to the imperial core in ways they aren't or don't care to be aware of. and to me, that is what makes art so important - it has the potential to not only expose the monstrous ways in which a society derives its power, it also has the hopeful ability to imagine transformative, non-oppressive futures. (6/7)

you're right that the cultural shift that would spark a post-colonial reckoning in Chinese literature and art needs to be spearheaded by Chinese creatives themselves. as an invested bystander, I'm curious to see where this goes. sorry this was so long, but thank you for your time! (7/7)

hello again anon!! glad you enjoyed looking through Teo and found his writing insightful! I think in many ways the conversations we’re trying to have about danmei, wuxia, internet literature, and some nebulous postcolonial reckoning are somewhat ahead of the curve, which is why we’re here being like “I want to read something like this!” only to find that said work hasn’t necessarily been created yet (again, if anyone’s got any leads, I’m all ears)

I do also think it’s worthwhile to note that a significant factor in why danmei and/or internet literature may not be as daring and subversive as we wish it were is the simple, starkly pragmatic fact that these works need to sell. they need to be attractive and fun, gripping and engrossing, to even make it in the cutthroat environment of the various literature cities. the competition is vicious and the readership unforgiving; last year saw at least one WeChat article about the intense pressure of being a webnovelist, and how the soul-crushing pressure of trying to break into the rankings has pushed authors towards suicide. with the popularization of the genre comes increased competition, and with increased competition comes a streamlining of new works towards established precedents of success (the proliferation of wuxia/xianxia/xuanhuan, particular distinctive CP dynamics, etc). 内卷 is here in the danmei genre as well, which makes it difficult to innovate or experiment, particularly if you’re not already an established author

it’s the Hollywood argument for keeping people of color out of leading roles; writing a text that tackles certain social issues (particularly ones that challenge current mores of Chinese society) is a risk, and quite frankly, most authors don’t have the time or the luxury to gamble. this is not to say that current authors aren’t leveraging their established readership and fanbase to write away from popular taste (priest’s 《桥头楼上》 comes to mind, which is a formal departure from her previous works and a trenchant examination of certain social issues), but that the current environment in which creative works are produced aren’t quite favorable to that kind of exploration and subversion — yet

another thing to keep in mind is the role that danmei (and other web literature) plays in the lives of its readers; yes, art has such powerful potential to call upon society to reflect on the injustices and cruelties built into it, but also art — and danmei in particular — is a powerful purveyor of escapism. many Chinese readers and consumers of danmei and related products/adaptations find a haven in these texts, and people seeking comfort are not necessarily prepared for critically examining social injustices in their escapism. again, I’m not trying to say that there is no place for subversion and exploration in danmei literature, but rather highlight the way reader preferences and demands might discourage writers from going too far afield

meanwhile, if I may be presumptuous enough to throw more reading in the air, here are some texts that this conversation is bringing to mind:

The Water Outlaws by S.L. Huang (forthcoming): a genderspun reception of Shi Nai’an’s 《水浒传》, often considered to be the forerunner of the wuxia genre. Guaranteed to get in the weeds and messy about gender, power, imperial centers of power, marginalized marshlands of subversiveness just by the literal concept of its writing

She Who Became the Sun by Shelley Parker-Chan: the closest work I know of to a fiercely diasporic genderqueered cdrama, in which Han centrism is examined and found wanting

《无污染，无公害》 by priest: priest is not necessarily the author I would suggest when it comes to, ah, postcolonial thought, but I just finished reading 《无污染，无公害》 last month and was struck by its profoundly cynical deconstruction of the wuxia genre. priest brings wuxia into the modern day and examines the many ways in which the 快意恩仇 fantasy of jianghu morality and subversiveness clashes with contemporary ethics and laws. beyond that, I think reading an author’s non-danmei works is profoundly enlightening critical and theoretical exercise that definitely re-contextualizes assumptions made about the danmei genre and its writers

“Zhang Yimou’s Hero: Reclaiming the Martial Arts Film for ‘All Under Heaven’” by Feng Lan: this was the first paper I ran into that really got into the weeds of the controversial “天下” at the end of the film, and also introduced me to the recent history and discussions of “tianxiaism,” which is particularly interesting when it comes to discussions about nationalism, imperialism, and postcolonialism in contemporary China in general and the wuxia genre in particular

“Homosexualizing Boys Love in China: Reflexivity, Genre Transformation, and Cultural Interaction” by Xi Tian: I know I’ve gushed about this paper elsewhere, but this is only paper I’ve found so far that examines how the danmei genre has shifted and changed over the past few decades in response to reader feedback, shifting societal opinions, and self-reflection, and it’s fascinating

whew, okay, this is long enough! one last thing, from one invested bystander to another: don’t let anything stop you from creating the content you wish to see in the world <3

#心怀杂念字数无量 #further abuse of the one thinky tag I have #hunxi thinks about danmei and gender

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visenyaism · 1 year

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genuine q, why do you afford nuance and depth to every character but give daemon the most basic and black/white reading ever? i’m not even daemon’s biggest fan but i do like your analysis and can’t stop myself from noticing how super biased your takes on him are? i remember you saying you liked him as a character so i’m kinda ????

I feel like most of my posts related to Daemon Targaryen are on the joke-ier end, so it probably could come off like I am just a hater. I am not, so i’ll take this seriously. What is compelling about him to me is the fact that he is restlessly motivated by this constant emotional search for…something. I don’t think he can articulate what it is, but it’s what’s making him quit every small counsel position after six months and impulsively sabotage the relationships he has with the people he cares about and jump to violence as a response when he doesn’t have to.

What I think what is driving him is a desire for belonging, which is why he leans so heavily into the concept of Valyria because he says that’s the only place that a Targaryen could ever belong and it’s gone- to him, that’s why he’s like that. I also think it’s a search for the love and trust of his older brother and by extension, Rhaenyra and the throne. I think he loves Rhaenyra independently of the throne, but it’s also deeply connected to her as an extension of his brother, her as an image of his youth he is still chasing after, and her an extension of himself.

He’s devoted to his family, but that restless search for the thing he cannot describe, also means that he sabotages the close relationships he could’ve had- he is constantly doing things to get pushed away by Viserys because it’s the emotionally safe option. He murders his first wife with a rock. He chased after Laena in a pretty dramatic (and violent) fashion, but is pretty unhappy in pentos with her, and he’s not necessarily attentive to both of his daughters, especially Rhaena (the one who isn’t like him).

He loves Rhaenyra, and is determined to see her on the throne, but he also groomed her as a teenager (there is no getting around that) and is the one who brought down her reign before it even began in the eyes of the public by murdering Helaena’s infant son. But it’s also entirely possible that without him Rhaenyra would’ve just folded and not fought for her birthright when the coup happened. He also does leave Rhaenyra with/for a teenager (cannot get around that) which, from his perspective is tragic, because he realizes the home he has been looking for his entire life that he thought he built with Rhaenyra actually doesn’t exist and she’s not who he thought she was anymore. It is a complete and total gut punch from Rhaenyra’s perspective, but I digress.

In the books, I think Aemond is a pretty good foil for him, because they have the same impulses towards cruelty but book Aemond has way fewer tethers to reality so he’s a straight-up psychopath whereas daemon is a bit greyer because he’s fighting FOR something. (until the end when he leaves Rhaenyra with/(for?) nettles and realizes he cannot and does not want to come back from that so he is just fighting to die)

So like TLDR: it’s complicated- the negative impact he has on the people around him is pretty clear, but it is motivated by a more complex emotional situation than active malice. He’s trying, and he fails in the end, and that’s why I think he’s so interesting

#I don’t like interpretations of Daemon where people are like he’s a great husband and father cause he is not. but he’s interesting #nettles get behind me #asoiaf #hotd #anyways good morning. how are we doing

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light-lanterne · 5 months

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was going to write something with will and guns (as inspired by @cosmobrain00's post) but the concept is currently eluding me so i'll leave it for later and instead share the main reason i don't personally like that trope :\

w // mentions of trauma, abuse, violence and death (and guns, of couse)

of course, there is a lot to say about taking a sweet character and forcing him to do something that goes inherently against his nature in an effort to make him "cooler" or "badass", which completely disregards the fact that it's will's "softness" what makes him a strong and compelling character. he remains pure-hearted even after everything he's gone through; he remains gentle even though he has all the reasons to be bitter. taking a tender character like him and giving him a stereotypically masculine and "action hero-esque" role takes away from such qualities, and completely ignores the fact that will has many other strengths and unique abilities he can provide to the overall group dynamic (which make him a much more interesting character than certain other members of the extended party, like hopper).

there is also a lot to say about how pushing the idea of giving him a gun to make him tougher is exactly what lonnie was trying to do with both jonathan and will, and how such behaviour is part of the passive (and active) homophobia lonnie was enacting on will specifically. needless to say, the fact that his abusive, homophobic, physically violent father had a gun in the house would also undeniably be a source of trauma and terror for will, regardless of whether lonnie tried to teach him to use it (like with jonathan) or not.

(making him face this fear would do little for his character arc, though, considering the story's presented that specific point as something for jonathan to face and conquer as opposed to will, whose arc is more oriented towards him facing his upside down-related trauma (which would already have him dealing with his many other sources of trauma, anyway))

and of course, there is the point that guns have been abundantly showcased as completely ineffective against upside down critters, which again, are the main enemy will's been set up to defeat in some way in his recovering-his-life, coming of age journey.

now, those are all the main points why having will use a gun would be nothing but a disservice to his character and his arc. and it's important to note that all these facts have been mentioned abundantly by others in the past,,, but there is something else that i don't think i've seen anyone mention ever, and that is the fact that will quite literally knows what being shot at is like. and i'm not talking about the lenora debacle with unknown hero agent man (where he was thankfully not hit).

i'm taking about that moment in s2 when the demodogs were being shot. and sure, during the hawkins lab siege, will was knocked out and it's unclear if he would've felt anything,,, but during the last sequence, with the party burning the tunnels and el closing the gates, hopper was shooting at dozens of demodogs whilst will was still connected to the mind flayer and thus, he certainly saw and felt everything the demodogs were going through.

(he might've even felt them (himself) die to the gunshot wounds.)

so yeah, i really don't like the idea of giving such a character a gun (which his father would've traumatised him with) and forcing him to kill things with bullets (a feeling he would know even if he's never been directly hit) just so he can look cool and wow other members of the party with how manly and austere he's become.

but i digress >.<

#📝#💡#🧸#will byers #will byers analysis #all this said. i am definitely writing something with this concept at some point because i am me and i love angst

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bunny-with-a-chainsaw · 8 months

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First time posting and I've decided to make it my headcannons surrounding Dave Miller from the Silver Eyes since there's barely anything for this man. Just as a warning this isn't proofread or anything, it's kinda long and this is my first time writing headcannons so expect it to be cringe. Constructive criticism is appreciated!

• I won't lie, this man absolutely despised you at first. He had always prefered to work alone as if there was any 'unwanted attention' from people who didn't know not to stick their nose into things they didn't understand, he could take care of them without much fuss. So when he heard that he'll be having someone else to work with, he was... agitated to say the very least.

• First time actually meeting him he was grumpy and gave either one worded answers or snide remarks, to which both confused yet annoyed you. It was only when you brought up Freddy's did he show any interest in talking to you.

• He gave you the usual tale he told anyone, with how several kids disappeared, nobody wanting to rent out any of the stores around it due to bad vibes, all that jazz. Though what really compelled him to go further into detail was the fascinated look you gave him as you listened. Reguardless of if you believe in the supernatural or not, stories about it always piqued your interest and that was something Dave could relate to.

• Eventually your conversation branches off to other stories you both heard, and before you two knew it you guys were bonding over scary ghost stories. Of course all good things had to come to an end as 7am rolled around and the two of you headed out of the abandoned mall and back home. Dave flopped on his couch and thought about his conversation with you, wondering if working with you might not be so bad after all.

• You guys became good friends after that and even started sharing more personal stories with each other, though Dave was always careful not to reveal too much about himself that might hint at his real identity. He simply told you that he used to work at Fredbear's Diner as a technician there and that was as close as he dared got to the truth. Over all you both greatly enjoyed each other's company... then feelings started appearing.

• Dave was always horrible with feelings so it took him a while to realize that what he felt was more then just a close friendship then you and he looked like he got dunked in cold water when he did. It's even worse if you're amab due to the sheer amount of internal homophobia this man has, and he'll even actively try to distance himself from you though that does nothing to get rid of his feelings.

• Either way it'll take Dave a while to confess as he wants to make sure you feel the same way he does. Though even when he's confident you are and tells you that he wants to be more then friends with you, he'll still be a little overwhelmed when you say you like him and will ask again just to make sure you actually want this. If you end up confessing first though congradualations! You've successfully caused his brain to cease all function and it'll take a hot minute for him to come back, to which he'll just ask you to repeat what you said. Best if you don't tell him while he's holding something unless you want him to drop it on his foot.

• Now at the beginning of your relationship it'll take him a little bit to get used to it all but you guys get into the groove of things after about two or three weeks of awkward touches and hesitant I love yous. After all that one of you sitting down on the office chair while the other sits on their lap looking at the cameras, doing rounds around the mall holding hands and staying over at each other's place is quite common with you two.

• Dave's main love languages are surprisingly touch and words of affirmation. He loves cuddling and playing with your hair while he mutters sweet nothings to you as you both lay in bed, not wanting to get up just quite yet. He also enjoys quality time, where he shows you some of the stuff he worked on as a 'engineer' or just read something while chilling on the couch with you.

• Dates normally consist of going out in the woods, screwing around in Freddy's or a quiet cafe where barely anyone goes to. He hates going out in public incase of the little chance someone recognizes him, though he'll just tell you that he doesn't like people which isn't really a lie, so you guys tend to stick to the much less busy areas of town. If you're amab he'll refrain from any pda or even pet names as he doesn't want to draw any unwanted attention, even if you are capable of defending yourself.

• He'll start opening up more at the same rate you do, as he sees it only fair that he tells you things about himself as much as you tell him about you. Hell give him a few months and he might even tell you about Elizabeth, though he'll only be refering to her as Lizzy and say that she just went missing one day while he was working. Just be careful not to pry too much as it's still a sensitive spot for him, and he's not fond of talking about it even to someone he trusts dearly.

• He always makes sure to only let you know about things he wants you to know, and knows how to hide the things he doesn't want you to know well. Dave will never fully shake the fear of you finding out who he is and what he's done. If you ever do he isn't going to force you to stay with him and will even move out of Hurricane with the money he's saved up over the years, and if you decide to stay he'll just think you're too scared to break up with him. But if you somehow not bothered by everything, maybe even intrigued by what he's discovered... he might just show you all the things remnant's truly capable of.

#dave miller #william afton #fnaf comic #silver eyes #fnaf silver eyes #headcanons #I do not know how to tag send help #probably will post more if people want it #Might do Springtrap next #or this'll be the only thing I post and it'll be my legacy #I wrote this instead of doing my science assessment #procrastination at its finest #x reader #dave miller x reader #william afton x reader

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queerxqueen · 2 years

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out of curiosity, what do you think the duffers could have done to help mitigate the homophobic fandom? do you just mean making byler canon earlier, or dropping heavier-handed hints/clues/foreshadowing that are harder to dismiss in the show? or are you thinking something they themselves could’ve done in real life, like actively going out of their way to support pride month or something like that?

i’m also thinking abt how the show presents itself, on several occasions, to be very anti-bullying and how it prides itself on celebrating those who might be considered losers, weirdos, and outcasts. but because this idea is never really explicitly stated or emphasized in the show, casual viewers tend to gloss over it, or miss it entirely. is this the duffer bro’s fault? is this an indication that they could have done more? done better? and do they have a moral responsibility to educate those who are intent on missing the point?

maybe! i don’t rly know how i feel. i love the show, i love byler, and i do agree that there are certain moves the duffers have made that i’m not 100% happy with. also the idea of a gay plot twist is kind of…. you know, fun, but not the best. however, i also try to keep in mind that these are two (presumably) cis straight men and so, i cut them some slack and i immensely appreciate what they’re trying to do (assuming ofc they are moving in a canon byler direction).

for them to establish two canon queer relationships in a mainstream show that i love that isn’t centered around queerness??? i could cry tears of joy just thinking abt it, and so i feel i’m more compelled to dismiss some of the mistakes the duffers make along the way.

anyway, sorry that the ask is ridiculously long (feel free to ignore it, or only address a small part of it if it’s too overwhelming!). i hope it makes sense, though it might just come off as incoherent rambling - whoops. i’m honestly just speaking recreationally lol, but i’d love to hear some more thoughts frm you on the subject if you’re willing!

Agh, thank you for the ask, I love hearing your thoughts!!!

[Re: this post]

To touch on the first/main question - what could the Duffers have done to mitigate the homophobia?

There's a lot they could have done.

Within the show, if they're intending to make Byler canon, which I do believe they are, I think that season 4 should have officially broken up Mileven and also have had an undeniably, overtly romantic moment for Byler that the GA can't miss. Even if the final cabin scene had a hand touch rather than the shoulder touch, that would have been enough for me. Because yes, to me, and you, and 250k other Bylers, it has been obvious; but for the GA and Milevens, they have purposefully left enough wiggle room to keep them on the hook. Again, I respect the straight-bait, but if they're prioritizing straight-baiting over protecting their queer fans, that's not a great look.

But to me, much more important is what they could do outside the show. While there are occasional posts about Byler on various Stranger Things social media, I feel like there is so much more that could be done to show support to the ship and its queer fans, especially if it is endgame.

They could have explicitly and overtly addressed Will's sexuality on all channels after the release of season 4 instead of leaving it to Noah Schnapp.

They could have explicitly stated in an interview that Will is an equally viable love interest for Mike as Eleven is going into season 5 instead of prioritizing shock value and spoiler avoidance over the wellbeing of their queer fans.

Most vitally, they could have acknowledged/addressed the presence of homophobic fans and bullying in the fandom and explicitly condemned hateful folks as misunderstanding the show's core values. Take for example how Rick Riordan responded to racist fans criticizing the casting for Annabeth & Grover:

"The negative comments she has received online are out of line. They need to stop. Now. Anyone can be a hero. If you don’t get that, if you’re still upset about the casting of this marvelous trio, then it doesn’t matter how many times you have read the books. You didn’t learn anything from them."

After season 4's confirmation that Will is gay, they should have made an outright statement along these lines, that hate is unacceptable and that those who are hateful are fundamentally opposed to the values of the show. Instead they (or at least, Netflix) is more preoccupied with maintaining the general audience for as long as possible, even at the expense of the often-more-dedicated queer fans.

Really though, I'm more happy about a queer relationship being canon in such a mainstream show than I am upset about the lack of support for queer fans, because ultimately, this queer relationship and representation is offering support in a lot of ways. But they're doing this while also spending years allowing some of their biggest fans to be gaslit into thinking they're "delusional" for interpreting what the show is saying.

I guess ultimately I just feel like, if they're going to engage with queer stories and queer characters, they also have to have some responsibility for mitigating the negative impact they can have on real queer fans and queer spaces.

#byler #discourse #stranger things #duffers

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leithsin · 2 months

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Am I allowed to be sappy on the main? Because I'm going to be sappy on the main. I was browsing the Karmaland tag when I found your post about the animatic you made for the election arcs, and I clicked on your profile, because if you were still somewhat active I wanted to drop an anon ask giving you a compliment (your animatic was absolutely incredible, after all), only to be slapped in the face with your pinned Purgatory art. And that's when I had to stop myself to stare. Really stop and just stare, because I felt like I was looking at something that deserved that moment of silence.

I'm from a very, very homogeneous region, where its defining feature is its high Scandinavian population and its high school football team. Your animatic was my first introduction into Karmaland, and really into non-English content creation as a whole. I spent a good hour scrolling through the comments on your video with my laptop's translation on, and your video playing in the background, and just taking it all in. It's genuinely something incredible. Your color choice, the way you formatted the video, the song; everything about it was amazing. You were able to condense such a complicated and complex series of events down into something a larger audience could really get into, without losing what made Karmaland what it was. And that's something absolutely incredible. You're what got me into the series, and while my Spanish might still be the most accented thing on this side of the Prime Meridian, I'm making an effort. Because I wanted to connect with that community. That community that I learned about from your animatic, as sheltered and as strange as it may sound.

So I came to your Tumblr page, because I wanted to tell you that animatic was genuinely on the wall of fame in terms of artistic expression I had seen.

And I find your Purgatory art.

Honestly, you've gotten unbelievably better. I don't even know what to say at this point, because when I saw your QSMP art I had to stop and stare, the same way I did your Karmaland animatic. I can still see you're the same artist that you were a year ago, when you first posted 'I can decide', but you've grown an absolutely insane amount. Your composition, color choice, and your handle on the way that bodies work are all insane. Heck, I remember stumbling across your SunnySideUp art a month or so back and thinking about how genuinely awesome it was-because it was awesome, truly.

You're an inspiration, and while you don't know me, the art you've made has shifted something in my worldview.

You're an absolutely incredible, admirable artist, and you deserve to know that.

Parasocial with a tumblr artist? Me? Ha, never *sweats nervously*

That's really it. Gracias por todo y I hope this ask finds you well, and it isn't too awkward, rambly, or flat out weird.

Hihi, I'm sorry for the late reply, but your message totally caught me off guard - in the best way possible! - Like...I found myself reading it at random times of the day while I was working and I was surprised every time

I once read that people express emotions better in their native language, and since you're talking about the Karmaland animatic and how it inspired you to try and learn a bit of Spanish, and also of the QSMP, I feel compelled to write my reply in my native language...well, maybe a bit of spanglish here and there, but hey, that's just how I express myself!

I'll also put a translation between parentheses , so feel free to take this as a fun opportunity to practice—or not, up to you!

DUDE-

Siento que acabo de recibir un premio, no te voy a mentir me asusté porque pensé que era algo malo cuando vi mucho texto! PERO- Siento que es el mensaje mas bonito que he recibido, empezar a dibujar a los 12 años desemboco en que ahora recibiera este mensaje y me hace muy feliz!! De verdad te agradezco que te tomaras el tiempo de escribirme AAAA (I feel like I just won an award, I'm not gonna lie, I got scared because I thought it was something bad when I saw a wall of text! BUT- I feel like it's the nicest message I've ever received. Starting drawing at 12 years old led to receiving this message now, and it makes me really happy. I genuinely appreciate you taking the time to write to me)

Cuando empecé el animatic de Karmaland, sabia que las de personas que me seguían en ese momento en youtube estaban alli por el masochism tango. La mayoria probablemente no conocia mucho de un server en español que nada que ver con ese, asi que tuve la intención de seguir un orden cronológico de la historia, un simbolismo en cuanto colores, cuidado con la caracterizacion de personajes para que fueran distinguibles, etc...para que las personas que no tuvieran ningún contexto sobre Karmaland, tambien pudieran entender algo al relacionar las imagenes y las líricas. No sé que en que tanta medida lo logré, pero me hace feliz ver que algunos de los comentarios principales que hay en el video es gente en inglés intentando entender el lore asi como tú! (When I started the Karmaland animatic I knew that the people following me at that time on YouTube were there for the Masochism tango animatic. Many wouldn't know much about a server in spanish unrelated to that one, so I did intend to follow a chronological order of the story, try to incorporate symbolism in terms of colors, take care with character design to make them distinguishable, etc...This was so that people who didn't have any context about Karmaland could still understand something by relating the images to the lyrics. I'm not sure to what extent I achieved this? but it makes me happy to see that some of the main comments on the video are from English-speaking people trying to understand the lore just like you!)

De verdad es tan bonito ver a alguien como tú hacer el esfuerzo extra de aprender sobre una nueva cultura sobre la que no sabes nada, usar el traductor, intentar entrar a una comunidad diferente- y que mi animatic fuera la causa de ello me llena de muchisimo orgullo- Y MEJOR AUN, VINISTE A TUMBLR A DECIRME, QUE TERNURITA AAA (It's truly heartwarming to see someone make the extra effort to learn about a new culture you know nothing about, using the translator, trying to join the community- and that my animatic was the cause of it? fills me with so much pride - AND EVEN BETTER, YOU CAME TO TUMBLR TO TELL ME, HOW ADORABLE AAA)

I can't decided el animatic es mi bebecito, que decirte, ese mes de trabajo? worth it, lo haría otra vez, y quizas me tomaria unos días mas porque a veces lo veo y hay unos frames que me quedó MMM, QUE PASO AQUI LEITH, PINCHE FLOJA (I can't decid the animatic is my baby you know? That month of work? Worth it. I'd do it again, and maybe I'd take a few more days because sometimes I look at it and there are some frames that make me go mmm, what happened here Leith? you lazy fuck)

El arte del purgatorio y lo que le gustó a la gente me sorprendió muchisimo! Lo use para experimentar con escalas en blanco y negro, y lo hice en un lienzo pequeñito, y BOOM, mi pinche dibujo mas reblogueado. Yo y mi mala suerte porque esta todo chiquito JAJAJA Pero es un dibujo que me gusta muchisimo, pude juntar un poquito de mi carrera de diseño gráfico con la ilustración porque originalmente nada tenia fondo, solo estaban en un fondo blanco! (The Purgatory art and how much people liked it surprised me so much! I used it to experiment with scales in black and white so I did it on a tiny canvas, and BOOM, my darn drawing got the most reblogs I've ever had for a drawing. Me and my bad luck because everything's so tiny LOL But it's a drawing that I like a lot, I got the chance to combine a bit of my graphic design career with illustration. Originally the drawing didn't have a background or anything, just a white canvas!)

No sé si llegaré a hacer algun animatic el QSMP, a pesar de que lo veo de vez en cuando en eventos importantes, estoy muy perdida en terminos de lore, la vida me tiene un poco agarrada del cuello y es dificil mantenerse al tanto con todo! que no pasaba con Karmaland porque es un server chiquito. PERO si llegó a hacer uno en algun momento, espero tambien puedas verlo! (I'm not sure if I'll ever make an animatic for QSMP. Even though I catch glimpses of it at important events I'm pretty lost in terms of lore. Life has me a bit overwhelmed, and it's hard to keep up with everything! It wasn't like this with Karmaland because it's a smaller server. BUT if I do end up making one at some point I hope you'll watch it too!)

Me pone contenta saber que las composiciones o las elecciones de color, o incluso cositas como la postura del cuerpo, que pienso que son cosas que la gente pasaría por alto, son notadas no solo por ti, sino por muchas personas, de verdad es muy alentador! Ya le tome screenshot a este ask y me lo voy a poner cada que me sienta desmotivada B) (It makes me happy to know that compositions, color choices, or even little things like body posture which I think people might overlook, are noticed not only by you but by many others. It's really encouraging! I've already taken a screenshot of this ask and I'm going to keep it for whenever I feel demotivated B) )

¡¡MUCHAS GRACIAS!! Perdón si te escribí mucho, pero siento que tu respuesta lo merecia! No te preocupes por ser parasocial querido anon, TKM mucho, me hiciste el día, la semana y el mes y te deseo todo lo mejor! Te aseguro que le harías el día a cualquier artista con un mensaje como ese y hoy fue mi día de suerte! :D

(MUCHAS GRACIAS! Sorry if I wrote too much, but I felt like your response deserved it! Don't worry about being parasocial, dear anon, TKM mucho, you made my day, week, and month, and I wish you all the best! I assure you that any artist would be delighted with a message like that and today was my lucky day :D)

#ask #THE BEST ASK

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stop-breaking-my-heart-telltale · 1 year

Text

400 Days is simultaneously brilliant and disappointing

I’m currently working on another essay about S2 that’s taking me longer than I expected... which I should have expected but y’know, I’m me. I have no idea when it’ll be finished, but I figured that in the meantime I could write about something that came up while working: 400 Days.

400 Days is the stand-alone DLC episode that was released July 2, 2013, and tells the stories of Vince, Bonnie, Wyatt, Russell, and Shel in the same Georgia area that S1 takes place. While the story doesn’t feature Lee or Clementine, it acts as a bridge between S1 and S2.

I’ve talked about it in the past, even doing a T5F on the Top 5 Missed Opportunities in 400 Days. My past opinions can be summarized in an ask I answered for anon: “Wasted potential. I remember enjoying it when it first came out before s2 released, and the reason I enjoyed it was because I thought it’d be way more important for s2′s story than it ended up being. Bonnie was the only character that mattered while the others made brief, useless cameos if they chose to go with Tavia. Like… it could’ve been so good and it fell flat on its face.”

While not entirely inaccurate to how I feel now, I do believe I wasn’t giving 400 Days a proper chance.

A major thing I’m noticing as I revisit many of my past posts from when TWDG consumed my life is that nitpicking and overanalyzing for the sake of pumping out content on this blog is the big contributor to why I experienced extreme burnout for the series to the point where I started actively disliking it at one point. While I did genuinely enjoy the creating the content, and obviously still do, there’s a lot I take issue with now.

Looking back on everything, I’m starting to see things differently and appreciate aspects that I previously despised. That level of nitpicking I did was mostly negative and infected a lot of my judgment when it came to games I loved. I knew certain points in the series were disappointing, therefore I should showcase everything wrong with them, and anything positive I have to say comes with a footnote of, “it’s good, but I think this would’ve made it better,” as if nothing was ever good enough. While I’m not ruling out discussions of “what could’ve been,” I want to appreciate what we were given.

Case in point: 400 Days. I adore it.

I replayed this dlc not only because it somewhat ties into what my larger essay is about, but also I started playing the Mass Effect games and I’m having a mini-crisis about lowkey hating ME1 more and more as I play... dropping it to play 400 Days and write this sounded sooooo more appealing.

Uh, there’s a freebie update on what I’ve been up to. I’m desperately trying to make ME1 work and then it made me drive the damn Mako and I’m upset about that.....

Anyway-

400 Days is brilliant.

I didn’t expect to have as much fun playing this as I did.

400 Days is a quick yet compelling experience right from the beginning, and if I’m completely honest, I haven’t had this much fun playing a TWDG episode for a long time. While I adore TFS, I have a lot more history with that game that changes the overall experience, but this? The whole thing was a blast! Sure, it’s not quite a masterpiece, but it’s way better than I remember. It deserves more credit than I initially gave it and I’m here to rectify that.

Personally, I love mini-stories that all tie together in the end to create one big story. I'm always going to love the idea, and when it’s executed well, it’s brilliant. Because it’s a single episode that tells five mini-stories, it’s easier to pack in so much detail and make things coherent. While we don’t have as much time with our protagonists, we still get a clear picture of who they are and how they’re handling the apocalypse, how they ended up where they are now, and how they handle each dilemma thrown their way.

These stories take place at different times of the outbreak, starting before the outbreak and going all the way to 400 days in where all the characters are together and discovered by Tavia. Three of the five stories center around this gas station/diner called Gil’s Pitstop, with the other two being in that area, but all five have elements that weave them together beautifully. A character may show up in one story alive, then show up in the next as a walker, and it’s all dependent on the order you play and the choices you make.

Each story has a “moral dilemma,” usually a major choice you have to make that affects whether or not a character will agree to go with Tavia, the only exception to this being Bonnie.

And honestly? All of them are great. They fit in so well with the world of TWD. I’d say that Shel’s story has not only one, but two of the best moral dilemmas, whereas Wyatt’s dilemma is the weakest given it’s decided by a game of rock, paper, scissors.

I can’t get into the meat of why I think this DLC episode is great without going through each story, so-

Vince: Day 2

Chronologically, Vince’s story takes place first in the timeline, giving us a peak into his life before the outbreak where we see him in a dark room pointing a gun at someone who is pleading for their life.

“Damn it, I told you! I already told you it wasn't me, man! Man, come on, I told you like...like twenty times... I don't even...I don't even KNOW your brother!”

Vince then shoots him and flees. You get to decide how he’ll try to ditch the gun, but no matter what, he’ll always get caught and we see him on the prison bus, convicted of murder.

Right away, this tells us so much about Vince yet leaves us wanting more. What happened to Vince’s brother that made him murder a man? We never actually get to know, all Vince says about it is that "I helped my little brother,” which could mean a number of things.

So Vince is the kind of man willing to take things that far for family, or those he loves, even if he ends up with a prison sentence. His moral compass is already twisting and turning in a different way compared to the others.

Similar to Lee, he was convicted of murder before the apocalypse, but Vince seems to feel less remorse or guilt for it than Lee does. Lee killed a man in a fight after he caught him with his wife, a heat of the moment thing... but we don’t actually witness it happen. We get to see Vince shoot someone and later claim it was to help his brother out. I find this comparison interesting since this small chapter never tries to set up a, “This is the beginning of Vince’s redemption arc,” like it does for Lee. It more so leans into the fact that yeah, Vince and the other prisoners are here for a reason and right now, redemption isn’t on the table.

Lee feels bad for what he did and who it hurt. Vince feels bad that he got caught but doesn’t feel bad about helping his brother. The only thing bringing them together is that pre-apocalypse, they accepted that this was their life now only to have a curve ball thrown at them and they find themselves free again.

Well, first they have to gain their freedom by getting outta those cuffs, I suppose.

The set up for this story is that Vince is on a prison bus that’s stuck in traffic. You can actually see Gil’s Pitstop through the windows, too. It’s hot as hell outside, and two other prisoners, Jerry and Marcus, up at the front keep arguing while Vince is stuck between Justin and Danny.

Justin is here after years of stealing money from people with “a really good pyramid scheme,” then lied about it on the stand, and Danny is a convicted rapist. The three of them have good chemistry with their banter, it’s enjoyable to watch. You learn more of why they’re here and how they view their guilt, and have the opportunity to tell them the truth about Vince or lie. In doing so will affect how they view you, either you boast about killing a man and become Tough Guy Vince, or lie and say you didn’t do it only to be labeled a coward.

It’s a pretty good time considering the circumstances, but that’s due to how well written and performed this banter is... until Jerry and Marcus become hostile, and one of them chokes the other out.

But don’t worry, Officer Dipshit [his name is Clyde] is here to help! He starts by yelling at them to stop and then just shooting Marcus in the head before panicking and threatening Vince, Danny, and Justin with the shotgun.

Honestly, I think Justin says it best: “THIS is what happens when you give guns to ASSHOLES.”

It’s super intense, and you know what’s going to happen the moment this incompetent cop refuses to get in between the fight and break it up properly, choosing to instead point his shotgun at them and yell. But Officer Dipshit gets his comeuppance when Jerry, who was choked to death, becomes a walker and attacks him. Then all hell breaks loose as the other officer [Bennett] flees, leaving you and the other two chained together with a walker that wants to eat your face.

Vince manages to get Officer Dipshit’s gun and shoot the walker, but the noise only brings more of them onto the bus where they begin trying to get through the gate.

Now the moral dilemma- Vince has the shotgun. The only way you can escape is to shoot off one of the cuffs, but in doing so will shoot off someone’s foot and they’ll need to be left behind. Whose cuff do you shoot? Danny or Justin’s?

By the way, I love that this whole scene was set up with Danny yanking on the chains that bind you all together as foreshadowing for the solution to this new problem, it’s great.

But here’s the thing about this dilemma... the end percentages still baffle me after all this time. According to The Definitive Edition, 70% of players shot Justin, and 30% of players shot Danny, and I just have to ask why that is?

Because to me, shooting Danny feels like the obvious choice and is what I did.

Justin is more about keeping his head down. He’s willing to lie if it benefits him. He says that he doesn’t feel bad for his victims, claiming that they knew what they were getting into and he still carried them for years. He’s pretty upfront with his guilt, he never denies it. Hell, he even shrugs and confesses that he lied on the stand, fake crying to try and get a lesser sentence. He’ll joke around, even if he’s mostly annoyed by Danny’s bullshit. Given that he was involved with a scheme that allowed him to make off with millions, he’s also incredibly intelligent. Plus, he’s voiced by the same guy who voiced Ben in s1. I wouldn’t say he’s annoying or anything, he just comes off as more self-serving.

Danny, on the other hand, is the more charismatic of the two. He’s the one cracking the jokes and yanking on the chains, but he’s also the one who wants to help break up the fight between the other prisoners and stands up to the cop as he’s threatening all of you to shut up. This shows a lot of courage and willingness to intervene when he sees something wrong. He claims he’s innocent, insisting that he’s a morally good man and was falsely accused. Oh, and he misses his girlfriend. He’s a real bro, y’know?

Here’s the thing: yeah, Danny’s a “bro,” but he’s also a convicted rapist.

Justin: I wasn't stealing from guys like that. Anyway, better than stealing his virginity.

Danny: Hey, how many times I gotta tell you?

Justin: Here we go.

Danny: Seriously! I was falsely accused!

Justin: How old was she? Fifteen?

Danny: Damn it, it ain't like that.

Justin: You're tellin' me there wasn't a star witness waiting around in your white van? I'm shocked.

Vince: You WERE convicted, Danny. Gotta admit that much.

Danny: Aw, come on, Vince. That don't mean I did it.

“It ain’t like that.” Then what’s it like, Danny?

Because when Justin tells him that he “probably ruined that poor girl’s life, you piece of shit,” all Danny has to say is, “Big talk from White Collar over there. How many lives you ruin, kid?”

As if Danny’s logic is that Justin ruined more lives where he only ruined one, so Justin’s the worse criminal here so let’s shift to him... and I dunno about you, but that makes me feel real icky inside.

I have a feeling it’s because Danny is more of a “bro” and he actively stands up to Officer Dipshit that more people went with him. Or they just weren’t paying attention to what he was convicted of, or they believed him when he said he was falsely accused. Personally, I have a hard time believing him based on his dialogue when you point the gun at him multiple times during the final decision:

Danny: Come on, you know I'm a good guy, man!

Danny: Okay, I know I'm a fuck-up, but Jesus!

Danny: Come on! I did some bad shit, but I'm a good guy, Vince...

And he says that last one AFTER Justin says, “You're gonna do me and not this rapist fuck?”

Also if you DO save him over Justin, he dies later off screen and Russell will make a comment about how it’s a good thing he did before Shel and Becca joined the group... if anyone can spot a creep/pervert, it’s Russell!

Vince: Guys, look...if I learned one thing from Danny, it's that we have to stick together and protect ourselves!

Russell: What?! That guy was an asshole! You should be happy he got killed before Shel and Becca joined us.

Becca: Why?

Russell: Don't worry about it.

Justin is upfront that he’s a criminal and I believe him, I believe he’s a self-serving liar... but Danny doth protest too much, me thinks, y’know? Between the two, I'm gonna take my chances with Justin over Danny. I don’t care that Justin’s a liar and eventually ditches Vince, Vince doesn’t seem to heartbroken about it anyway.

By the way, shooting Danny is the way to get Vince to go with Tavia so make note of that if you’re trying to get everyone to go with her and appear in S2. Actually, it’s interesting that Vince is less trusting of strangers if you go with Danny over Justin, as if he got burned by that choice in the end, hmm?

Anyway, that was my spiel about Danny vs Justin, and I would be interested to know what y’all picked. I’ve read a lot of discussions about this choice and I know I’m not the only one who feels this way about the percentages. I’ve read a lot of responses to why people picked who they picked, all very interesting.

Back on track, this is a solid chunk of the story. I enjoy the dilemma presented here. You’re chained to these two guys and if you don’t shoot one of their ankles off, then all three of you are going to die. What gets me about this is it’s not like the Doug vs Carley choice. Doug and Carley were both in trouble but you only had enough time to save one of them. You weren’t actively shooting them.

Here? You have to pull the trigger more than once. You have to pick one, shoot their ankle off, and then leave them there in order to escape. It’s super fucked and going off the way Vince hesitates and looks back at the one you shot, I’d say it’s something that’s gonna sit with him for the rest of his life.

The pacing of this episode is great, it’s intense, the escalation in hostility between the two other prisoners only for it to end in blood is well executed, and overall the set up is damn good.

Wyatt: Day 41

Dude. Wyatt’s story. I love Wyatt’s story. Of all five stories, it’s the one that made me laugh the most. It’s absolutely hilarious despite taking place in a very tense and panicked situation.

Wyatt in on the run with his companion, Eddie. They’re driving away after an encounter with group of guys that ended in Eddie shooting one of them, and now they’re being chased and shot at by someone in a truck.

Eddie: God, this is so fucked!

Wyatt: Why the hell did you shoot that guy, man? What the hell WAS that?

Eddie: I didn't mean to do it! It just happened, okay? Where the fuck were you with a warning?

Wyatt: Me? You're putting that on me now? I didn't see the guy, either! I was too worried those dudes were going to pull guns on us or--

Intense right off the bat, a complete panic as you’re trying to shoot at the truck chasing you while Wyatt and Eddie argue about what happened. Eventually the truck swerves off the road and you seem to be in the clear.

From what I gather, Wyatt and Eddie had a run in with Nate, the guy from Russell’s story, an unknown man who Eddie shot and killed in the encounter, and possibly some others given how Wyatt says he was worried about the “dudes” [plural] but he didn’t see the guy Eddie shot. Given that Nate’s alone in Russell’s story and the lone one chasing them down, it’s likely he’s the only survivor from that side. It’s unknown if Wyatt and Eddie were in a bigger group or not, so I’m going to assume it was just the two of them.

Wyatt: Did you mean to pull the trigger?

Eddie: I don't know. I was so keyed up... I just... damn it. Look, Wyatt. All I know is those guys had me all... jacked up like I was on speed or something. I was just on edge, you know? Then I was, like, watching that guy's brains come out the back of his head. I'm sorry, man. I...

The core of why Wyatt’s story is possibly my favorite is the electric chemistry between him and Eddie. The dialogue, the voice acting, it’s all just dripping with personality and you feel like you’re watching two friends who’ve known each other for a long time, just *chef kiss*

Eddie: See? It's fine. Road's straight as my dick.... You think we're in the clear?

Wyatt: Don’t talk about your dick.

Eddie: ...... Why not?

[or alternatively, if Wyatt says nothing, Eddie will just : “... Are you still thinking about my dick?” sksks it’s so stupid, I can’t help but love it.]

They talk like typical stoners, which they indeed are because Eddie’s got some “sticky” in the glovebox and wants it after they believe they’re in the clear. Y’know, the perfect time for some weed. Kate Garcia would greatly approve.

So they’re driving along and we get more context for what happened, more great banter... and then they hit someone.

The dilemma in this chapter is the fact that they hit someone and they don’t think it’s a walker, it’s a person. Even though they’re on the run from Nate and it’s foggy as hell outside, Eddie insists that they help whoever was hit.

I believe Eddie is such a fan favorite not just because he’s funny or a charming character, but because of his compassion. In this moment you feel his frustration and guilt in having hit someone. He isn’t about to perform a hit and run even in this new apocalyptic world even though it would be easier to just assume it’s a walker and keep driving.

Eddie: What if that was you, man?! After all the shit that's happened in the past couple months? Where's your compassion, motherfucker?

Eddie: If that guy back there is alive, we HAVE to help him, Wyatt. There ain't a lot of live dudes left these days.

Eddie showed a lot of shock and guilt over shooting a guy before, but now he’s sure he’s hit an innocent person and he refuses to leave them. His humanity does him credit and that’s why he’s one of my favorite characters in this DLC.

But then comes the choice: One of you has to go find this person you hit, and one of you has to stay in the car. Who should do what?

The end stats for this are 50/50, and it’s decided either by you refusing to go out yourself, or agreeing to a game of rock, paper, scissors.

No, really, that’s how they decide who gets to go out there, best two outta three. That’s why I say this is one of the weaker portrayals of the dilemma, you don’t necessarily get to decide what Wyatt’s going to do, therefore shaping his personality and morals... it’s all up to luck.

Though you can outright refuse, and Eddie will go out anyway so that’s one way to shape Wyatt if you’re playing him as less compassionate, or more cautious, or even as a coward. While there is an option for Wyatt to volunteer, you still have to rock, paper, scissors for it which I’m kinda meh on. Personally, I think if you’re brave enough to volunteer, you should be able to double down with Eddie and make the choice yourself rather than leaving it up to fate decided by a couple hand gestures.

My advice to anyone playing this is try to lose the game. If Wyatt loses the game, he will go out there with a gun to find the person you hit, otherwise Eddie will go and Wyatt will be left in the car. Wyatt remaining in the car is the weaker option, far less exciting and results in you being attacked by Nate and forced to leave Eddie behind. Don’t get me wrong, it’s not bad by any means and getting to see that it’s Nate is neat when going into Russell’s story, but I think Wyatt being left behind is more impactful because it opens up a new dilemma.

I managed to lose the game by picking scissors every time. I find that Eddie tends to pick mostly rock, at least every time I’ve played before I’ve beaten him with paper, but rock beats scissors sooo pick scissors.

Wyatt takes the gun and goes out into the fog to find the guy, who is revealed to be Bennett, the cop who fled the prison bus in Vince’s story. Wyatt tries talking to him, but Bennett is too injured and out of it to respond. Wyatt starts to help him, but because nothing is ever smooth sailing... walkers begin to groan and you realize that they’re coming through the fog.

The reason I think this path’s better is because now you have a new choice to make: Do you try to help Bennett, or do you abandon him?

Wyatt wasn’t the one driving, and he’s out here due to a lost game of rock, paper, scissors... but is he willing to leave this man out here to be eaten to save himself, or is he going to try and do his best to help the man at the risk of getting them both killed.

I chose to try and save Bennett, which meant I had to to drag him back to the car while stopping to shoot walkers... and the noise only brings more of them and uh oh, Eddie’s screaming for Wyatt to hurry up because he’s being attacked! If Eddie remains in the car, Nate attacks him and no matter how fast you go, Wyatt never makes it in time... Eddie drives off without Wyatt, who is now left in a misty forest with more walkers on the way, and Nate.

It’s rough, but more compelling, in my opinion.

The highlight of this story is Wyatt and Eddie’s relationship, and there’s something about them getting separated that just stings, y’know? I found myself dreading getting out of the car not because of the dangers held within the fog, but because I knew Wyatt and Eddie would be separated after this only to never be reunited.

Well, we assume they never reunite and that... the best way I can describe this is I feel like Sarah from Labyrinth, just throwing myself onto my bed and beating my fists against the wall and exclaiming, “IT’S NOT FAIR!!” at everyone... because it’s not fair that Wyatt and Eddie get separated and it makes me emotional, I’m not happy about it.

But that also proves how effective Wyatt’s story is. Wyatt by himself also has the vibe of your sarcastic stoner friend who’s into indie bands and video games, but that’s part of his charm.

Overall, a damn good story and execution.

Russell: Day 184

I have a lot of feelings about Russell.

As far as the playable protagonists go, I can say with confidence that he’s my favorite. I love them all, but Russell sticks out to me by how much younger he seems to be, his interesting backstory, and by his jaded behavior.

His story starts with him walking down a long yet familiar road. He has his backpack and a map, and tells us he’s trying to get to his grandmother’s house. However, as he’s walking along, the truck from Wyatt’s story is coming up the road and Russell’s gotta decide if he should hide or stand his ground.

If you hide, you’ll quickly remember why you know this road. Russell will hide down next to a corpse, but not just any corpse- the body of either Carley or Doug, depending on who you saved in S1. A neat inclusion, if not a little sad... and annoying because then I’m forced to remember Lilly shooting Carley outta spite and me leaving her ass on the road... wasn’t S1 so fun??

Anyway, Nate pulls up and talks to Russell no matter what, and you have no choice but to hitch a ride with him. You can try and refuse, and Nate’ll drive away... only for a dozen walkers to appear out of thin air and surround you so Nate will come back for you... I see you, Telltale, I see through your nonsense.

The rest of Russell’s story has him and Nate... bonding? I don’t even want to call it that, but they talk as they drive, we get more insight into Russell’s last group that left him with some trauma.

Russell: There was seven of us. I didn't have any family there or nothing; they were all at my Gram's down in Statesboro. There was a dad who had a daughter 'bout my age. One guy said he used to be a cop, but nobody really believed him; then a teacher and his wife. Leader was this guy, Steve.

Nate: Go back to the daughter.

Russell: Steve was a bad dude, but everybody was with him, you know? He said seven was the magic number, so we didn't add nobody to the group. If we found survivors, it was the same every time. He...he...

Nate: Let it out, Paco.

Russell: Just... "We gonna kill these folks and take their stuff or what?" And then bang, they'd be dead. Anyway... I couldn't handle that. After weeks of it, I packed my shit up and figured I can make for Gran's alone and try to find my family. I slipped outta there. I couldn't live like that.

Super interesting, and I wanted to learn more about this group but Nate ruins it by continuing to be a creep.

By the way, Nate? Crusty. Stinky. He is repulsive and I hate him... but he’s also the best antagonist in this DLC, go figure. I’m pretty sure the writers had a lot of fun making him as slimy as possible. He’s dangerous and a huge creep, he makes my guts feel icky, I just-

Russell: Why you gotta be like that?

Nate: Like what?

Russell: Always talking about women like that.

Nate: WOMEN? Ha, okay. Let me see if I can answer your question. Because...because the hunger a man's got for a woman is all we got left now. No laws, no jobs, ain't nothin' that make us men. But they ain't eaten all the women yet.

Nate, you’re gross and I hate you.

Unfortunately, Russell is stuck with this man for the time being until the two end up at Gil’s Pitstop only to be shot at by someone inside. Together, they avoid being shot and break in to find an older man is responsible for shooting at them, and his wife is injured, bleeding out in the booth beside him.

The man, Walt, yells at them to get out and accuses Nate of coming back to finish them off. Alarming, to say the least, but Nate casually denies the accusations that he’s been here before and calls Walt crazy.

Given this is Nate we’re talking about and he’s been in this area awhile, I’m inclined to believe that he was here at one point and could’ve attacked the couple, possibly with his group that Wyatt and Eddie encountered.

But here’s where things get interesting, and where Russell’s story becomes more unique when it comes to the dilemma. You’ve got this older couple here, one of them injured, and the other shot at you. They’re accusing your crusty companion of coming back to finish them off, and said crusty man decides to manipulate you by echoing the story from earlier:

Nate: What do you say, Russ? Should we just kill these folks and take all their stuff?

Super fucked up, and it has an immediate effect on Russell. Nate gives him the crazy eyes and casually points the gun at Russell... so what do you do? Do you comply, or do you stand up to Nate?

Unfortunately, no matter what you do, Nate will always kill the old couple. If you comply with Nate, whether by saying nothing out of shock or hesitantly agreeing, you witness the murders and Nate gloating about how all their stuff is there’s now. Then you get an eerie line from Nate as he looks back at Russell with a smile:

Nate: Relax. You're my boy, Russell. Things are going to be a-okay.

All while Russell stands there in absolute horror and shock, probably reliving the trauma he escaped from his previous group and realizing he’s now stuck in it again.

This ending to the story is awful... not awful as in it’s written poorly. No, no, quite the opposite. It’s awful because of what it does to Russell. By complying, Russell is now stuck with this man who “kept you around,” according to the little choice notification in the corner. Who killed with no compassion, no guilt, and is gleefully admiring the “rewards” he got for doing it. Russell just stood there while two innocent people were murdered and he does nothing to stop it. He looks at Nate and sees Steve, a man he earlier described as a bad person, but everyone was with him, everyone complied. Russell couldn’t take it anymore and he had to leave, only to find himself at the mercy of another Steve and that’s tragic.

Luckily, Russell manages to get away somehow given he’s with the rest of the group in the epilogue, though we never find out how.

As for the alternative, Russell can stand up to Nate and call him out in one of my favorite moments:

Russell: Are you serious?

Nate: Maybe. Why not?

Russell: That's fucked up! There are real fucking monsters out there!

Nate: No shit.

Russell: And you're just going to joke about the shit I seen? Fuck you, Nate!

Nate: I saved your ass!

Russell: You didn't do shit.

Nate: Easy, Russ.

Russell: I ain't hurtin' no one. And don't you hurt these people either.

Nate: COME ON! Can we still be friends?

Russell: No.

Russell leaves Nate behind, and as he’s walking outside, he hears two gunshots from inside. At first, the player’s probably thinking how Russell should’ve done more to help the couple, but what could he do? Nate had the gun, and wrestling it from him would’ve gotten Russell killed. It’s fucked, but there was nothing he could do with Nate holding as much power as he did. Russell had no choice but to stand up to him in hopes of convincing him to leave the couple alone, and then leave.

Unfortunately, Nate isn’t easily swayed. Russell’s lucky he got away when he did.

Russell standing up to Nate, avoiding the road he’s desperately tried not to walk again, is compelling as hell. By walking away, he’s saying that no, that’s not who he will become. He won’t be Steve, he won’t be Nate, he won’t be a man who causes hurt and death in order to reap the “rewards.”

In the end, Russell is more bitter, wary to trust and I don’t blame him. This moral dilemma is so powerful because it’s a choice between remaining strong, brave enough to look at what you could become and say, “no,” and giving in, becoming the thing you feared and ran from.

Not to mention Russell’s story all started because he left to go find his grandmother, to reunite with his family. If Russell were to reunite with her, would he be proud of how he got there? Or would be feel like yet another monster who hurt others to get there?

All in all, so damn good.

Fuck Nate, though. Hope he choked.

Bonnie: Day 220

Bonnie, everyone’s favorite.... CJ wrote sarcastically, knowing full well that a lot of people don’t actually like her.

It’s a shame that S2 has tainted Bonnie’s character for a lot of people, but this post isn’t about S2 so I’m going to focus solely on what we see of her in this story.

What we get is a woman struggling with addiction, clinging to a life preserver the best she can in a world where the dead walk but people are more dangerous, a preserver that can be ripped out of her hands depending on your choices. Bonnie is recovering from a drug problem when we meet her out in the rain with a man named, Leland, and the two are playing a cute little game of “would you rather.”

She has a deep southern drawl, and easily teases Leland even without player input.

Leland: You've been a lot more fun lately. Feelin' better?

Bonnie: I guess I am.

Leland: Well, you sure do look better. Though you gotta admit, anything is an improvement. That came out wrong... what I mean is... I mean... You were... you were, uh... you know.

Bonnie: Take a hike, big ears.

Leland: I resemble that remark.

Bonnie: You resemble a satellite.

Leland: Ya know, you weren't so damn sassy before. Guess that's a good sign. I mean it, though. After we found ya, you were still so hooked on that stuff. I never thought you'd make it. You ain't outta the woods yet, I know, but you've come a long way, Bonnie. I'm proud of you.

At first, you pick up on a little romantic tension between the two and think, “Oh, I see~” There’s some definite chemistry there. Leland even goes as far as to caress her cheek and say her name softly.

Then Dee shows up, and you realize rather quickly that she’s Leland’s wife, and then you go, “Oh... I see.”

Dee sees it, too, and calls the two of them out on their flirting.

Dee: I got you a present.

Leland: Aw, you shouldn't have! What did you find?

Dee: I'll tell ya later. I don't mean to interrupt your "chat" with your "girlfriend", but we gotta get movin'.

So that’s not great.

But it appears that Dee found a bag and avoids saying where she got it. Leland keeps pushing on about the bag, and this causes a fight to break out with Dee getting more defensive until she tells then to run. Turns out, Dee stole the bag from a nearby group that is now hunting them down, so the three of them have to get out of there.

Bonnie falls behind, and ends up shot. Leland calls out to her, but we see Dee holding him back before disappearing, leaving Bonnie on her own. This segment is super good, she falls down a hill and a zombified Clyde- you remember Clyde? Officer Dipshit? Yeah, he shows up as a walker here to attack Bonnie if you don’t kill him in Russell’s story. After killing the walker, Bonnie’s forced to navigate a corn maze while avoiding the flashlights of the group chasing her. It’s a well done scene, and the moment Bonnie makes it out is just heart breaking.

She’s wounded, all alone, and she’s slipping all over in the mud, desperate to take cover behind a tractor. Plus her little, “Mama watch over me,” gets me, y’know?

The dialogue that follows is raw. Eerie. Just-

Bonnie: Dee, oh, God, Dee... I'm so sorry, oh, God...

Dee: Wh... why? You... Why? Do... d-- do I look... How bad is it? Bonnie?

Bonnie: It was dark, it's so dark, I couldn't see you! I didn't know it was you! How was I supposed to know it was you?!

Dee: There was no... I thought I...saw you... You did this...? You... killed me. You killed me... I sh-- should never have... tr-- trusted you... just... just a junkie... Leland, she... she did this to me...

Bonnie: I... God, I'm so sorry, so... I can't... Oh, God, God...

Dee: I knew you'd fuck up again... take him...

Bonnie: I... I... no, God, I'm sorry. I need him; I need you both...

Dee: You... bitch... I knew you wanted him... didn't think you had the stones... Goddamn you...

-and then Dee dies. Dee repeatedly calling Bonnie a junkie and a fuck up is painful. Bonnie’s clearly in distress, apologizing and trying to comfort Dee as she’s dying, and all Dee can do is call her a fucking junkie while damning her, telling her they should’ve never trusted her. I cannot imagine the toll that takes on Bonnie going forward.

Now the dilemma here isn’t that Bonnie killed her. You have no choice on whether or not to hit her with the piece of rebar. If you don’t, Dee will kill Bonnie and you get a nice ol’ YOU ARE DEAD. You have to hit Dee, Dee will always die, it’s more up to you how Bonnie reacts and handles it.

The dilemma here is Leland finds them and is horrified that Dee is dead. He then asks Bonnie what happened. Do you tell him the truth or do you lie?

This is rough, to say the least. Because it was an accident. You had no choice, you didn’t know it was Dee and now you have to decide if being honest is the best choice in this moment. Are you willing to take responsibility for something you did even if it hurts you, or hurts Leland? Or are you going to lie to the grieving husband of the woman you killed to save your own ass?

And remember, that group is still chasing you down, it’s only a matter of time before they find you so whatever you do, you have to do it fast or else that group is going to kill you.

Fun fact, according to the stats, 75% of people lied to Leland, and 25% of people told him the truth. Which I find fascinating yet unsurprising that players wouldn’t tell the truth in order to cover their asses.

To be fair, a new player might think that telling the truth could cause Leland to lash out and you’ll get hurt, and that takes priority over doing the “morally good thing” of being honest. Or they don’t want to admit they did a bad thing. Players never like doing that unless it was on purpose.

Not only that, but if Leland knows that truth and you can convince him to leave with you, the fact that Bonnie killed her [accident or no] will always hang heavy in the air. If Leland doesn’t know the truth, then y’know- ignorance is bliss and Bonnie won’t have to face the repercussions from him... she’ll just have to deal with her guilt and trauma internally.

You also have to remember that Bonnie is a recovering addict. Leland and Dee were her life preservers that kept her afloat this whole time. She just accidentally killed half of her support, and now she’s staring at the other half and has to judge if she’s willing to risk losing him, as well. If both Dee and Leland are gone, Bonnie is alone, and that could be far worse than anything else for her.

For me, this dilemma is fairly similar to Russell’s- who are you shaping Bonnie to be with this choice? Can Bonnie live with herself if she lies?

If you lie, it’s easy to convince him to come along with you, but you can still do so if you tell the truth, which is what I did. It all depends on your approach and if you can convince him that it was a genuine accident on Bonnie’s part. Which it was so again, not hard. If you can’t convince him, he’ll stay by Dee’s side while Bonnie runs away and you’ll hear a gunshot.

If Leland leaves with Bonnie, they don’t stay together since he’s not with the group in the epilogue. As far as I can tell, we never find out what happened to him, Bonnie never says.

Bonnie’s story is solid, super enjoyable, I love it. Again, you might be noticing a pattern but every story so far has been excellent, not a single bad one in the bunch.

And that doesn’t change with Shel’s story.

Shel: Days 236 & 259

Shel’s story is the final event on the timeline, and while I said that Wyatt’s story made me laugh the most and Russell’s my favorite protagonist, Shel’s story is my favorite overall. It’s not funny like Wyatt’s, and I wouldn’t even say Shel is as compelling as Russell, but it more than makes up for that with the story it tells.

It’s funny to think back on this because had you asked me years ago about Shel’s story, I probably would’ve told you it’s my least favorite and that Shel and Becca weren’t great. Again, another example of me not giving them a proper chance.

This time around I was surprisingly invested in Shel as a character. She’s a lot more... how do I put this? Softer? She’s softer than the other playable protagonists in the way she acts, speaking, and views the situation. She has a little sister to look after in this world, a young, impressionable girl that Shel sees getting colder and colder with every terrible thing she sees. It’s understandable that Shel wants to protect Becca, or even shelter her from the reality of their situation.

I liked Becca a lot, too. She wasn’t annoying like I remembered her being. Her behavior is understandable when you pay attention. She’s young, she doesn’t fully understand the weight of the things she may do, and she’s easily influenced, which becomes scary later on.

Shel’s story takes place in Gil’s Pitstop where she and Becca are staying with a group of familiar faces. Yep, the cancer patients from S1 are back. Turns out Vernon was more of a bastard than we initially thought as we learn he planned to steal the boat from the moment we found it... and given that he’s no longer with the group, I’d say that didn’t work out for him in the end.

Aside from them, we have Stephanie and Roman. These two are key to this story, both having ideas about how Becca should be raised, and Roman becomes a more antagonistic character in the end.

This story is about Shel’s conflicted feelings about the world and what it’s doing to her and Becca. They have to keep inventory of guns and supplies and hey, remember how Dee stole that bag? Surprise, Shel’s group were the ones chasing you down when you were playing as Bonnie, and they make comments depending on if Leland stayed with Bonnie or was caught.

Shel meets Roman outside where we see “guard dogs,” which are just walkers they’d tied up to keep people away. Depending on if you stayed with Nate or stood up to him, you may encounter Walt as a walker, or Bennett. They’re feeding the walkers when Roman makes a comment about how Becca wouldn’t mind doing this, and that Shel can’t keep sheltering her, something Shel struggles with.

Shel also discovered the old woman walker is eating a puppy and the affect on her is instant, nearly bringing her to tears. Which is completely understandable. When I say that Shel is softer, it’s because of a moment like this where she sees something that’s sad and she doesn’t just shrug it off. She feels it deeply, and that’s further proven when she goes back inside only for Becca to scare her as a little prank.

Shel lashes out at her, and I love their conversation once she’s calmed down.

Shel: It's the walkers...I guess they got ahold of a puppy.

Becca: A puppy?

Shel: Yeah. I guess it just...it got to me, ya know. It was so little. You don't think about babies anymore, but... After a while, you just kind of accept...this is it.

Becca: Yeah. I guess you kinda forget.

Shel: Right? But then...you know...there it is. You see it and you want to protect it... And now it's gone.

Becca: That sucks.

I feel like this is obvious, but Shel seeing a dead puppy being eaten by walkers probably brought Becca to mind. While Becca isn’t a baby, she is still a kid, and we know how TWDG works. Children and teens aren’t safe from death in this series. In S1 we dealt with Duck’s tragic death, and we found the walker child in the attic. S1 is all about Lee doing everything in his power to not let that happen to Clementine, and it cost him his life.

Becca could die just as easily as that puppy. All it takes is one moment, no matter how hard Shel tries to protect or shelter her, and she’s gone.

Also, this whole “you don’t think about babies anymore” is clever, given what happens in S2 with Rebecca and AJ, I wonder if that was intentional or not.

But the moment is interrupted when Stephanie barges in to bring us our first major moral dilemma.

A man was caught trying to steal supplies from the group. He’s beaten up, and Roman claims he was already like that, and all he did was tie him up and put a blindfold on. The man doesn’t speak English. He isn’t bit, and he didn’t hurt anyone. This is the second break in the group’s had. The group is arguing among themselves when Roman gives us the dilemma:

Roman: Look, we all know what we're talking about here, so let's stop dancing around it. We either let this guy go and take our chances...or we kill him.

This is... fucked? How else do you describe it? This man can’t defend himself since he doesn’t speak English, no one can understand him, he can’t stay with the group but letting him go is risky. What do you do?

There isn’t a right answer to this, even when you know both outcomes.

On one hand, you let him go. You can’t just execute a man, that would be wrong, so you send him away and maybe he won’t come back. You’ll be in the clear and you’ll feel like you did the right thing.

Shel: He's not even armed! We can't just kill him! This isn't in self-defense.

Becca: Isn't it, though? If it means he can't come back to hurt us?

Shel: That isn't the same thing.

Joyce: But last time...

Shel: Joyce, that was a long time ago. If we kill this man, then we are giving up a part of ourselves that we can NEVER get back! I'm not ready to let that go.

But that doesn’t happen. The man does come back and he brings his group, we’re attacked, and Boyd dies in the fight. Roman becomes obsessed with securing the place by any means necessary.

On the other hand, you kill him. You make the choice as a collective group to execute a man and you get to live with that.

Shel: We can't take the risk. We kill him.

Stephanie: There's gotta be another way...

Shel: Tell me. What if he comes back? With weapons, or...or a gang? Is it worth losing any one of us?

Stephanie: Jesus. There really is no other choice, is there?

Roman: We can't keep him here and we can't let him go. If there's even a chance of him coming back or telling folks who might try to hurt us, we can't risk it. I won't ask you to watch, but if we do this, we're all in it together. If this ever happens again, it's gonna be one of you pulling that trigger.

And in doing so, the group’s morale plummets, and Roman still becomes obsessed with securing the place by any means.

But you also have to consider what this will do to Becca. Shel just had to face a hard reality when she saw that dead puppy, and now she’s left as the swing vote that decides a man’s fate. That’s a lot for any person and there are so many factors at play here.

No matter your choice, there’s a time skip and we see Shel and Becca in an RV playing Go Fish. Becca admits that she’s been sneaking out, something that’s horrifying to hear when you realize what Roman would do to her if he ever found that out, or if Becca was spotted and led someone back that wanted to hurt them.

Speaking of Roman, he comes knocking on the door to ask Shel to come talk to him about something important. It’s not long before you learn what happened: Stephanie stole supplies and tried to escape.

Roman: We caught her trying to escape.

Shel: Maybe she wasn't. Maybe she just wanted to get outside these walls for a while. Ever since the...incident, you've made this place feel...I dunno...oppressive.

Roman: We've made it safe. And she was definitely trying to escape; she had most of our ammo and medicine with her. She screwed us, Shel. All of us. And now were' in that position again where we can't keep her here and we can't let her go. You do know why I'm telling you this, right?

Roman’s telling Shel this because he wants her to shoot Stephanie, and she can’t say no.

As if this wasn’t enough of a gut punch, Shel goes back to the RV and tells Becca what’s going on.

Y’know that feeling you got when you heard AJ say he liked killing Lilly for the first time in TFS? I got a similar feeling when Becca said this:

Becca: Oh, my god. The hell did she do that for?!

Shel: Roman says we have to-

Becca: Kill her? Yeah! Why would she do this to us?!

Shel: She's just scared. She made a mistake.

Becca: Well, that'll be her last mistake!

Shel: Becca! Stephanie is your friend!

Becca: WAS my friend.

Shel’s fear that this world is changing Becca isn’t misplaced, and now she’s forced to face that reality head on once again.

Also, I’m pretty sure this is the moment that causes people to dislike Becca or think she’s annoying, but again, given what she’s been through no matter what choice you made, her reaction makes sense. If you let him go, she saw her group attacked and Boyd killed, and that showed her that it was a mistake to let that guy go. If you killed him, then she watched her older sister decide the fate of a man and then watched him be executed.

A lot of the TWDG fandom tend to intensely dislike child characters for the mere fact that they’re not Clementine, and ironically, they end up behaving in ways that make them more annoying than any child character they dislike. So I wouldn’t take their word for it when they say Becca’s a bad character. Play the story, pay attention, and make the judgement yourself.

As for the second moral dilemma in this story, Shel can either take her gun and shoot Stephanie, or she can take the RV keys and drive away. Do you agree to kill Stephanie or run away?

For me, this is an easier decision than the first one. I grabbed those keys and we got the hell outta there.

But for this choice, Shel can either give in and allow this to be who they are now in order to protect Becca, or she can prove that there are other ways, that they don’t have to stay under Roman’s thumb and kill whoever he tells them to. There’s no saving Stephanie at this point, you have no choice in that, but you do have a choice in how Shel raises Becca from now on.

Oh, and if you’re looking to get everyone to go with Tavia, you have to drive away. If you shoot Stephanie, then she and Becca will refuse to go with Tavia.

Shel’s episode is my favorite, and the perfect way to end the main story if you’re playing in chronological order. She’s another great character who I didn’t expect to make me feel the way she did.

Epilogue: Day 400

Once all five stories are finished, we’re introduced to Tavia. She’s a scout looking for survivors to bring back to her community. She talks with someone over the radio about finding all the photos and a note near Gil’s Pitstop that gives the group’s location.

Turns out that Vince, Wyatt, Russell, Bonnie, Shel and Becca all found each other and are surviving together in their campsite. Tavia approaches the group and it’s up to us to convince as many of them as we can to come with her.

For Vince, you have to shoot Danny, and with Shel you have to escape. Bonnie will agree to go no matter what. Wyatt and Russell can be convinced to join regardless of your choices. The best option is to tell them that you find people from everywhere, and Wyatt will agree to go in hopes of finding Eddie while Russell wants to find his family.

Most of the dialogue is determined by your choices, as well.

Once you have your group, the DLC ends with the group burning the photos and note, before asking Tavia how she knows if this will work out.

Honestly? Great ending, great execution of consequences brought on by your choices.

The 400 Days DLC is fantastic. It’s brilliant. I love it to pieces, and I highly encourage anyone reading this to replay it.

Don’t play S1 first, and don’t plan on jumping into S2. Play the DLC by itself, let it be a story contained to an hour of your time. That’s what I did, and I had so much fun! These characters and their stories are wonderful, the writing is phenomenal, I love it!

But... Now that I’ve spent all this time praising this DLC, calling it brilliant and encouraging everyone to revisit it... it all comes with an asterisk* attached:

*As a single experience, 400 Days is brilliant and I love it.... but when played together with S1 and S2.......

400 Days is disappointing.

That’s the glaring issue here.

I can praise this DLC all I want, and I did. That doesn’t negate the big picture, or the big problem fans tend to have with it.

400 Days acts as a bridge between the two seasons but let’s be real, the only story that actually matters here is Bonnie’s. She will always leave with Tavia no matter what, and she plays a major role in the group’s capture and eventual escape. The others make brief, meaningless cameos that only exist to make the player go-

-every time one of them shows up. We never hear from them, or about them, again after that.... so what was the point?

What was the point of 400 Days in the grand scheme of things?

400 Days becomes worse when you get your hopes up that it’s just a teaser, a little taste, of what’s to come in S2. You think these writers took the opportunity to introduce you to these important characters, tell you their backstories, so that they could be incorporated into S2′s plot as major characters.

But no, only Bonnie.

And even Bonnie’s character becomes muddled by ep5 depending on how you tried to help Luke.

The thing is, 400 Days isn’t terrible because of this. Obviously. It’s disappointing, but why it’s disappointing and the way people claim it could’ve been fixed is... well...

It’s not simple. It’s so easy to just be like, “400 Days is bad because our choices didn’t matter! It’s pointless! Why didn’t they do something else?? I know exactly how this could be fixed!”

I know what everyone always says whenever 400 Days is brought up: “The 400 Days cast should’ve been the cabin group.”

Great idea in theory, or headcanon/AU.

In execution, it would’ve been too complicated and I think we all know that, but a fandom’s hubris knows no limit when it comes to them believing they know better than the developers.

Not to say we can’t criticize issues with the writing, but it helps to at least be understanding of how things actually work, i.e. video games are hard to make and long posts on tumblr “fixing” video games are fun to read but wouldn’t actually work in practice because that’s not how video games work so maybe stop insulting the developers while acting like you know better about a field you don’t even work in.

Trust me, I know. Don’t think I’m not one of those people, I’m literally here writing you a long post on tumblr. I’m not innocent here. Have you read any of my Violet posts? You don’t think there was a long period of time where I thought *I* knew better?? I wish I could say you’re right but you’re not, I’m just as bad. I’ve said some unkind things about certain developers that I look back on and just face palm as I slowly sink back in my chair shamefully. I still agree with my criticisms but not the way I said them, and I’m trying to not be like that anymore.

All that to say it would be too complicated for the 400 Days cast to be the cabin group due to the different combinations of characters who can stay or go with Tavia. What happens to players who had only Bonnie go with Tavia? Or had all but one go? The only solution would be to have a set ending for 400 Days, removing the consequences of choice and having a more linear ending.

Y’know this would’ve gotten them the “my choices never actually matter >:[” criticism which I believe is a fair criticism of games that make these big claims about choice and consequence only to give you the illusion of it. But, there needs to be some common understanding of what can realistically be implemented in a game like that. You can’t expect them to have a thousand different outcomes and have it be a smooth, functioning game, especially when you take into account the release dates and the things going on behind the scenes at Telltale and how that affects development. These studios have deadlines, they have higher ups working them overtime so they can push as much product out as possible, they have a budget that’s never enough, and frankly, shit just happens sometimes.

I’m not saying that we can’t be disappointed. I’m disappointed that I’ll never get to know if Wyatt and Eddie reunited, or what happened to Russell. I have no idea if Shel and Becca are still alive, and I don’t know where Vince is. I don’t even know what happened to Bonnie after S2.

When thrown into the entire series, 400 Days is disappointing due to the high expectations it brings for S2, but I argue that it isn’t as terrible as people claim it is.

I literally just spent several paragraphs explaining why it’s brilliant and why you should go replay it by itself, I think it’s far from terrible and deserves praise for its characters and the moral dilemmas it presents. Don’t think about S2 while you’re playing it, that’s not the point. The point is to experience it for what it is, a series of stories set in the zombie apocalypse that all lie together in the end.

I would love to hear more thoughts about this, whether it be about the characters or what choices you made and why. Even if you disagree and think 400 Days is trash, tell me why, I’m interested to know.

In conclusion: 400 Days good. In other news: Happy New Year

As I’m writing this, it’s New Year’s Eve and I’ve got a little over an hour before midnight, sooo here’s a happy new year to everyone. I hope you’re all doing well, staying safe and healthy the best you can.

As I said at the start of this, I have another essay I’m working on related to S2.... it’s taking forever because there’s a lot to cover, it’s about some polarizing characters and choices, and I have no idea when I’ll be finished. If it takes even longer than I’d like, I’ll probably put it down and work on a smaller post in the meantime. Maybe something about the Michonne mini-series or a character analysis.

I guess my new thing is disappearing for weeks at a time only to pop in whenever there’s news about the Clementine comic or to throw down a long ass essay about something no one asked for hahaha. I can live with that, I think. I will be around for the rest of the weekend, though, so any asks about 400 Days will get answered, I’d love to hear from y’all.

Uhhh any other news... Oh, @pi-creates and I are making a new Dragon Age server on discord that we’re gonna open up soon for anyone interested in that. Right now it’s mostly just discussions about the games and lamenting about the apostates who broke our hearts... well, Pi’s lamenting, I’m mostly just spewing bitter salt about the sewer rat bastard that is my apostate boyfriend >:[ We’ll post a link once it’s ready to go, though I dunno when that’ll be. We’re pretty proud of the set up, and I made a bunch of DA emojis. It’ll be a fun time.

Think that’s everything. I wish y’all a happy, healthy new year!

#twdg #twdg 400 days #twdg vince #twdg wyatt #twdg eddie #twdg russell #twdg bonnie #twdg shel #twdg becca #twdg clementine #twdg lee #long post

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